{"id":48379,"date":"2024-08-21T17:38:23","date_gmt":"2024-08-21T20:38:23","guid":{"rendered":"https:\/\/museomoderno.org\/marcelo-del-hoyo\/"},"modified":"2025-05-09T17:56:04","modified_gmt":"2025-05-09T20:56:04","slug":"marcelo-del-hoyo","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/marcelo-del-hoyo\/","title":{"rendered":"Marcelo del Hoyo"},"content":{"rendered":"\t\t
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Marcelo del Hoyo<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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NEUQU\u00c9N, NEUQU\u00c9N PROVINCE
\nARTIST, CURATOR AND TEACHER<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t
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PROPOSED PROJECT<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Utop\u00edas, distop\u00edas y (tambi\u00e9n) escatolog\u00edas [Utopias, Dystopias and (also) Eschatologies]<\/I>\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Around the mid-20th century \u23af after humanity had explored its limits in Auschwitz and Hiroshima \u23af Latin America was torn between the fear of an apocalyptic atomic war and the revolutionary actions against political-economic dictatorships, inheritors of the status quo established in the 19th century during colonial independence struggles. In this context, there emerged \u2018third-world\u2019 intellectuals who sought an ontological explanation of the Latin American being, awaiting the fulfilment of a utopia tinged, on the one hand, by the religious creed of Christianity and, on the other, by the revision of Marxist thought. From the constant dialogue between these influences, analogies were sometimes drawn between revolutionary figures and Christian apostles. This was a way of reinstituting a myth that speaks of revolutionary and religious ideas, which merge chimerically to give rise to the end of waiting: so that we may be able to see the utopia fulfilled.<\/span><\/p>

The body, institutions, nature<\/span><\/i> and<\/span> narrative<\/span><\/i> constitute the four bases underpinning modernity, from which some artists have challenged other limits. Some of these artistic practices and their results coincide with my project, with the aim of proposing a way out towards another subjectivity: another body, another institution, another nature, another narrative, deriving from interactions between artist, artwork and spectator. From this exchange new topologies arise to analyse from the utopian genre and its possible derivations: the ecological, the queer, the technological, the feminist, the negative \u23afalso known as \u2018dystopia\u2019. I will add other topologies to this, specifically those which we can analyse within the framework of eschatology, understood as the study of the end of a time or of the ultimate ends.<\/span><\/p>

During this residency, I propose to develop curatorial research in the universe that comprises the Museo de Arte Moderno’s artistic collection, documentary archive and library. My aim is to construct a possible cartography \u23af but not an exclusive one \u23af through which we will be able to establish links with other products of our cultural, political and social practices. At the same time, I hope to be able to design didactic\/pedagogical exercises that can be applied in the context of Museum tours and also as resources to work with visiting educational institutions.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Marcelo F. A. del Hoyo<\/strong> is a teacher, artist, curator and researcher. He was born in Necochea, Buenos Aires Province, in 1964.\u00a0<\/span><\/p>

He is a Professor of Fine Arts at the Faculty of Fine Arts (Universidad Nacional de La Plata) and Professor of History at the Faculty of Humanities (Universidad Nacional del Comahue). Additionally, he has taught at all levels, from preschool to university. He was in charge of Art History, History of Culture, Philosophy of Art, Aesthetics and Painting at the following higher education institutions and universities: UNComahue (Neuqu\u00e9n), UNPA (Caleta Olivia), IUNA (Cipolletti), IUPA (Fiske Menuco), ESBA \u2018Manuel Belgrano\u2019 (Neuqu\u00e9n) and Escuela de Danzas Contempor\u00e1neas (Neuqu\u00e9n).\u00a0<\/span><\/p>

He has organised and directed the Sala de arte SOSUNC, under the Servicio de Obra Social de la UNComahue (2008\/2011), in the Neuqu\u00e9n Province. He was co-curator of \u2018Interfaces: \u2018Neuqu\u00e9n\/Paran\u00e1\u2019 (2006\/2007), a programme established by the Secretar\u00eda de Cultura de la Naci\u00f3n and the Fondo Nacional de las Artes. He was curator of \u2018Pertenencia Neuqu\u00e9n\u2019 [\u2018Belonging to Neuqu\u00e9n\u2019] (2011), also part of the Secretar\u00eda de Cultura de la Naci\u00f3n and Fondo Nacional de las Artes, and of \u2018Herencia: arte popular\/arte contempor\u00e1neo\u2019 [\u2018Heritage: Popular Art\/Contemporary Art\u2019], with artists and scholars from Argentina, Brazil, Paraguay and Chile (2009) and with artists and scholars from Argentina and Spain (2010), among others. He has been a juror in national, provincial and municipal art shows. His artistic production, diverse in its use of media and techniques, has been exhibited in both public and private spaces.<\/span><\/p>

He lives and works in the city of Neuqu\u00e9n.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Marcelo del Hoyo NEUQU\u00c9N, NEUQU\u00c9N PROVINCE ARTIST, CURATOR AND TEACHER PROPOSED PROJECT Utop\u00edas, distop\u00edas y (tambi\u00e9n) escatolog\u00edas [Utopias, Dystopias and (also) Eschatologies] Around the mid-20th century \u23af after humanity had explored its limits in Auschwitz and Hiroshima \u23af Latin America was torn between the fear of an apocalyptic atomic war and the revolutionary actions against […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-48379","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/48379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/comments?post=48379"}],"version-history":[{"count":8,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/48379\/revisions"}],"predecessor-version":[{"id":51715,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/posts\/48379\/revisions\/51715"}],"wp:attachment":[{"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/media?parent=48379"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/categories?post=48379"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museomoderno.org\/en\/wp-json\/wp\/v2\/tags?post=48379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}