Violencia Sexual en obras de arte en conexión con cuentos de la Mitología Griega
TW: Sexual Assault, Sexual Violence, Rape, Assault, Forced Pregnancy, Kidnapping
Focusing on the stories of Leda and the Swan, The Abduction/ The Rape of Europa, and The Centauromachy, and four artworks that these myths have inspired, I look at the information that is presented in museum texts, such as wall labels, and how they address the topic of sexual violence that is at the center of these myths.
(SPAN)
Enfoco en los cuentos de Leda y El Cisne, El Secuestro/ La Violación de Europa, y el Centauromachy, y cuatro obras de arte que estos cuentos han inspirado. Miro a la información sobre ellas en las paredes de los museos y como omite su conexión con la violencia sexual que es presente en los cuentos de la Mitología Griega.
Intro Video Script (ENG)
Hi, my name is Emelie Villanueva. I’m a senior at Smith College.
I am majoring in anthropology with the museum’s concentration.
My senior project is a video essay addressing the topic of sexual violence as it as they are relating to artworks in museums,
specifically about stories relating to Greek mythology.
I begin my video essay talking about the prevalence of sexual violence.
I talk about the statistics, both globally and specifically in the U.S., and then proceed to talk about, uh,
how museums are currently structured to address the average viewer,
how the average viewer does not include, um, people who have experienced sexual violence.
I talk about how museums are argued to encourage a sense of voyeuristic viewership.
Um, where artworks are condensed into aesthetics rather than their cultural context.
I proceed to then talk about three specific stories relating to Greek mythology that are present in artworks.
I talk about Leda and the Swan. I talk about The Abduction/The Rape of Europa.
And lastly, I talk about the Centauromachy. I then talk about these three stories as it relates to several different artworks,
and how their wall labels slash the information that is present online does
not address the aspect of sexual violence that is present, um, in the artworks and as well as in their stories.
And then lastly, I talk about the next steps or what museums can do to better address this topic.
If you would like to learn more, please go watch my video. Thank you.
Intro Video Script (SPAN)
Hola mi nombre es Emelie Villanueva, estudio Antropología, especializandome en concentración de museos en Smith College.
Mi proyecto de fin de carrera es un video-ensayo sobre el tema de violencia sexual y su conexión con obras de arte en los museos
específicamente me enfoco en cuentos de la Mitología Griega. Empiezo mi video hablando sobre el predominio de la violencia sexual
menciono las estadísticas globales y de los Estados Unidos. Después hablo, uh,
sobre cómo los museos están diseñados enfocándose en el espectador promedio
y como el espectador promedio no incluye personas que han sufrido violencia sexual.
Hablo de cómo los museos fomentan un tipo de audiencia voyerista
Uhm. y de cómo las obras de arte se enfocan más en la estética en lugar de contexto cultural
Hablo sobre tres cuentos de la Mitología Griega y sus relaciones con varias obras de arte.
Hablo de Leda y El Cisne. Hablo de El Secuestro/ La Violación de Europa
Y finalmente, hablo del Centauromachy. Hablo también de estos cuentos y de su conexión con varias obras de arte
Y de cómo la información sobre ellas en las paredes de los museos no concuerda con lo que se sabe de ellas en el internet
Y se omite su conexión con la violencia sexual presente tanto en las obras mismas como en su historias.
Finalmente, discuto sobre los siguientes pasos o lo que los museos pueden hacer para abordar este tema
Si quieres aprender más, por favor, visita mi video. Gracias
Should It Be Mentioned In Museums? (ENG)
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Hi, my name is Emelie Villanueva. I’m a senior at Smith College.
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I’m an anthropology major with the museum’s concentration.
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And I’m wondering why art, uh, depicting sexual violence, isn’t clearly labeled in art museums,
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especially when those artworks are connected to Greek mythology.
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So this is my open letter complaint to art museums.
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To begin, globally, around 840 million people experience sexual violence at least once in their lifetime.
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In the U.S., on average, they’re around 443,635 people over the age of 12 who will experience sexual violence in the span of a year.
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That’s roughly the population size of Tucson, Arizona.
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I wanted to start with that because sexual violence isn’t something to be brushed off or ignored.
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We live in a rape culture where. Things like this are brushed off and are swept under the rug.
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And I don’t think that’s right. And I do think we need to talk about it and have a conversation, um, as a society,
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about the significance and the awful statistics that are involved when it comes to sexual violence.
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This is a serious issue that affects millions of people worldwide.
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Um, and again, that’s not insignificant.
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And I don’t think it’s crazy if I say I want museums to acknowledge that.
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I know that sounds weird, but I think museums are a reflection of both our past and present cultures.
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And once again, our current culture is that is a rape culture where again, millions and millions of people experience sexual violence.
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And. With that. There’s a lot of art that depicts sexual violence.
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Museums don’t really talk about that, though. They’ll talk about an artist.
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They’ll talk about the technique.
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They’ll talk about the legacy of an art piece, but they’ll skirt around the violence aspect of it unless it’s explicitly stated.
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And what do I mean by explicit?
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I mean, if the violence is not included in the name, such as rape or the abduction of or the assault of, but even then,
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when it comes to their wall labels, they’ll still find a way to kind of minimize the aspect of violence.
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And I think that’s really frustrating.
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Um, when I’m looking at an art piece and I’m looking at the wall label and it’s talking about the beauty in the line and the composition.
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And so I start talk about the line, the artwork, the art, like the beauty of an art piece and in its composition.
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And then I go home and I look it up and it’s a rape piece.
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It’s it. It’s an artwork depicting rape.
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I’m going to feel a certain type of way. I am going to look at that piece a little differently.
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I’m going to look at the museum a little differently. Um, will I be speaking about the art piece in the same way as before?
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Maybe. Maybe not. But I don’t appreciate that that huge piece of context wasn’t given to me in that wall at that museum.
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So all I’m left with wondering is why that information wasn’t given to me.
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And I don’t really think that’s a crazy question to ask. So what is the purpose of a museum?
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Their definition, according to the International Council of Museums as of August 2022, states.
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A museum is a not for profit, permanent institution in the service of society that researches, collects,
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conserves, interprets and exhibits tangible and intangible heritage open to the public, accessible and inclusive.
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Museums foster diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities,
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offering varied experiences for education, enjoyment, reflection and knowledge sharing.
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A museum’s purpose is then clearly to educate people and doing so with the public in mind.
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So who is the public? I’d argue that the public includes the millions of people who have experienced sexual violence.
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But then again, some people might disagree with me.
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Um. Philippe de Montebello, a former director of the Metropolitan Museum of Art, had this to say about catering to the public.
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Pressures tend to lead to policies that are driven not by mission forces but by market forces.
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When the visitor, as opposed to the work of art, occupies center stage, he is likely to be less well served, not better served.
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As the museum strives to attract him and please him, he will inevitably be catered to.
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That is, to ensure that he is counted at the gate. He will not be challenged.
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Instead, most likely he will be greeted through the programs that are offered at his present level of artistic sophistication.
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Shows are meant to appeal to a public whose range of interest in art, on the whole,
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is relatively narrow, and who book museums are to blame if that is so.
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If museums continue to spoon feed the same subjects to its public, albeit in slightly different permutations,
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themes endlessly revisited because of their predictable popular appeal.
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Most people, after all, favor what they already know.
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Then the public will not learn to demand more of museums or of art, their horizons having not been sufficiently expanded.
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I take this to mean that while catering to the idea of a public art, museums and museums in general have kind of lost who the public is.
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The public might want to be catered to, but it’s the museum’s job to educate them.
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Unfortunately, museums are notoriously slow to change, and there are so many factors involved.
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Philippe de Montebello insinuates that it’s because museums have gotten so large and
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have such a capitalistic dependance on the few people who can give them money,
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that the wheels of bureaucracy turn really slow.
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And within the vastness of the museum enterprise, the different divisions all have to work independently as a whole.
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That means if it’s not the public, the museum is catering to its money.
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So if museums don’t think that they’re going to lose money, they’re not going to change.
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I think the biggest way that we as a public have really seen this is during the Black Lives Matter movement is change.
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You can argue performatively or not on your own. But they did publicly state changes.
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And so guess what? Museums are inherently political spaces when it comes to politics and art spaces.
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There’s been this rising trend of claiming that art is not political when it is.
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Arts.
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The arts in general are rooted in telling a story, and those stories are obviously rooted with messages, and those messages are rooted in politics.
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I want to focus this video on artworks that are inspired by Greek mythology.
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Greek mythology has inspired thousands of works over the years, from ancient Greece to the Renaissance to modern day.
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Um, there are so many examples of artworks that are taking inspiration from Greek mythology,
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but if you or your friends are not educated in Greek mythology or did not have a Greek mythology phase, let me educate you.
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A big part of Greek mythology is its inclusion of sexual violence, especially against women.
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And as I’ve stated previously, that kind of violence has carried into modern times with the, uh, existence of a rape culture.
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And so it’s been argued that art is integral into the rationalization of sexual violence,
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where women are said to often be represented in ways that highlight their physical appearance and sensuality,
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often in suggestive or nude poses, focusing on their bodies rather than their activities.
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And that extends to the language that museums are using and teaching the public to use when they talk about art.
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Figures become reduced to once again line light composition rather than the content and the messaging.
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That frame of thinking is encouraging. What is claimed to be a voyeuristic sense of viewership.
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Where the theory of voyeuristic viewing, according to which the complacent gaze of the artist favors a pleasurable,
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exalted or minimized view of violence against women,
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which can stimulate sadism and the complicit gaze of the spectator in the same way as pornographic images.
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I’d argue that it’s not really the artist that is favoring of a pleasurable or minimized view of violence.
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I’d say it’s museums, because they’re the ones who are presenting this artwork in this way,
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and if they’re presenting artwork in this way, we as viewers,
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as the contemporary museum goers have a,
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have almost no choice but to kind of enwrap ourselves and are forced to view these art pieces in this way because we’re given no other alternative.
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So then I’d argue that this kind of viewership undermines sexual violence, and it helps to, in fact, normalize it.
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The lack of context and the appropriate modern language allows for a type of concealment rather than the opportunity for education.
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I’m an anthropology major. Part of what I study is putting cultures and people into the context of their lives.
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And I’d argue that museums should do the same for art pieces.
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A large argument that I’ve seen when it comes to opposing this kind of change is that using modern language and using modern words such as violence,
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rape, assault, forcibly pregnant, and other words relating to sexual violence will diminish the integral and intangible prestige of a piece.
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But I’d argue that if your prestige is so dependent on purposeful ignorance, maybe it’s not as prestigious as you believe.
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And I understand that our connections to history change through time.
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I understand that what was seen as unproblematic at one point can seem problematic to another,
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but I think a museum’s job is to make that point and that it wasn’t problematic,
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or there was some sort of outside context that makes it unproblematic or acceptable.
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And that has changed in the modern day. And I wouldn’t argue that’s necessarily bad,
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but rather it gives us the opportunity to have more perspective and allows for different conversations to happen in
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the same way that Disney has acknowledged that some of their older movies have problematic depictions on Disney Plus,
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I’d argue that museums should be held to the same kind of standard.
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So to start, take Leda and The Swan by Giovanni Battista.
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Made in the early 1500s, this piece is not currently on view at the met, but its overview is pretty standard.
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There’s the title, artist, date, medium, dimensions, and object number.
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There’s really no giving context to this piece in terms of a wall label.
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So I’ll give it some. This piece is inspired by the ancient Greek myth of Leda, where Leda of Sparta is,
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in some accounts seduced and others raped by Zeus, who comes to her in the form of a swan, where she gives birth to a set of eggs.
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And those eggs contain Helen of Sparta, who will later become involved with the Trojan War and lead his three other children.
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Here, Leda is in the middle of her encounter with Zeus. While her back is up against a tree with grapevines.
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She sits on a cloth with a body of water in the background. That’s my potential take on a description, um, giving context to this art piece.
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But another piece based on the same myth also gives what I would think is a poor job at giving this relevant piece of context.
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Take this piece that’s held at the Philadelphia museum of Art, also titled Leda and The Swan
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Now, this piece has a more expanded wall label.
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This is the description that appears online. Leda in the Swan.
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Artist’s slash maker. Unknown. Early 16th century.
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This painting of the standing Leda is based on Leonardo da Vinci’s now lost version of the same subject, known today mainly through copies.
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Leda embraces Zeus, who came to her in the form of a swan, while turning to observe the two sets of newly hatched twins.
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The results of their union, the Netherlandish landscapes, suggests a departure from Leonardo’s original.
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Two artists may have worked on this painting, one for the figures and another for the landscape.
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The composition evidences the practice of adopting Leonardo’s models for different settings.
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As mentioned before, this story is a rape. This is a rape story.
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And with that context, would you call what Leda and Zeus are doing and embrace and embrace implies affection?
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I really don’t see if actually going on there. Um, if someone decided to show affection that way, I’d have some concerns.
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Leda is practically choking and forcing Zeus’s neck away.
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If I were to write this, I would change it to something like this.
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Leda has Zeus in her grip as he returns to observe the set of newly hatched twins, who were a result of their union.
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In some renditions, their union is by force and others by seduction.
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This isn’t telling the viewer to view this art piece in one way or another,
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but rather it opens up the possibility of different interpretations and gives context.
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To continue and to move on to a different story.
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Um, this is The Abduction of Europa by Jean-Francois de Troy, on view at the National Gallery of Art in Washington, DC.
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This piece is admittedly very, very gorgeous.
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The colors are really, really vivid. The drapery is beautiful.
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The use of light and shadows is such a guiding aid in this composition.
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And this is what the online description has to say. The Abduction of Europa 1716 Jean-Francois de Troy.
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This delightful painting by Jean-Francois the Troy,
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one of the leading painters in Paris in the first half of the 18th century, portrays the climactic moment from Ovid.
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Story in metamorphosis. The abduction of Europa Jupiter has transformed himself into a handsome bull
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to lure the lovely princess Europa onto his back and carry her away to Crete,
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where she would then birth him three sons, from Rembrandt to Claude Lorrain to Paul Gauguin.
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This seminal story captured the imagination of European artists for centuries,
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painted in rich colors with the light, refined brush characteristics of the work of de Troy’s
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Fellow members of the Academy Royale. de peinture et de sculpture Antoine Watteau and Francois Boucher.
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This painting offers a classical mythological subject in a Rococo style that gracefully compliments the National Gallery’s collection.
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And then it continues. Uh, it continues on to go as it continues to go on about the history of de Troy and his academic works, and then it continues.
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The present painting may have been inspired by what is perhaps the most famous iteration of the theme,
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Titian’s Europa, 1560- 1562, and it continues from there once again.
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However. This description is almost fanciful.
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Um, to start by highlighting that the the beauty and the aesthetic nature of this piece before
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continuing to supposedly giving context before going back into the beauty of this piece.
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I find that really, really interesting. Um, for several different reasons.
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To start with, in the first paragraph they use the word lured .
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It’s more commonly interpreted in this piece or in this story that Europa is abducted, as in she’s kidnaped.
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As in, there’s no there is no sense of agency or consent into the story whatsoever.
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So using the word, the word lured. Is strange.
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The word implies consent once again. The literal title of this piece is abduction that does not imply consent.
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So then to subvert that and to again highlight the beauty, while kind of implying that there was some sort of consent in the story, I think is very.
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Interesting. To continue. The inclusion of Ovid’s metamorphosis, I think, is strange.
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I don’t think the average person, or anyone relatively in the public, would know Ovid’s metamorphosis, as well as the story that this comes from.
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And if you’re going out of your way to cite Ovid and the story that is very, very commonly and very, very famously known in academic texts to be.
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A rape scene. It’s weird that this museum is going so far out of its way to avoid using the word rape, because it’s not Titian’s Europa.
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His work is literally titled The Rape of Europa.
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And again, is it one of to be one of the most famous depictions of this scene?
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And then to condense the title to exclude the word rape.
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I think it’s really interesting that they would choose to.
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Over and over again kind of hit you over the head with, with the beauty of this piece.
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And then. Exclude so many different words and like so many different chances to state that this is a rape scene.
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This is an abduction scene. This is forcible kidnaping.
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I think that’s just really, really odd. And for those of you who are unfamiliar with this story, Europa is kidnaped from her family and raped by Zeus.
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In this case, labeled as Jupiter. Zeus is Greek.
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Jupiter is Roman. As a handsome bull and made forcibly pregnant.
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As is forced to give birth. And this story is connected to King Minos and The Theseus and the labyrinth myth.
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But I digress. It’s weird.
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It’s weird. This story has been known for a long time, and again has one of its most famous artistic depictions, titled as a rape scene yet.
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Any word relating to sexual violence except for in the title, does not appear.
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And considering this is the second story that I’ve highlighted where Zeus is a known sexual predator.
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I’m going to use the words that my high school friends used when describing Zeus.
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is a hoe, and he’s also a predator.
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To continue another piece that I think would benefit with an update in terminology
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and context is currently in Greece and on display at the Acropolis Museum in Athens.
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And it’s the southern metopes. The southern metopes are part of the Parthenon.
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The metopes are the section of relief sculpture that is underneath the pediment.
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And each of the different directions of the metopes has a different story slash myth.
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And the southern metopes depict the Centauromachy. This is how the Acropolis Museum describes the Centauromachy
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The main theme of the 32 metopes on the south side of the Parthenon is the Centauromachy
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the mythical battle between the Lapiths and the centaurs, half human creatures with the horse’s body from the waist down.
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While attending the wedding feast of King Pirithoos a close friend of Theseus, and become drunk and attempt to carry off the Lapith women.
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Um. And then it continues to give a historian a historical account of the southern metopes.
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Um. And this description is repeated for all 32 scenes of the metopes.
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But don’t be misled. This is the scene of a violent assault.
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The men and women are being violently assaulted. Prior to the repeated information.
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There’s a description of the scene. So, for example, take this description for for the south metope ten, um,
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two fragments of the right arm of the centaur adjusted to plaster of the cast of the original.
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metope 10 kept today in the Louvre Museum in Paris. Here, a centaur of small stature tries to take away Lapith woman away by force.
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The latter struggles to escape his grip while holding in place her slipping peplos that uncovers her breast.
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This description is better at providing relevant information regarding the
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fact that this scene displays sexual violence for the scenes depicting women.
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This description does make a point to, uh, use the word forest, which I think.
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Is a good step in the right direction, but I feel like it could definitely be better.
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I feel like it should be mentioned that this scene would be interpreted in a more modern context as sexual assault.
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I feel like it should be mentioned that the scenes do depict sexual assault, and to use the word assault,
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I think it’s also important to point out that there is no mention of how the southern metaphor
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references the common theme of that goes on throughout the frieze and throughout Greek mythology,
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of the idea of an animal savagery versus a practiced humanity, um, where the centaurs are violent because they are half animal um,
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and thus not fully human, and so they are still slaves to their basic instincts.
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Which is why, um, because they are so drunk, um, violently assault and sexually assault the lapis women and men.
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Because they’re drunk and thus have no control over their practiced humanity.
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So they’re left to their basic animal instincts.
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I think it’s interesting that they don’t choose to include that wording, and they don’t choose to include that context,
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because I feel like it would give so much more context and so much more helpful information to the average museum goer,
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because you’re giving both the context of the story as well as the important context in a cultural sense for ancient Greece.
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Because again, you kind of start off this video wondering like, why is sexual violence so prevalent and why is it so important?
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And its importance is rooted in the fact that a lot of times the perpetrators in these stories are animals or in the form of an animal.
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And it’s once again, to kind of make the point that a practiced humanity is superior to these animals.
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We as mammals are obviously better because we practice humanity and aren’t slaves to our basic instincts.
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And so that makes us better than a cow, a swan.
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Um, and the centaur and the centaurs are maybe better than an animal, but not really, because.
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They’re not fully human. I think that’s really important.
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I think most people don’t know that.
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And I think and I think it’s really important to point out, especially if you’re the Acropolis Museum tied to the Parthenon.
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Where you get so many visitors in one day.
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I think that’s really important.
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To conclude, if you were to try and look up any of these pieces in their respective catalogs online through the words of sexual assault,
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rape, violence. I can almost guarantee that none of these pieces will show up.
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Um, as I’ve looked as of early April 2026.
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So, to conclude, I think the recognition of sexual violence in artworks could be so simple.
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Um, again, you don’t have to, like, say it’s depicting sexual violence.
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You can say it’s some interpretation,
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some academic interpretations consider to be a work of sexual violence that’s not really steering people in one way or another.
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And I think you would be giving really important context.
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I don’t think you take anything away by giving context.
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I think appreciation and education should go hand in hand and not be censored.
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If you’re going to go on about the beauty of a piece and choose not to have the aspect of sexual violence included, you have to wonder why.
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I’m not asking for museums to go lock up all these pieces in their basement, because it’s hurting my delicate sensibilities.
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I’m just saying that modern and historical language and context matter.
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Language matters. Museums as institutions,
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as cultural and historical institutions who are set on preserving intangible intangible heritage should be preserving that heritage.
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I don’t think excluding context helps encourage the maintaining of that heritage.
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And institutions can’t argue that there’s no audience for it because, one, there are so many people who experience sexual violence.
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Two. I’m not the only person to have ever lodged this kind of complaint as recently as 2021.
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Macushla Robinson wrote a book titled Every Rape at the Met, which highlights this very issue.
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And once again, the solutions could be so easy to rewrite the wall labels to include words of sexual violence,
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um, and to give the appropriate context. But if that’s too much and museums don’t want to do that,
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you could always do the social media thing and put at the bottom or at the top trigger warning SA.
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It gives no context, but I think it gives important context at the same time.
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But if museums really want to workshop this and want ideas, I certainly have a view.
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Um. For example, you can make an exhibit featuring works that can be interpreted in the broadest sense, depicting sexual violence.
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And have the entry wall labels be the only place where sexual violence and that type of terminology be used.
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And so then museum goers and viewers and visitors go through the exhibit,
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keeping in mind that sort of language, um, without actually changing any of the wall labels or anything else.
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Um, because Greek mythology is not the only place where sexual violence comes up.
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And I think that would be a really interesting space to be in, where, you know,
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that works are depicting some form of sexual violence when entering a space, but it’s up to the viewer to choose to see it in that light.
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You could also put in brochures, in italicized text underneath the description of the content information.
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This piece depicts sexual violence. Or once again,
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museums can make the active decision to reword while labels and give museum
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goers the chance to understand an artwork in its past and present understanding.
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I think the more inclusive we are in labels and wording and intentional we are um,
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and intentional museums are when it comes to something that affects thousands and thousands of people.
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I think the better off we all are for it. We all bring our experiences to the table.
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And again, I and I’d hate to have to wonder every time I go into a museum if the artwork that
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I’m looking at has crucial contextual information that’s being withheld from me.
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So once again, several artworks related to Greek mythology depict some form of sexual violence, and it’s not addressed in wall labels.
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Or if it is. It’s very, very brief. I think museums can do a better job at addressing that.
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Thank you.
Should It Be Mentioned In Museums (SPAN)
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Hola, me llamo Emelie Villanueva. Soy estudiante de último curso en el Smith College.
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Estudio Antropología con especialización en museología.
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Y me pregunto por qué el arte que representa la violencia sexual no está claramente etiquetado en los museos de arte,
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especialmente cuando esas obras de arte están relacionadas con la mitología griega.
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Así que esta es mi carta abierta de queja dirigida a los museos de arte.
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Para empezar, a nivel mundial, casi 840 millones de personas sufren violencia sexual al menos una vez en su vida.
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En los Estados Unidos, unas 443 635 personas mayores de 12 años sufrirán violencia sexual en un año.
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Eso equivale aproximadamente a la población de Tucson, Arizona.
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Quería empezar con eso porque la violencia sexual no es algo que se pueda restar importancia o ignorar.
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Vivimos en una cultura de la violación en la que cosas como esta se minimizan y se esconden bajo la alfombra.
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Y no creo que eso esté bien. Y sí creo que tenemos que hablar de ello y mantener una conversación, um, como sociedad,
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sobre la importancia y las terribles estadísticas que rodean a la violencia sexual.
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Esto es un problema grave que afecta a millones de personas en todo el mundo.
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Eh, y de nuevo, eso no es insignificante.
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Y no creo que sea una locura si digo que quiero que los museos lo reconozcan.
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Sé que suena raro, pero creo que los museos son un reflejo de nuestra cultura pasada y de la actual.
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Y, una vez más, nuestra cultura actual es una cultura de la violación en que, de nuevo, millones y millones de personas sufren violencia sexual.
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Y, con eso, hay obras de arte que representan la violencia sexual.
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Sin embargo, los museos no hablan de eso. Hablan del artista.
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Hablan de la técnica.
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Hablan del legado de una obra de arte, pero eluden el aspecto de la violencia a menos que se mencione explícitamente.
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Y qué quiero decir con explícito
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Me refiero a si la violencia no está incluida en el título, como violación o secuestro o agresión, pero incluso entonces,
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lo que respecta a las fichas descriptivas en las paredes, siempre encontrarán la manera de minimizar en cierto modo el aspecto de la violencia.
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Y creo que eso es muy frustrante.
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Eh, cuando miro una obra de arte y leo la etiqueta de la pared y habla de la belleza de la línea y la composición.
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Así que empiezo a hablar de la línea, de la obra, del arte, de la belleza de una obra y de su composición.
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Y luego me voy a la casa, lo busco y la resulta es la obra representa una violación.
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Es eso. Es una obra de arte que representa una violación.
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Voy a sentirme de una manera determinada. Voy a mirar esa obra de forma un poco diferente.
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Voy a ver el museo de una forma un poco diferente. Eh, hablaré de la obra de arte de la misma manera que antes
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Quizás. Quizás no. Pero no me gusta que no me hayan proporcionado ese enorme contexto en esa pared de ese museo.
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Así que lo único que me queda por preguntarme es por qué no me proporcionaron esa información.
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Y realmente, no creo que sea una pregunta descabellada. Entonces, cuál es el propósito de un museo
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Su definición, según el Consejo Internacional de Museos a fecha de agosto de 2022, establece lo siguiente.
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Un museo es una institución permanente sin ánimo de lucro al servicio de la sociedad que investiga, recopila,
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conserva, interpreta y exhibe el patrimonio material e inmaterial, abierto al público, accesible e inclusivo.
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Los museos fomentan la diversidad y la sostenibilidad. Funcionan y se comunican de forma ética, profesional y con la participación de las comunidades,
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ofreciendo experiencias variadas para la educación, el disfrute, la reflexión y el intercambio de conocimientos.
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El propósito de un museo es, por tanto, claramente educar a las personas y hacerlo teniendo en cuenta al público.
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Entonces, quién es el público Yo diría que el público incluye a los millones de personas que han sufrido violencia sexual.
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Pero, por otra parte, puede que haya quien no esté de acuerdo conmigo.
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Eh… Philippe de Montebello, antiguo director del Museo Metropolitano de Arte, dijo lo siguiente sobre complacer al público.
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Las presiones tienden a dar lugar a políticas impulsadas no por la misión de la institución, sino por las fuerzas del mercado.
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Cuando el visitante, en lugar de la obra de arte, ocupa el centro del escenario, es probable que reciba un peor servicio, no uno mejor.
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A medida que el museo se esfuerza por atraerlo y complacerlo, inevitablemente se le atenderá.
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Es decir, para asegurarse de que se le cuente en la entrada. No se le plantearán retos.
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En cambio, lo más probable es que se le reciba a través de los programas que se ofrecen a su actual nivel de sofisticación artística.
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Las exposiciones están pensadas para atraer a un público cuyo abanico de intereses artísticos, en general,
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es relativamente limitado, y que, si es así, la culpa es de los responsables de los museos.
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Si los museos siguen sirviendo al público los mismos temas, aunque sea con ligeras variaciones,
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temas que se retoman sin cesar debido a su previsible atractivo popular.
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Al fin y al cabo, la mayoría de la gente prefiere lo que ya conoce.
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Entonces el público no aprenderá a exigir más a los museos o al arte, ya que sus horizontes no se habrán ampliado lo suficiente.
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Entiendo que esto significa que, al atender a la idea de un arte público, los museos y las instituciones museísticas en general han perdido de vista quién es el público.
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Puede que el público quiera que se le atienda, pero la labor del museo es educarlo.
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Por desgracia, los museos son notoriamente lentos a la hora de cambiar, y hay muchos factores en juego.
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Philippe de Montebello insinúa que se debe a que los museos se han vuelto tan grandes y
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tienen una dependencia tan capitalista de las pocas personas que pueden aportarles dinero,
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que los engranajes de la burocracia giran muy lentamente.
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Y dentro de la inmensidad de la empresa museística, las diferentes divisiones tienen que trabajar de forma independiente como total.
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Eso significa que, si no es el público, el museo está al servicio de su dinero.
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Así que, si los museos no creen que van a perder dinero, no van a cambiar.
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Creo que la forma más clara en que nosotros, como público, hemos visto esto es durante el movimiento de Black Lives Matter, el cambio.
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Puedes argumentar de forma performativa o no por tu cuenta. Pero ellos sí anunciaron cambios públicamente.
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Y adivina qué Los museos son espacios intrínsecamente políticos. Cuando se habla de política y espacios artísticos.
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Ha habido una tendencia creciente a afirmar que el arte no es político cuando sí lo es.
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Las artes.
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Las artes, en general, tienen su origen en contar una historia, y esas historias, obviamente, tienen su origen en mensajes, y esos mensajes tienen su origen en la política.
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Quiero centrar este vídeo en obras de arte inspiradas en la mitología griega.
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La mitología griega ha inspirado miles de obras a lo largo de los años, desde la antigua Grecia hasta el Renacimiento y la actualidad.
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Eh, hay muchísimos ejemplos de obras de arte que se inspiran en la mitología griega,
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pero si tú o tus amigos no conocéis la mitología griega o no pasasteis por una etapa de interés por ella, dejad que os la explique.
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Una parte importante de la mitología griega es la presencia de la violencia sexual, especialmente contra las mujeres.
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Y como he dicho anteriormente, ese tipo de violencia se ha trasladado a la época moderna con la, eh, existencia de una cultura de la violación.
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Por eso se ha argumentado que el arte es parte integral de la racionalización de la violencia sexual,
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donde se dice que las mujeres suelen representarse de formas que resaltan su aspecto físico y su sensualidad,
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a menudo en poses sugerentes o desnudas, centrándose en sus cuerpos más que en sus actividades.
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Y eso se extiende al lenguaje que utilizan los museos y que enseñan al público a usar cuando hablan de arte.
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Las figuras quedan reducidas, una vez más, a la composición de líneas y luces en lugar del contenido y el mensaje.
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Ese marco de pensamiento es alentador. Lo que se afirma que es un sentido voyeurista de la contemplación.
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Donde la teoría de la visión voyeurista, según la cual la mirada complaciente del artista favorece una visión placentera,
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exaltada o minimizada de la violencia contra las mujeres,
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lo que puede estimular el sadismo y la mirada cómplice del espectador de la misma manera que las imágenes pornográficas.
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Yo diría que no es el artista quien favorece una visión placentera o minimizada de la violencia.
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Yo diría que son los museos, porque son ellos quienes presentan estas obras de arte de esta manera,
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y si presentan las obras de arte de esta manera, nosotros, como espectadores,
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como visitantes de los museos contemporáneos, no tenemos
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casi no tenemos más remedio que dejarnos envolver y nos vemos obligados a ver estas obras de arte de esta manera porque no se nos ofrece otra alternativa.
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Por lo tanto, yo diría que este tipo de contemplación minimiza la violencia sexual y, de hecho, contribuye a normalizarla.
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La falta de contexto y de un lenguaje moderno adecuado da lugar a una especie de encubrimiento en lugar de a una oportunidad de educación.
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Soy estudiante de antropología. Parte de lo que estudio consiste en situar a las culturas y a las personas en el contexto de sus vidas.
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Y yo diría que los museos deberían hacer lo mismo con las obras de arte.
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Un argumento muy común que he visto en contra de este tipo de cambios es que el uso de un lenguaje moderno y de palabras como,
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violación, agresión, embarazo forzado y otras palabras relacionadas con la violencia sexual, mermará el prestigio integral e intangible de una obra.
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Pero yo diría que, si ese prestigio depende tanto de una ignorancia deliberada, tal vez no sea tan prestigioso como se cree.
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Y entiendo que nuestra relación con la historia cambia con el tiempo.
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Entiendo que lo que en un momento se consideraba inofensivo puede parecer problemático en otro,
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pero creo que la función de un museo es dejar claro ese punto y que no era problemático,
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o que existía algún tipo de contexto externo que lo hacía inofensivo o aceptable.
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Y eso ha cambiado en la actualidad. Y no diría que eso sea necesariamente malo,
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sino que más bien nos brinda la oportunidad de tener una mayor perspectiva y permite que surjan diferentes conversaciones,
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del mismo modo que Disney ha reconocido que algunas de sus películas más antiguas contienen representaciones problemáticas en Disney Plus,
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Yo diría que los museos deberían estar sujetos al mismo tipo de criterio.
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Para empezar, tomemos como ejemplo Leda y el cisne, de Giovanni Battista.
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Realizada a principios del siglo XVI, esta obra no se encuentra expuesta en el Met, pero su ficha descriptiva es bastante estándar.
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Ahí están el título, el artista, la fecha, la técnica, las dimensiones y el número de objeto.
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En realidad no se ofrece ningún contexto sobre esta obra en la ficha de la pared.
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Así que yo le daré un poco. Esta obra se inspira en el antiguo mito griego de Leda, en el que Leda de Esparta es,
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según algunas versiones, seducida y, según otras, violada por Zeus, quien se le aparece en forma de un cisne, tras lo cual ella da a luz a un conjunto de huevos.
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Y de esos huevos nace Helena de Esparta, quien más tarde se verá envuelta en la Guerra de Troya y liderará a sus otros tres hijos.
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Aquí, Leda se encuentra en pleno encuentro con Zeus. Mientras su espalda está apoyada contra un árbol con parras.
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Ella está sentada sobre un paño con una masa de agua al fondo. Esa sería mi posible interpretación de una descripción, um, que da contexto a esta obra de arte.
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Pero otra obra basada en el mismo mito también ofrece, en mi opinión, una explicación deficiente de este contexto relevante.
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Tomemos esta obra que se conserva en el Museo de Arte de Filadelfia, también titulada Leda y el cisne
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Ahora bien, esta obra tiene una ficha explicativa más extensa.
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Esta es la descripción que aparece en Internet. Leda y el cisne.
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Artista/creador: Desconocido. Principios del siglo XVI.
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Esta pintura de Leda de pie se basa en la versión, hoy perdida, de Leonardo da Vinci sobre el mismo tema, conocida hoy principalmente a través de copias.
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Leda abraza a Zeus, que acudió a ella en forma de un cisne, mientras se vuelve para observar a los dos pares de gemelos recién nacidos.
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El resultado de su unión, los paisajes neerlandeses, sugiere una desviación del original de Leonardo.
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Es posible que dos artistas hayan trabajado juntos, uno en las figuras y otro en el paisaje.
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La composición pone de manifiesto la práctica de adaptar los modelos de Leonardo a diferentes escenarios.
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Como se ha mencionado antes, esta historia es una violación. Se trata de una historia de violación.
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Y en ese contexto, dirías que lo que Leda y Zeus están haciendo y abrazarse implica afecto
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La verdad es que no veo que eso esté pasando ahí. Eh, si alguien decidiera mostrar afecto de esa manera, me daría algo de miedo.
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Leda prácticamente está ahogando a Zeus y apartándole el cuello a la fuerza.
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Si tuviera que escribir esto, lo cambiaría por algo como esto.
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Leda tiene a Zeus en sus manos mientras él regresa para observar a los gemelos recién nacidos, fruto de su unión.
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En algunas versiones, su unión es por la fuerza y en otras, por seducción.
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Esto no le dice al espectador que contemple esta obra de arte de una forma u otra,
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sino que abre la posibilidad de diferentes interpretaciones y proporciona contexto.
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Para continuar y pasar a otra historia.
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Eh, esta es El Secuestro de Europa, de Jean-François de Troy, expuesta en la Galería Nacional de Arte de Washington, D.C.
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Hay que reconocer que esta obra es hermosa.
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Los colores son vivos. Los pliegues de la ropa son preciosos.
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El uso de la luz y las sombras es una ayuda fundamental en esta composición.
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Y esto es lo que dice la descripción en línea. El Secuestro de Europa, 1716, Jean-François de Troy.
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Esta encantadora pintura de Jean-François de Troy,
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uno de los pintores más destacados de París en la primera mitad del siglo XVIII, retrata el momento culminante de la obra de Ovidio.
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Historia de Las metamorfosis. El Secuestro de Europa: Júpiter se ha transformado en un hermoso toro
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para atraer a la encantadora princesa Europa a su lomo y llevársela a Creta,
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donde ella le daría tres hijos, desde Rembrandt hasta Claude Lorrain y Paul Gauguin.
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Esta historia seminal cautivó la imaginación de los artistas europeos durante siglos,
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pintada con colores vivos y con el trazo ligero y refinado característico de la obra de los
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compañeros de la Académie Royale de Peinture et de Sculpture: Antoine Watteau y François Boucher.
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Esta pintura presenta un tema mitológico clásico en estilo rococó que complementa con elegancia la colección de la Galería Nacional.
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Y luego continúa. Eh, continúa hablando de la historia de Troy y sus obras académicas, y luego sigue.
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Es posible que este cuadro se haya inspirado en la que quizá sea la versión más famosa del tema,
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la Europa de Titian, 1560-1562, y continúa a partir de ahí una vez más.
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Sin embargo. Esta descripción es casi fantasiosa.
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Eh, empezar destacando la belleza y la naturaleza estética de esta obra antes de
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seguir supuestamente dando contexto antes de volver a la belleza de esta obra.
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Me parece muy, interesante. Eh, por varias razones diferentes.
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Para empezar, en el primer párrafo utilizan la palabra atraída.
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En este texto o en esta historia se suele interpretar que Europa es abducida, es decir, que la secuestran.
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Es decir, no hay ningún sentido de agencia o consentimiento en la historia en absoluto.
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Así que usar la palabra atraída resulta extraño.
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La palabra implica consentimiento una vez más. El título literal de esta obra es secuestro, lo cual no implica consentimiento.
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Así que, subvertir eso y volver a resaltar la belleza, al tiempo que se da a entender que hubo algún tipo de consentimiento en la historia, me parece muy…
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Interesante. Continuemos. La inclusión de Las metamorfosis de Ovidio, creo, es extraña.
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No creo que la gente corriente, o cualquiera del público en general, conozca Las metamorfosis de Ovidio, ni la historia de la que proviene esto.
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Y si te estás tomando la molestia de citar a Ovidio y la historia que es muy, muy común y muy, muy famosa en los textos académicos.
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Una escena de violación. Es extraño que este museo se esté esforzando tanto por evitar usar la palabra violación, porque no es la Europa de Titian.
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Su obra se titula literalmente La Violación de Europa.
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Y, de nuevo, ¿no es acaso una de las representaciones más famosas de esta escena
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Y luego condensar el título para excluir la palabra violación.
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Me parece interesante que decidieran hacerlo.
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Una y otra vez te golpean en la cabeza con la belleza de esta obra.
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Y luego. Excluyen tantas palabras diferentes y tantas oportunidades distintas de afirmar que se trata de una escena de violación.
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Esta es una escena de secuestro. Se trata de un secuestro forzoso.
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Creo que eso es muy, muy extraño. Y para aquellos de vosotros que no estéis familiarizados con esta historia, Europa es secuestrada de su familia y violada por Zeus.
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En este caso, se le llama Júpiter. Zeus es griego.
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Júpiter es romano. Se transforma en un toro hermoso y la deja embarazada a la fuerza.
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Y se ve obligada a dar a luz. Y esta historia está relacionada con el rey Minos, Teseo y el mito del laberinto.
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Pero me estoy desviando del tema. Es.
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Es extraño. Esta historia se conoce desde hace mucho tiempo y, de nuevo, cuenta con una de sus representaciones artísticas más famosas, titulada como una escena de violación.
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No aparece ninguna palabra relacionada con la violencia sexual, salvo en el título.
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Y teniendo en cuenta que esta es la segunda historia que he destacado en la que Zeus es un conocido depredador sexual.
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Voy a usar las palabras que mis amigos del instituto usaban para describir a Zeus.
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es un mujeriego, y también es un depredador.
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Para continuar con otra pieza que creo que se beneficiaría de una actualización en la terminología
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y el contexto, actualmente se encuentra en Grecia y está expuesta en el Museo de la Acrópolis de Atenas.
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Y se trata de las metopas del sur. Las metopas del sur forman parte del Partenón.
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Las metopas son la sección de escultura en relieve que se encuentra debajo del frontón.
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Y cada una de las diferentes direcciones de las metopas tiene una historia o un mito diferente.
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Y las metopas del lado sur representan la Centauromaquia. Así es como el Museo de la Acrópolis describe la Centauromaquia
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El tema principal de las 32 metopas del lado sur del Partenón es la Centauromaquia
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la batalla mítica entre los lapitas y los centauros, criaturas mitad humanas con cuerpo de caballo de cintura para abajo.
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Mientras asistían al banquete de bodas del rey Pirithoos, un amigo íntimo de Teseo, se emborracharon e intentaron llevarse a las mujeres lapitas.
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Eh. Y luego continúa ofreciendo al historiador una descripción histórica de las metopas del sur.
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Eh. Y esta descripción se repite para las 32 escenas de las metopas.
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Pero no se dejen engañar. Esta es la escena de una agresión violenta.
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Los hombres y las mujeres están siendo agredidos violentamente. Antes de la información repetida.
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Hay una descripción de la escena. Así que, por ejemplo, tomemos esta descripción de la metopa sur número diez, um,
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dos fragmentos del brazo derecho del centauro ajustados al yeso del molde del original.
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metopa 10 que se conserva hoy en el Museo del Louvre de París. Aquí, un centauro de baja estatura intenta llevarse a la mujer lapita por la fuerza.
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Esta última lucha por escapar de su agarre mientras sujeta el peplos que se le resbala y le deja al descubierto el pecho.
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Esta descripción ofrece mejor información relevante sobre el
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hecho de que esta escena muestra violencia sexual en las escenas que representan a mujeres.
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Esta descripción se esfuerza por, eh, utilizar la palabra fuerza, lo cual creo que
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es un buen paso en la dirección correcta, pero creo que sin duda podría mejorarse.
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Creo que debería mencionarse que esta escena se interpretaría en un contexto más moderno como agresión sexual.
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Creo que habría que mencionar que las escenas sí representan una agresión sexual, y que se utiliza la palabra violencia sexual,
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creo que también es importante señalar que no se menciona cómo la metáfora del sur
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hace referencia al tema común que se desarrolla a lo largo del friso y en toda la mitología griega,
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de la idea de la bestialidad animal frente a la humanidad cultivada, en la que los centauros son violentos porque son mitad animales,
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y, por lo tanto, no son completamente humanos, por lo que siguen siendo esclavos de sus instintos básicos.
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Por eso, um, como están tan borrachos, um, agreden violentamente y abusan sexualmente de las mujeres y los hombres lapis.
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Porque están borrachos y, por lo tanto, no tienen control sobre su humanidad cultivada.
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Así que se ven abandonados a sus instintos animales básicos.
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Me parece interesante que no hayan optado por incluir esa formulación, y que no hayan optado por incluir ese contexto,
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porque creo que aportaría mucho más contexto e información útil al visitante medio del museo,
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ya que se ofrece tanto el contexto de la historia como el contexto importante desde el punto de vista cultural de la antigua Grecia.
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Porque, de nuevo, uno empieza a ver este vídeo preguntándose: por qué es tan frecuente la violencia sexual y por qué es tan importante
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Y su importancia radica en el hecho de que, en muchas ocasiones, los agresores en estas historias son animales o adoptan la forma de un animal.
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Y es, una vez más, para dejar claro que la humanidad que practica la humanidad es superior a estos animales.
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Nosotros, como mamíferos, somos obviamente mejores porque practicamos la humanidad y no somos esclavos de nuestros instintos básicos.
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Y eso nos hace mejores que una vaca, que un cisne.
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Eh, y los centauros quizá sean mejores que un animal, pero en realidad no, porque…
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No son completamente humanos. Creo que eso es muy importante.
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Creo que la mayoría de la gente no lo sabe.
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Y creo, y creo que es muy importante señalarlo, sobre todo si eres el Museo de la Acrópolis vinculado al Partenón.
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Donde recibes tantos visitantes en un día.
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Creo que eso es muy importante.
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Para concluir, si intentaras buscar cualquiera de estas piezas en sus respectivos catálogos en línea utilizando palabras como agresión sexual,
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violación, violencia. Casi puedo garantizar que ninguna de estas obras aparecerá.
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Eh, según he comprobado a principios de abril de 2026.
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Así que, para concluir, creo que el reconocimiento de la violencia sexual en las obras de arte podría ser muy sencillo.
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Eh, de nuevo, no hace falta, por ejemplo, decir que representa violencia sexual.
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Se puede decir que es una interpretación,
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que algunas interpretaciones académicas la consideran una obra de violencia sexual, sin que eso implique orientar a la gente en un sentido u otro.
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Y creo que estarías aportando un contexto importante.
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No creo que se le quite nada al dar contexto.
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Creo que la apreciación y la educación deben ir de la mano y no ser censuradas.
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Si vas a hablar de la belleza de una obra y decides no incluir el aspecto de la violencia sexual, tienes que preguntarte por qué.
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No estoy pidiendo que los museos guarden todas estas obras bajo llave en sus sótanos porque hieran mi delicada sensibilidad.
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Solo digo que el lenguaje y el contexto, tanto modernos como históricos, importan.
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El lenguaje importa. Los museos como instituciones,
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como instituciones culturales e históricas dedicadas a preservar el patrimonio cultural inmaterial, deberían preservar ese patrimonio.
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No creo que excluir el contexto ayude a fomentar la conservación de ese patrimonio.
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Y las instituciones no pueden argumentar que no hay público para ello porque, en primer lugar, hay muchísima gente que sufre violencia sexual.
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Segundo. No soy la única persona que ha presentado este tipo de denuncia tan recientemente como en 2021.
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Macushla Robinson escribió un libro titulado Every Rape at the Met, que pone de relieve precisamente esta cuestión.
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Y, una vez más, las soluciones podrían ser tan sencillas como reescribir las etiquetas de las paredes para incluir términos de violencia sexual,
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eh, y proporcionar el contexto adecuado. Pero si eso es demasiado y los museos no quieren hacerlo,
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siempre se puede recurrir a las redes sociales y poner al principio o al final una advertencia de contenido sensible.
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No da contexto, pero creo que al mismo tiempo aporta un contexto importante.
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00:26:23,610 –> 00:26:30,150
Pero si los museos quieren trabajar en esto y buscan ideas, sin duda tengo una opinión.
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Eh… Por ejemplo, se puede crear una exposición con obras que puedan interpretarse en el sentido más amplio, representando la violencia sexual.
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Y que las etiquetas de la pared de entrada sean el único lugar donde se utilicen términos como violencia sexual y ese tipo de jerga.
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Y así, los asistentes al museo, los espectadores y los visitantes recorren la exposición,
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teniendo en cuenta ese tipo de lenguaje, um, sin cambiar ninguna de las etiquetas de las paredes ni nada más.
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Eh, porque la mitología griega no es el único lugar donde aparece la violencia sexual.
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Y creo que sería un espacio interesante en el que estar, donde, ya sabes,
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las obras representan alguna forma de violencia sexual al entrar en el espacio, pero depende del espectador elegir verlo desde esa perspectiva.
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También se podría incluir en los folletos, en texto en cursiva debajo de la descripción del contenido.
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Esta obra representa violencia sexual. O, una vez más,
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los museos pueden tomar la decisión activa de reformular las etiquetas y ofrecer a los visitantes
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a los visitantes la oportunidad de comprender una obra de arte en su contexto pasado y presente.
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Creo que cuanto más inclusivos seamos en las etiquetas y la redacción, y cuanto más intencionados seamos, um,
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y los museos sean intencionales cuando se trata de algo que afecta a miles y miles de personas.
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Creo que todos saldremos ganando con ello. Todos aportamos nuestras experiencias.
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Y, de nuevo, odiaría tener que preguntarme cada vez que entro en un museo si la obra de arte que
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estoy contemplando tiene información contextual crucial que se me está ocultando.
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Así que, una vez más, varias obras de arte relacionadas con la mitología griega representan algún tipo de violencia sexual, y esto no se aborda en las etiquetas de las paredes.
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O, si se aborda, es de forma muy, muy breve. Creo que los museos pueden hacer un mejor trabajo al respecto.
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Gracias.
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