Títle: O evento artístico como pedagogia
Author): Fernández Méndez, Maria Del Rosario Tatiana
supervisor: Bezerra Júnior, Belidson Dias
University of Brasilia
This research is about artistic events as cultural pedagogies on Visual Education. It is situated within the encounter of the pictorial turn in education and the pedagogical turn in art. Given the cultural pedagogies framework we seek o understand how and in what conditions the artistic event can be, at the same time, a pedagogical event in its own terms and how the spaces to promote educational events as aesthetic experiences are established, based on John Dewey’s idea of aesthetic experience and Dennis Atkinson’s pedagogical event. The unfolded discussions from these reflections are also related to educational philosophy, Visual Culture Studies and contemporary tendencies in art. In that manner we point out the conceptual foundations that allow us to distinguish the intersection space between contemporary art and education and its political and cultural implications under Claire Bishop’s participatory art concept and Henry Giroux’s cultural pedagogy proposal that converge on Jacques Rancière political principle of emancipation from the starting point. The objects of the study are artists and visual educators that conceive art as a pedagogical event and pedagogy as an artistic event. In that regard, we analyze and problematise the border crossings in art and education and create the possibilities for a dissent pedagogy trough an Arts Based Research, ABR, methodology, within two perspectives, the A/r/tographic perspective that integrates theory, praxis and poietics and reflects over transit identities of artist, researcher and teacher and Graeme Sullivan’s transcognitive practice perspective which considers the multiple ways in which artists research. On that conceptual and methodological framework I take possession of the Learning Objects, LO, concept, which responds to educational hegemonic policies to turn them into Poietic Learning Objects, PLO, which responds to educational emancipatory policies and to Visual Education policies specifically, where students, in a manner similar to the contemporary art spectator, turn into participants. For that purpose I observe and analyze the creation of PLO for visual education, produced by the participants of an extension course about Poietic Learning Objects, promoted by the VIS/IdA, trough DEX/UnB, aimed at art teachers and graduation art education students. The results, drawn from the analysis of the participant’s experiences that applied PLO produced in educational contexts, show that the coincidences between the turnings are given in the political level trough the emancipation of the spectator, in the methodological level trough the attention over the visual role in knowledge construction and in the existential level trough the ways in which we construct territories of subjectivation.