Pedagogical curatorship, art methodologies, training and permanence: the educational turn at the Mercosul Biennial
by Mônica Hoff
(…) the transformation of art into a subject area was probably one of the greatest misfortunes we inflicted upon ourselves in the second half of the 20th century.
p. 2
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Artistic methodologies
“Is it possible to organise productive experiences that integrate the world of contemporary art and the education system?”
Rubinich, Lucas. 2009. <Las difíciles relaciones entre el arte y la educación>. In Micropolis Experimentais: traduções da arte para a educação. Marina De Caro (org.). Porto Alegre: Fundação Bienal do Mercosul. p. 184.
(…) And this is where I always ask myself, what then is the role of a contemporary art Biennial’s education programme? Is it to present artworks to the community? Is it to serve the thousands of people looking for a “meaning” for art? Is it to provide transport so that these people can have an aesthetic experience inside the exhibition space? Do they really need to leave their neighbourhoods, towns and regions for this to occur? Is the art experience really connected to a visit to an exhibition space?
(…) Instead of a “translation” of art using educational tools, we chose to work with art proposals with considerable educational capital, whether that capital was part of the artists’ intentions or recognised as a powerful component by the project team.
p. 6
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(…) the museum of the future will be more of a process or an experience, moving out into the spaces of the communities that it serves. For it can no longer be assumed that collections are central to the role of the museum – rather, it is people.
p. 7