El giro educativo del arte como herramienta para la transformación social en los nuevos museos del siglo XXI

Abstract

Durante la última década, asistimos a una serie de situaciones que posicionan a lo educativo como un asunto central que atañe directamente al mundo del arte, lo cual podemos constatar al revisar estrategias de comisariado de algunas exposiciones, propuestas de actividades en talleres o foros de debate. Este testigo es recogido por el nuevo modelo de museo que propone el hipermediatizado siglo XXI, abierto a la atención de las demandas del público, así como al compromiso con la comunidad y a la interacción social. Estas nuevas aplicaciones hacen al público partícipe de una actual experiencia transversal del arte que deja atrás la vieja concepción del museo como contenedor de una colección. El museo actual, en cambio, es pensado para ser dinámico.

Art Education for adults through photography and museums

“…To achieve this, a device set in urban drifts is elaborated, organizing actions of various types that involve walking and walking through the city, emulating the figure of the flâneur, who links with the tradition of art that leads us reviewing Charles Baudelaire (2006). This research highlights the value of museums as spaces of cultural and educational intensity (González-García, 2019), something that is linked to the importance of heritage education. According to the latest definition approved by ICOM on August 24, 2022 at its General Assembly held in Prague, "a museum is a non-profit, permanent institution at the service of society, which investigates, collects, preserves, interprets and exhibits tangible and intangible heritage.…”

Pasolini Cemetery. Cimitero Pasolini

“…Vediamo dettagli di lapidi, sculture, nonché viste panoramiche dello spazio, o qualche costruzione di mausoleo e anche nicchie. Oltre alla fotografia, ogni partecipante ha dato un titolo alla propria opera e ha scritto un breve testo in cui spiega il motivo della scelta (Giroux, 1990). Le fotografie esposte sono riprodotte su carta.…”

“…We see details of tombstones, sculptures, as well as panoramic views of the space, or some mausoleum construction and even niches. In addition to the photograph, each participant gave a title to their work and wrote a short text explaining the reason for their choice (Giroux, 1990). The photos exhibited are reproduced on paper.…”