A educação nos discursos da arte contemporânea : participação, colaboração, confrontação e criação

• Autor(a) principal: Oliveira, Mariana Daniela Alves, 1990-
• Data de Publicação: 2008
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/34105
• topic: Rogoff, Irit; Hirschhorn, Thomas, 1957-; Kilomba, Grada, 1968-; Sehgal, Tino, 1976-; Educação artística; Educação em museus; Arte participativa; Arte contemporânea; Criticismo; Colaboracionismo; Investigação artística; Criação artística; Espaço público; Educação Artística

This dissertation aims to reflect on a theoretical-practical position that has become visible in the world of contemporary art over the last few years: the entry of education into 'artistic projects'. Put differently, it is a position through which education and pedagogy become, themselves, aesthetic and artistic objects produced from (or within) the discourses of contemporary art. This paradigm shift has been called educational turn and has been analyzed and discussed by several authors in the world of art and culture (art theorists and critics, artists, curators, educators). The object of study (and also the purpose) of the research is to reflect on some key concepts and specific educational-artistic practices that have shaped this educational turn and the way in which this paradigmatic reorientation has contributed, since the last decade, to a reconfiguration of 'discourses' and contemporary art 'practices'. On the other hand, this dissertation intends to explore in what sense the vocabulary proposed in the title ('participation', 'collaboration', 'confrontation' and 'creation') is fundamental for this 'turning' or 'change' to actually take place. In this way, the aim is to investigate in what way the focus on education and pedagogy in the discourse of contemporary art offers us an alternative 'production of knowledge' in relation to the more traditional modes of creation and exhibition of artistic objects or projects. Thus, this dissertation also aims to show 'how' and 'why' the presence of 'education' arises within discourses on contemporary art and which methods are defended, or which strategies should be applied, so that process of ' knowledge production' actually happens. The concepts in this dissertation are based on the cultural theorist Irit Rogoff who was essential in the development of this 'turning' theory and in the underlying understanding of the associated actions: by associating it with the 'discourses of contemporary art’, relating both with the potentiality and with the possibility of forming new discourses through a critical position she calls criticality. In order to better understand the extent to which the discourses of contemporary art adopt this critical position, this text proposes to address key concepts of educational turn in the world of contemporary art, exemplifying this 'turning' with some artistic projects (or artists) who choose education and pedagogy as an object of discursive research and practice