Ana Azor Lacasta
Miembro del Cuerpo de Ayudantes de Museos desde 1992 y del Cuerpo Facultativo de Conservadores de Museos desde 1997. Desde 2021 es vocal asesora de la Dirección de Colecciones Reales de Patrimonio Nacional. Ha desarrollado su carrera profesional en diferentes unidades del Ministerio de Cultura: Subdirección General de Promoción de las Bellas Artes, Museo Arqueológico Nacional, Subdirección General de Museos Estatales y Museo de América. Miembro del Consejo Ejecutivo de ICOM España entre 2014 y 2016.
Ámbitos de especialización: planificación y gestión museística, cooperación internacional, función social de los museos e historia de los museos en España.
Museum Assistant since 1992 and Museum Curator since 1997. She has been subdirector of the Royal Collections Directorate (Patrimonio Nacional, Ministry of the Presidency) since 2021. She has developed her career in different departments of the Ministry of Culture: Subdirección General de Promoción de las Bellas Artes, Museo Arqueológico Nacional, Subdirección General de Museos Estatales and Museo de América. She was member of the Executive Board of ICOM España between 2014 and 2016.
Areas of specialization: museum planning and management, international cooperation, social role of museums and Spanish museums history.
Ámbitos de especialización: planificación y gestión museística, cooperación internacional, función social de los museos e historia de los museos en España.
Museum Assistant since 1992 and Museum Curator since 1997. She has been subdirector of the Royal Collections Directorate (Patrimonio Nacional, Ministry of the Presidency) since 2021. She has developed her career in different departments of the Ministry of Culture: Subdirección General de Promoción de las Bellas Artes, Museo Arqueológico Nacional, Subdirección General de Museos Estatales and Museo de América. She was member of the Executive Board of ICOM España between 2014 and 2016.
Areas of specialization: museum planning and management, international cooperation, social role of museums and Spanish museums history.
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Papers by Ana Azor Lacasta
Ursicina Martínez Gallego (Santa Cristina de la Polvorosa -Zamora-, 1906 – Zamora, 2004) joined the Cuerpo Facultativo de Archiveros, Bibliotecarios y Arqueólogos and the Museo Arqueológico de León as its director in 1931, becoming one of the five female pioneers to join the curators’ taskforce before the Spanish Civil War. She led the Museum, located within the San Marcos former convent, for ten years, until she moved to the Biblioteca Provincial de Zamora in 1941. She endured ten years of constant and tenacious work in very difficult circumstances due to the precariousness of the building and the lack of staff and budget. Her hopes to achieve a good museum, in accordance with the collection it preserved and the city of Leon, were crushed by the Civil War and the transformation of the San Marcos building into one of the most severe prison camps of the Francoist repression.
Pilar Fernández Vega, after a period of teaching, joins the CFABA in 1922 and the MAN in 1928, becoming the first woman museum curator in Spain. During the 20s and 30s she takes part in the progressive intellectual movement promoted by institutions and associations such as the JAE, the Residencia de Señoritas and the Lyceum Club. She attends the «Crucero del Mediterráneo» in 1933 and travels to many places in the 1930s, including New York in 1934 and the USSR in 1935. After the Civil War the repressive machinery of Franco's regime falls on her and she is prosecuted by a War
Council, by a process that purged civil servants and by a trial of political esponsibilities, all of them filed without consequences. In 1941 she is appointed director of the Museo de America and of the Museo Nacional de Artes Decorativas.
General celebrada el 17 de noviembre de 2015 en su sede de París la
Recomendación relativa a la protección y promoción de los museos y
colecciones, su diversidad y su función en la sociedad.
Esta recomendación se suma al único instrumento de este tipo aprobado
por el mismo organismo en 1960. Nada menos que cincuenta y
cinco años habían transcurrido desde que esa primera Recomendación
sobre los medios más eficaces para hacer los museos accesibles a
todos viera la luz.
At its 38th General Conference, held on 17th November
2015 at its headquarters in Paris, UNESCO approved the Recommendation
regarding protection and promotion of museums and collections,
their diversity and their role in society. This Recommendation
is added to the only other instrument of this type, approved by the
same body in 1960. No less than 55 years had passed since that first
Recommendation on the most effective means of making museums
accessible for all saw the light of day.
The Social Museums Plan (Museos+ Sociales) is one of the main projects from the Ministry of Education, Culture and Sport. The goal is to organize, create, guide and promote new lines of actuation to strengthen the social dimension of the National Museums. The first step will be to involve the Museums more actively in providing responses to social, economic and cultural changes. The Museums should be institutions for learning and entertainment but also contributing to accessibility and social and intercultural cohesion and integration. Now is the time to share reflections and experiences, good practices and new ideas to achieve museums that are regarded as " of everyone and for everyone ". The Museums play an important role as a motor of thinking and progress. They are part of our lives.
impulsado por la Secretaría de Estado de
Cultura con el objetivo de conseguir que
las instituciones museísticas se adapten a
las realidades sociales del contexto actual,
con la finalidad de ser accesibles y responder
a las necesidades de toda la ciudadanía,
en especial, de aquellos colectivos que mayores
dificultades tienen para la visita o que
se encuentran en riesgo de exclusión social.
Ursicina Martínez Gallego (Santa Cristina de la Polvorosa -Zamora-, 1906 – Zamora, 2004) joined the Cuerpo Facultativo de Archiveros, Bibliotecarios y Arqueólogos and the Museo Arqueológico de León as its director in 1931, becoming one of the five female pioneers to join the curators’ taskforce before the Spanish Civil War. She led the Museum, located within the San Marcos former convent, for ten years, until she moved to the Biblioteca Provincial de Zamora in 1941. She endured ten years of constant and tenacious work in very difficult circumstances due to the precariousness of the building and the lack of staff and budget. Her hopes to achieve a good museum, in accordance with the collection it preserved and the city of Leon, were crushed by the Civil War and the transformation of the San Marcos building into one of the most severe prison camps of the Francoist repression.
Pilar Fernández Vega, after a period of teaching, joins the CFABA in 1922 and the MAN in 1928, becoming the first woman museum curator in Spain. During the 20s and 30s she takes part in the progressive intellectual movement promoted by institutions and associations such as the JAE, the Residencia de Señoritas and the Lyceum Club. She attends the «Crucero del Mediterráneo» in 1933 and travels to many places in the 1930s, including New York in 1934 and the USSR in 1935. After the Civil War the repressive machinery of Franco's regime falls on her and she is prosecuted by a War
Council, by a process that purged civil servants and by a trial of political esponsibilities, all of them filed without consequences. In 1941 she is appointed director of the Museo de America and of the Museo Nacional de Artes Decorativas.
General celebrada el 17 de noviembre de 2015 en su sede de París la
Recomendación relativa a la protección y promoción de los museos y
colecciones, su diversidad y su función en la sociedad.
Esta recomendación se suma al único instrumento de este tipo aprobado
por el mismo organismo en 1960. Nada menos que cincuenta y
cinco años habían transcurrido desde que esa primera Recomendación
sobre los medios más eficaces para hacer los museos accesibles a
todos viera la luz.
At its 38th General Conference, held on 17th November
2015 at its headquarters in Paris, UNESCO approved the Recommendation
regarding protection and promotion of museums and collections,
their diversity and their role in society. This Recommendation
is added to the only other instrument of this type, approved by the
same body in 1960. No less than 55 years had passed since that first
Recommendation on the most effective means of making museums
accessible for all saw the light of day.
The Social Museums Plan (Museos+ Sociales) is one of the main projects from the Ministry of Education, Culture and Sport. The goal is to organize, create, guide and promote new lines of actuation to strengthen the social dimension of the National Museums. The first step will be to involve the Museums more actively in providing responses to social, economic and cultural changes. The Museums should be institutions for learning and entertainment but also contributing to accessibility and social and intercultural cohesion and integration. Now is the time to share reflections and experiences, good practices and new ideas to achieve museums that are regarded as " of everyone and for everyone ". The Museums play an important role as a motor of thinking and progress. They are part of our lives.
impulsado por la Secretaría de Estado de
Cultura con el objetivo de conseguir que
las instituciones museísticas se adapten a
las realidades sociales del contexto actual,
con la finalidad de ser accesibles y responder
a las necesidades de toda la ciudadanía,
en especial, de aquellos colectivos que mayores
dificultades tienen para la visita o que
se encuentran en riesgo de exclusión social.