{"id":34975,"date":"2022-01-17T07:00:59","date_gmt":"2022-01-17T06:00:59","guid":{"rendered":"http:\/\/a-desk.org\/?p=34975"},"modified":"2023-07-09T14:33:36","modified_gmt":"2023-07-09T12:33:36","slug":"a-la-recerca-de-larca-perduda","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/a-la-recerca-de-larca-perduda\/","title":{"rendered":"A la recerca de l&#8217;arca perduda"},"content":{"rendered":"<p>La paraula llatina per a caixa o cofre \u00e9s arca, de la qual es deriva &#8220;arca&#8221;, com a l&#8217;Arca de No\u00e9. La qual va proveir de refugi segur, per\u00f2 No\u00e8 va haver d&#8217;imposar condicions estrictes de selecci\u00f3 per a l&#8217;entrada: nom\u00e9s dos animals de cada esp\u00e8cie eren permeses a bord. Pel que fa a aix\u00f2, l&#8217;Arca de No\u00e9 \u00e9s un microcosmos del m\u00f3n en general, ja que com m\u00e9s redu\u00eft \u00e9s l&#8217;espai, m\u00e9s limitat i, per tant, m\u00e9s valu\u00f3s \u00e9s el contingut. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_1');\" onkeypress=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_1');\" ><sup id=\"footnote_plugin_tooltip_34975_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34975_1_1\" class=\"footnote_tooltip\">Assmann, Aleida. (2011). Cultural memory and Western civilization. New York:\u00a0Cambridge University Press <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34975_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_34975_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p>A l&#8217;arca o arxiu del museu, hi conviuen moltes esp\u00e8cies: els conservadors, els comissaris, els qui treballen al departament d&#8217;exposicions, els investigadors o els experts en comunicaci\u00f3, i tots ells, sens dubte se salvarien del diluvi. No obstant, les educadores, morir\u00edem sota les aig\u00fces perqu\u00e8, al microcosmos del museu, l&#8217;Educaci\u00f3 sobreviu en una posici\u00f3 subalterna i el que est\u00e0 fora de l&#8217;arxiu, mor sota el diluvi.<\/p>\n<p>Les esp\u00e8cies que se salven del diluvi, ho fan perqu\u00e8 tenen eines hist\u00f2riques que les permeten surar: sempre hi ha registre visual i escrit de les adquisicions, costosos cat\u00e0legs de les exposicions, i un lloc especial a les webs. En qualsevol moment, a qualsevol museu, podem revisar aquesta exposici\u00f3 que va tenir lloc fa deu anys, veure cada pe\u00e7a de la col\u00b7lecci\u00f3. Per\u00f2, i demanem si us plau al lector que faci l&#8217;experiment, resulta pr\u00e0cticament impossible rescatar els projectes desenvolupats per qualsevol Departament d&#8217;Educaci\u00f3 de qualsevol museu de fa m\u00e9s de tres anys.<\/p>\n<p>Els arxius institucionals que els museus allotgen recullen all\u00f2 relatiu a col\u00b7leccions, exposicions, adquisicions, botiga, cafeteria\u2026. Els arxius institucionals no acullen la hist\u00f2ria neutral del museu, sin\u00f3 que en revelen les prioritats: qu\u00e8 \u00e9s el que val la pena ser guardat? qu\u00e8 \u00e9s el que configura la mem\u00f2ria institucional? L&#8217;abs\u00e8ncia de l&#8217;educaci\u00f3 als arxius institucionals fa pensar que, malgrat que els museus es funden com a institucions educatives, potser les prioritats del museu s\u00f3n ben diferents.<\/p>\n<p>La realitat \u00e9s que als Departaments d&#8217;Educaci\u00f3 no es registra, ni es fa mem\u00f2ria, ni s&#8217;hi arxiva. \u00c9s gaireb\u00e9 impossible seguir el rastre, saber qu\u00e8 va passar, qui va fer qu\u00e8 i quan ho va fer. I aix\u00f2 passa, entre altres coses, per la condici\u00f3 de subalternitat en qu\u00e8 encara ens situem, aquesta situaci\u00f3 que Preciado apunta al text seg\u00fcent:<\/p>\n<blockquote><p>Quina \u00e9s la relaci\u00f3 complexa de jerarquia o fins i tot de rivalitat pol\u00edtica entre l&#8217;espai expositiu i aix\u00f2 que comunament s&#8217;anomenen \u00ables activitats\u00bb, o el programa p\u00fablic o all\u00f2 que discutint amb Bel\u00e9n Sola ella nomenava com a \u00abmediaci\u00f3\u00bb? Em refereixo a aquest conjunt de programes que han estat situats en una posici\u00f3 subalterna o marginal dins de la instituci\u00f3 museu, que apareixen com una nota a peu de p\u00e0gina de l&#8217;exposici\u00f3 o de la col\u00b7lecci\u00f3, o com un element suplementari que suposadament hauria de servir per captar noves audi\u00e8ncies, per establir una millor relaci\u00f3 amb el context social de la ciutat on est\u00e0 inscrita la instituci\u00f3\u2026<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_2');\" onkeypress=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_2');\" ><sup id=\"footnote_plugin_tooltip_34975_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34975_1_2\" class=\"footnote_tooltip\">Preciado, Paul B. (2019). \u201cCuando los subalternos entran en el museo: desobediencia epist\u00e9mica y cr\u00edtica institucional\u201d en Bel\u00e9n Sola (Ed.). \u00a0L&#8217;educaci\u00f3 en museos com a producci\u00f3&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34975_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_34975_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n<p>Si la condici\u00f3 de subalternitat dels Departaments d&#8217;Educaci\u00f3 ens impedeix arxivar, emplenar l&#8217;arca juntament amb la resta d&#8217;esp\u00e8cies del museu i en les mateixes condicions, desfer aquesta condici\u00f3 passa per entendre l&#8217;arxiu com a eina de lluita institucional.<\/p>\n<p>Crear un arxiu posa sobre la taula la idea subversiva que l&#8217;educaci\u00f3 no produeix esdeveniments i activitats, sin\u00f3 que \u00e9s un proc\u00e9s de producci\u00f3 intel\u00b7lectual que fa honor a la missi\u00f3 fundacional del museu. Desfer la subalternitat dels Departaments d&#8217;Educaci\u00f3 fa necessari un assalt a l&#8217;arxiu, reclamant el lloc central dels p\u00fablics i els seus aprenentatges al cor del museu, abordant tres l\u00ednies d&#8217;acci\u00f3 que passen per la reflexivitat, els processos de recollir i el dest\u00ed del temps i els diners.<\/p>\n<h3><strong>Posicionar la reflexi\u00f3 com a eix de les activitats enlloc de produir activitats sense eix<\/strong><\/h3>\n<p>Dissoldre la bipolaritat fer\/pensar passa, en el nostre cas, per visibilitzar que pensem, que desenvolupar pr\u00e0ctiques educatives transformadores nom\u00e9s es pot fer des d&#8217;una reflexivitat encarnada que genera programes amb sentit, enfilats amb problem\u00e0tiques que reconcilien les institucions amb l&#8217;honestedat social, que porten a la realitat la idea del museu p\u00fablic com a mecanisme de compensaci\u00f3 social.<\/p>\n<p>Visibilitzar els processos de pensament que ja estan passant als Departaments d&#8217;Educaci\u00f3 podria ser el primer pas per generar una posici\u00f3 i, des d&#8217;aqu\u00ed, la necessitat de l&#8217;arxiu.<\/p>\n<h3><strong>Recollir l&#8217;oralitat, escriure textos, fer imatges <\/strong><\/h3>\n<p>Les activitats educatives en museus s\u00f3n performatives i temporals, no es poden concretar en productes visuals, com fan les i els artistes, ni en recorreguts ni en textos, com fan els i les comissaries i conservadores. Els participants s&#8217;emporten la seva pres\u00e8ncia amb ells, plasmada en mem\u00f2ries personals i narracions vol\u00e0tils, mentals i per aix\u00f2, intranscendents.<\/p>\n<p>Generar processos de recollida daquest proc\u00e9s oral mitjan\u00e7ant la redacci\u00f3 de textos, la producci\u00f3 de podcast, v\u00eddeos, fotografies \u00e9s necessari, per\u00f2 creiem que cal anar m\u00e9s enll\u00e0. Volem abra\u00e7ar les &#8220;contradiccions, inconsist\u00e8ncies i banalitats&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_3');\" onkeypress=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_3');\" ><sup id=\"footnote_plugin_tooltip_34975_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34975_1_3\" class=\"footnote_tooltip\">Guasch, Ana Mar\u00eda. (2010). Arte y archivo, 1920-2010: Genealog\u00edas, tipolog\u00edas y discontinuidades, Akal, p.45<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34975_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_34975_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> dels relats de l&#8217;educaci\u00f3 en museus a trav\u00e9s de formats com el diari, la relatoria gr\u00e0fica i narrativa o els formats de v\u00eddeo. Investigar formats que vagin m\u00e9s enll\u00e0 del discurs pulcre i antis\u00e8ptic institucional per abordar una documentaci\u00f3 que parli del que s&#8217;exclou en aquests relats.<br \/>\nLes imatges, per tant, formen la seva \u00fanica visibilitat perdurable, \u201cl&#8217;\u00fanica prova que alguna cosa va passar\u201d. Aquestes tenen un paper important en la reproducci\u00f3 econ\u00f2mica i la legitimaci\u00f3 dels programes educatius en museus, ja que serveixen per a les sol\u00b7licituds de finan\u00e7ament com a prova dels seus efectes socials i educatius. Fins ara hi ha hagut poc discurs sobre les narracions universals i universalitzadores que aquestes imatges creen<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_4');\" onkeypress=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_4');\" ><sup id=\"footnote_plugin_tooltip_34975_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34975_1_4\" class=\"footnote_tooltip\">M\u00f6rsch, Carmen. (2006). \u201cApplication: proposal for a youth project dealing with youth visibility in the galleries\u201d. En A. Harding, Magic Moments: Collaborations Between Artists And Young People&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34975_1('footnote_plugin_reference_34975_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34975_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_34975_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/span><\/p>\n<h3><strong>Destinar temps i recursos l&#8217;arxiu<\/strong><\/h3>\n<p>Per omplir l&#8217;arca d&#8217;objectes necessitem destinar all\u00f2 que \u00e9s molt valu\u00f3s: rescatar el temps i els recursos materials, \u00e9s a dir, reservar part del temps que dediquem a programar i implementar per reflexionar i registrar. Determinar que les professionals de l&#8217;educaci\u00f3, tal com \u00e9s t\u00e0cit a la feina dels comissaris i els artistes, dediquin part del seu temps a escriure, llegir i generar espais per produir l\u00ednies de pensament des d&#8217;on, com diu Luis Camnitzer, poder portar a terme una de les missions m\u00e9s importants de les institucions museu que \u00e9s, transformar el que mira.<\/p>\n<p>En redactar aquest text ens hem adonat que no \u00e9s que no hi hagi arca, sin\u00f3 que simplement, no \u00e9s on ha d&#8217;estar.<\/p>\n<p>Efectivament, nom\u00e9s l&#8217;hem de buscar, netejar, donar valor.<\/p>\n<p>Nosaltres volem capgirar el que Indiana Jones, mitjan\u00e7ant una saga decididament colonial i masclista, mostrava al m\u00f3n sobre l&#8217;acte d&#8217;arxivar. Nosaltres, des de la nostra posici\u00f3 decolonial i feminista, no desitgem generar una arca nova, sin\u00f3 recuperar l&#8217;arca perduda.<\/p>\n<div id=\"attachment_34984\" style=\"width: 1510px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/a-desk.org\/ca\/?attachment_id=34984\" rel=\"attachment wp-att-34984\"><img aria-describedby=\"caption-attachment-34984\" decoding=\"async\" class=\"wp-image-34984 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/12\/Acaso-Torres-scaled-e1640886281846.jpg\" alt=\"\" width=\"1500\" height=\"1000\" \/><\/a><p id=\"caption-attachment-34984\" class=\"wp-caption-text\">A partir de l&#8217;any 2022 tindr\u00e0 lloc el projecte \u201cMediar el futuro\u201d on l&#8217;artista Bego\u00f1a Sol\u00eds juntament amb l&#8217;equip del Departament d&#8217;Educaci\u00f3 del Museu Reina Sof\u00eda, obriran una l\u00ednia de recerca centrada en els arxius visuals als Departaments d&#8217;Educaci\u00f3 Aquesta foto \u00e9s un dels primers registres del projecte esmentat.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_34975_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_34975_1();\">[<a id=\"footnote_reference_container_collapse_button_34975_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_34975_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34975_1('footnote_plugin_tooltip_34975_1_1');\"><a id=\"footnote_plugin_reference_34975_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">Assmann, Aleida. (2011). Cultural memory and Western civilization. New York:\u00a0Cambridge University Press <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34975_1('footnote_plugin_tooltip_34975_1_2');\"><a id=\"footnote_plugin_reference_34975_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Preciado, Paul B. (2019). \u201cCuando los subalternos entran en el museo: desobediencia epist\u00e9mica y cr\u00edtica institucional\u201d en Bel\u00e9n Sola (Ed.). \u00a0L&#8217;educaci\u00f3 en museos com a producci\u00f3 cultural cr\u00edtica. Catarata <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34975_1('footnote_plugin_tooltip_34975_1_3');\"><a id=\"footnote_plugin_reference_34975_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Guasch, Ana Mar\u00eda. (2010). Arte y archivo, 1920-2010: Genealog\u00edas, tipolog\u00edas y discontinuidades, Akal, p.45<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34975_1('footnote_plugin_tooltip_34975_1_4');\"><a id=\"footnote_plugin_reference_34975_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\"><span lang=\"ES-TRAD\">M\u00f6rsch, Carmen. (2006). \u201cApplication: proposal for a youth project dealing with youth visibility in the galleries\u201d. En A. Harding, <i>Magic Moments: Collaborations Between Artists And Young People<\/i> (1st ed.). London: Black Dog Publishing.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_34975_1() { jQuery('#footnote_references_container_34975_1').show(); jQuery('#footnote_reference_container_collapse_button_34975_1').text('\u2212'); } function footnote_collapse_reference_container_34975_1() { jQuery('#footnote_references_container_34975_1').hide(); jQuery('#footnote_reference_container_collapse_button_34975_1').text('+'); } function footnote_expand_collapse_reference_container_34975_1() { if (jQuery('#footnote_references_container_34975_1').is(':hidden')) { footnote_expand_reference_container_34975_1(); } else { footnote_collapse_reference_container_34975_1(); } } function footnote_moveToReference_34975_1(p_str_TargetID) { footnote_expand_reference_container_34975_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_34975_1(p_str_TargetID) { footnote_expand_reference_container_34975_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>La paraula llatina per a caixa o cofre \u00e9s arca, de la qual es deriva &#8220;arca&#8221;, com a l&#8217;Arca de No\u00e9. 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