Punt de llibre

• Days: December 10, 11, 12 and 13, 2019
• Time: 7:00 p.m.
• Free activity

Es Baluard programs a cycle of book presentations during the second week of December with the presence of its authors and authors within the framework of the Christmas campaign. Novel, essay, thought and critical reflection on contemporary art and museums will be part of the thematic range. Once the presentation is finished, the signature of copies is planned.

December 10

Belén Sola
Exponer o exponerse. La educación en museos como producción crítica
(Los Libros de la Catarata)

Present: Eva Cifre, responsible for the department of educational development, training and public programs of Es Baluard and Sebastià Mascaró, former Director General of Visual Arts and Public Programs of the City Council of Palma.
They seek activities oriented to the production of knowledge and experiences and towards a socially transformative and more democratic model of institutionality. In this process, education and mediation have reached a growing importance, as evidenced by the creation of departments of education and cultural action (DEAC). But in a context of economic and political recession, its evolution has been marked by different obstacles and contradictions, having to face a tourist and developmentalist model of culture, the loss of autonomy and institutional deterioration or labor exploitation and precariousness.

December 11

Ildefonso García-Serena
El hijo del doctor (Vegueta)

Present: Andreu Manresa (general director of Radiotelevisió de les Illes Balears (RTVIB-IB3) and Juan Tapia (editorial director of El Periódico de Cataluña).

Leo, son of the Spanish republican doctor, begins a journey to decipher the riddles that have surrounded his family over decades. He does it from the discovery of an unusual event, which happened a century ago: the mysterious disappearance of his great-grandfather Roman, which triggered an irreversible family drama.

Four generations will suffer the vicissitudes of their time in different scenarios: the Spain of the end of the 19th century, Barcelona and Buenos Aires; the Second Republic, the Civil War, the Second World War and the invasion of France by Hitler’s troops. This will be followed by a new exodus from Argentina, this time from Perón and Evita, and then the return to Franco’s Spain.

A deeply human account of beings trapped in convulsive times, which tells the emotions that uproot inspires. A tribute to loyalty, friendship and love. A vindictive memory of emigration and exile that dragged tens of millions of Europeans to America.

December 12

Aurora Fernández Polanco
Crítica visual del saber solitario (Consonni)

Present: Jaume Reus, Art historian.

Visual critique of solitary knowledge claims both the aesthetics and the knowledge of a body increasingly damaged by the logic of capital, and it does so through three defined moments such as THESIS, CRISIS and CAOSMOSIS. It begins with the fantasy of the self-sufficient, masculine and sovereign subject who considers himself capable of knowing and organizing a world from which he remains isolated.

It is followed by the 1968 uprisings, where traditional forms of representation jump through the air; and the revolutions of 2011, which propose the positive value of interdependence, collective creation and social activism. From there the academic protocols of the worlds of art are reviewed. The markedly political intention of this essay invites us to decide what to save and what to condemn the world that has guided our knowledge.

December 13

Selina Blasco and Lila Insúa

Exterioridades críticas. Comunidades de aprendizaje universitarias en arte y arquitectura y su incorporación a los relatos de la modernidad y del presente (Brumaria)

Present: María Sonsoles Hernández, Professor at the UIB in the area of ​​Art History knowledge, attached to the Department of Historical Sciences and Theory of Arts.

Why don’t art colleges recognize themselves as communities? Why are cultural practices so often related to dissenting forms of learning? Is knowledge patrimonialized by official institutions? How to reveal and question the mechanisms of appropriation of knowledge imposed by hegemonic institutions? Would it be possible to incorporate external knowledge and work to build a different status quo? How to activate the incorporation of artistic and cultural learning communities into the narratives of modernity and the present? Why do we still trust artistic practices today when we think of an emancipated society?