{"id":223237,"date":"2016-08-23T16:15:02","date_gmt":"2016-08-23T19:15:02","guid":{"rendered":"http:\/\/revistapesquisa.fapesp.br\/en\/?p=223237"},"modified":"2016-08-23T16:15:02","modified_gmt":"2016-08-23T19:15:02","slug":"learning-at-the-museum","status":"publish","type":"post","link":"https:\/\/revistapesquisa.fapesp.br\/en\/learning-at-the-museum\/","title":{"rendered":"Learning at the museum"},"content":{"rendered":"
\"Untitled,

Evgen Bavcar\/Public Domain Image <\/span>Untitled<\/em>, 1946, by Evgen Bavcar, Slovenian photographer, a major figure in the exhibitEvgen Bavcar\/Public Domain Image <\/span><\/p><\/div>\n

The exhibit Educa\u00e7\u00e3o como mat\u00e9ria-prima <\/em>[Education as raw material], currently on display at the S\u00e3o Paulo Museum of Modern Art (MAM), is shedding light on a seldom seen yet essential side of museums: the relationship between the artistic experience and the production of knowledge.\u00a0 The show that commemorates 20 years of educational activities at the museum deals with key aspects of creation and aesthetic perception.\u00a0 Among other things, a permanent team of seven educators oversees a schedule of ongoing and temporary programs, in addition to welcoming school groups and training teachers.\u00a0 In the current exhibit, education is not merely a theme or curatorial buzzword, but rather a set of works that communicate with each other and whose very creation, by seven individual artists, was built upon knowledge, exposure to learning and the relationship between audience and artwork.<\/p>\n

\u201cThe museum is a school.\u00a0 The artist learns to communicate.\u00a0 The public learns to make connections.\u201d\u00a0 This statement, by Uruguayan artist Luis Camnitzer, emblazoned on the entrance to the museum, sums up the purpose of the show.\u00a0 \u201cOur goal is to have the visitor develop his or her own perceptions by assigning and expanding meaning,\u201d explains Daina Leyton, exhibit curator and guest lecturer from the Federal University of Rio de Janeiro (UFRJ), along with Felipe Chaimovich, professor in the Fine Arts program at the Armando \u00c1lvares Penteado Foundation (FAAP). Educators and artists put in charge of a series of discussions, workshops and other activities until the show closes June 5, 2016 conceived the entire exhibit to reinforce this perceptual awakening that guided the selection of works and audience activities.<\/p>\n

Two works from the museum\u2019s collections were selected for inclusion as central pillars in the curated undertaking: the pieces Caf\u00e9 educativo<\/em> (Learning caf\u00e9) by Jorge Menna Barreto, and Expediente <\/em>(Workday) by Paulo Bruscky.\u00a0 Both depend on audience presence and participation. Since the works acquire meaning only when experienced by the public, they become mobile instruments of poetic perception.\u00a0 Caf\u00e9 educativo, <\/em>a work in progress that changes with each presentation, consists of a caf\u00e9 installed in the exhibition space that serves as an open area for interaction between educators and audience.\u00a0 In its current version, the artist chose to use low furniture, overstuffed pillows and little reading tables, and visitors can stroll barefoot while thumbing through books and enjoying a cup of coffee.\u00a0 The work Expediente<\/em> brings the educators\u2019 workspace into the museum.\u00a0 Desks were moved to the exhibition space where the educators will work until the exhibit closes.\u00a0 \u201cThe presence of the educational department is visible and work is actually being done.\u00a0 It is not a passive work of art,\u201d Chaimovich points out.<\/p>\n

\"Views

Rafael Roncato<\/span>Views of the work Caf\u00e9 educativo<\/em> by Jorge Menna Barreto, which brings educators and visitors togetherRafael Roncato<\/span><\/p><\/div>\n

The dialogue between art and audience continues in other pieces in the exhibit.\u00a0 Stephan Doitschinoff, for example, designed specifically for the exhibit a video game that deals with notions inspired by French philosopher Michel Foucault.\u00a0 Ironically, the stages of the game are associated with what Foucault classified as disciplinary institutions such as school, industry, asylum or gated community.\u00a0 To play, one simply has to kneel down on a kneeler.\u00a0 Amilcar Packer addresses questions associated with colonization, consumerism and commercialism in Constela\u00e7\u00f5es <\/em>(Constellations), a piece that uses everyday objects hung from the ceiling, accessible by pulleys and complete with information about their origins and nomenclature.<\/p>\n

\u201cTo see is to know; if you do not know, you cannot see,\u201d says Slovenian photographer and philosopher Evgen Bavcar, a major figure in the development of thinking about accessibility and poetic freedom that guides the show.\u00a0 Blind since the age of 12, he creates works that expand perception beyond the limits of sight and is represented in the show by a collection of photographs he has taken along with a set of 3D reproductions of objects found in his images that the public can actually touch.<\/p>\n

In addition to the exhibit and a series of lectures and activities proposed by the invited artists, the anniversary commemoration for the education department includes release of the book Obras mediadas <\/em>(Facilitated artwork), in which 10 educators each selected one work to analyze from the collection, thereby demonstrating the importance of investigation in this field.\u00a0 \u201cEvery educator is a researcher,\u201d says Leyton.<\/p>\n","protected":false},"excerpt":{"rendered":"Art show commemorates 20 years of educational programs at S\u00e3o Paulo","protected":false},"author":484,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[154],"tags":[226,204],"coauthors":[1250],"class_list":["post-223237","post","type-post","status-publish","format-standard","hentry","category-arts","tag-education","tag-visual-arts"],"acf":[],"_links":{"self":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/223237","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/users\/484"}],"replies":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/comments?post=223237"}],"version-history":[{"count":0,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/223237\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media?parent=223237"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/categories?post=223237"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/tags?post=223237"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/coauthors?post=223237"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}