{"id":345,"date":"2019-10-01T03:48:02","date_gmt":"2019-10-01T01:48:02","guid":{"rendered":"http:\/\/platoteca.platohedro.org\/?p=345"},"modified":"2019-10-21T18:06:34","modified_gmt":"2019-10-21T16:06:34","slug":"cr1tica-proxima-critical-proximity","status":"publish","type":"post","link":"https:\/\/platoteca.platohedro.org\/?p=345","title":{"rendered":"Cr\u00edtica pr\u00f3xima: critical proximity"},"content":{"rendered":"\n<p>Divorcio a la paname\u00f1a compila cinco ensayos de la editora, curadora, periodista y cr\u00edtica de Arte paname\u00f1a Adrienne Samos, escritos entre 2000 y 2015. Sus textos han sido de uno de los motores m\u00e1s importantes del pensamiento cr\u00edtico en Panam\u00e1 desde inicios de los a\u00f1os 90, reflexionando sobre la relevancia y la dimensi\u00f3n p\u00fablica del Arte contempor\u00e1neo. La escritura de Samos entiende perfectamente lo que implica responder de forma oportuna a las urgencias de un lugar y tiempo espec\u00edficos. Cada texto es un intento por asir esos distintos momentos de transformaci\u00f3n, reconstruyendo procesos sociales, econ\u00f3micos y pol\u00edticos que dieron lugar a algunas de las pr\u00e1cticas art\u00edsticas m\u00e1s arriesgadas..<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright is-resized\"><img decoding=\"async\" src=\"http:\/\/platoteca.platohedro.org\/wp-content\/uploads\/2019\/10\/AP000-1024x615.png\" alt=\"\" class=\"wp-image-7975\" width=\"178\" height=\"107\" srcset=\"https:\/\/platoteca.platohedro.org\/wp-content\/uploads\/2019\/10\/AP000-1024x615.png 1024w, https:\/\/platoteca.platohedro.org\/wp-content\/uploads\/2019\/10\/AP000-300x180.png 300w, https:\/\/platoteca.platohedro.org\/wp-content\/uploads\/2019\/10\/AP000-768x461.png 768w\" sizes=\"(max-width: 178px) 100vw, 178px\" \/><\/figure><\/div>\n\n\n\n<div class=\"su-table su-table-alternate\"> <table> <tr> <td>Referencia<\/td> <td>AP000047<\/td> <\/tr> <tr> <td>Titulo<\/td> <td>Cr\u00edtica pr\u00f3xima: critical proximity<\/td> <\/tr> <tr> <td>Autoras \/ Editoras<\/td> <td>D\u00edas, Tamara<\/td> <\/tr> <tr> <td>Productoras vinculadas<\/td> <td>Teor\/\u00e9tica, Arts Collaboratory, FAI<\/td> <\/tr> <tr> <td>A\u00f1o de producci\u00f3n<\/td> <td>2016<\/td> <\/tr> <tr> <td>Lugar de producci\u00f3n<\/td> <td>Costa Rica<\/td> <\/tr> <tr> <td>Idioma original<\/td> <td>Espa\u00f1ol, ingl\u00e9s<\/td> <\/tr> <tr> <td>Tipo de material<\/td> <td>Libro<\/td> <\/tr> <tr> <td>ISBN \/ ISSN<\/td> <td>978-9968-899-35-2<\/td> <\/tr> <td>Medidas<\/td> <td>198 p.; 22 cm.<\/td> <\/tr> <\/table> <\/div>\n","protected":false},"excerpt":{"rendered":"<p>Divorcio a la paname\u00f1a compila cinco ensayos de la editora, curadora, periodista y cr\u00edtica de Arte paname\u00f1a Adrienne Samos, escritos entre 2000 y 2015. Sus textos han sido de uno de los motores m\u00e1s importantes del pensamiento cr\u00edtico en Panam\u00e1 desde inicios de los a\u00f1os 90, reflexionando sobre la relevancia y la dimensi\u00f3n p\u00fablica del Arte contempor\u00e1neo. La escritura de&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":7975,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10,110],"tags":[57,158,157,103],"anio":[6],"idioma":[4,5],"lugar_produccion":[20],"tipo-de-material":[12],"class_list":["post-345","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte-y-pensamiento","category-curaduria-critica","tag-arte-contemporaneo","tag-caribe","tag-centroamerica","tag-practicas-artisticas","anio-6","idioma-espanol","idioma-ingles","lugar_produccion-costa-rica","tipo-de-material-libro"],"acf":[],"_links":{"self":[{"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=\/wp\/v2\/posts\/345","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=345"}],"version-history":[{"count":2,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=\/wp\/v2\/posts\/345\/revisions"}],"predecessor-version":[{"id":8071,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=\/wp\/v2\/posts\/345\/revisions\/8071"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=\/wp\/v2\/media\/7975"}],"wp:attachment":[{"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=345"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=345"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=345"},{"taxonomy":"anio","embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Fanio&post=345"},{"taxonomy":"idioma","embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Fidioma&post=345"},{"taxonomy":"lugar_produccion","embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Flugar_produccion&post=345"},{"taxonomy":"tipo-de-material","embeddable":true,"href":"https:\/\/platoteca.platohedro.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftipo-de-material&post=345"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}