¿cómo explicar esto que está ocurriendo hoy?, porque, ya sabemos ...

maturity of the process. Here fits another reflection or warning: and that is
the concentration of initiatives in the main city, in Tegucigalpa. This occurs
not only in Honduras, but we should rethink the strategies for diversifying
and amplifying cultural actions.
What cannot happen (but does) is that the creators have to look for
spaces of legitimization, of recognition beyond the borders. And they need
to find ways to circulate and stay in other geographical points. Here I would
like to make a pretext related to other things that I have laid out previously:
this does not mean that international and regional projection distorts the
visual arts in Honduras, to the contrary. In fact the lucidity with which
the creators have known how to take advantage of the external circuits
has achieved more than a few proposals and initiatives. Participation in
biennials, expositions, schools, scholarships, collective projects, among
other actions, bear witness, I reiterate, to the probity of these transitions.
But if this is extremely legitimate, what is disconcerting is the weakness
of these same mechanisms inside the Honduran context, in spite of the
most respectable happenings and spaces 19 .
Everything related to promotion and circulation of art in Honduras, and
the alternatives to institutionalization, brings me to other aspects which I
consider extremely pertinent: curatorial activity and the role of criticism
or investigation in the field of artistic culture. Why do I pause here? Well,
because of the implications these imply when establishing concrete
analysis of the current state of plastic arts.
The curator (or curatorial team) is that specialist, that moves among the
formal values and aesthetic conducts to articulate a precise concept in a
predetermined space. The curator fabricates the why, the for what, the
how many, depending on the where and the when; or to put it another
way, to elaborate the methodology that gives coherence to the internal
structure of a show, whether it be small or a mega-exposition, like the
biennials. The curator is the mediator who “translates” the artistic creation
for those who receive it (mediator for better, and Oh, let fortune shine on
us, but also for worse, and here, yes, fatal consequences). The curator can
end up as a sort of demigod that acquires alternatively the role of visionary
adventurer, investigator, merchant, prestidigitator, a great creator. The
curator has the possibility and the responsibility to make the difference,
the change, the leap, (to manipulate). This owes essentially, not to theories
dictated before hand, but rather to the challenges of the circumstances.
The curator must stay as far away as possible from the stereotype, tricky
19 I refer here of course to the action of spaces like Portales Gallery (one of the most effective, both in internal management and in external projection, by propitiating
participation by Honduran artists in international biennales and events), the Centro Cultural de España Tegucigalpa, La Asociación Mujeres in las Artes, la Bienal de
Artes de Honduras y las ediciones de la Antología de las Artes Visuales, among others, that, with ups and downs have tried to be present within these processes.
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