5.Archive E:\\\\ART: Project Thambos 2. Sala Memorial Vicen\u00e7 Ros, Martorell, 1998<\/span><\/p>\n <\/p>\n<\/div>\n
However, in the cultural sphere, we often face the difficulty of defining artistic practice, educational experience, and the development of mediation. Is it really necessary to differentiate these practices? What determines knowledge? Where does our insistence on departmentalizing different ways of understanding and practicing ourselves come from? Should we embrace disciplines or instead navigate through them to construct a broader and more enriching vision?\u00a0First and foremost, it is essential to accept a concrete reality, that is, that the division of categories, disciplines of knowledge, legitimacies, and epistemologies not only structure and segment knowledge, but also the hypotheses we might formulate in response to everyday situations. A clear example is the current separation between art and education, a split that has contributed to a gap between artistic practice and society. To understand current academic trends, we must understand their origin in Modernity (Eduardo Galeano, 2022). This period, which began in the 15th century with the colonization of America, placed human beings at the center of the universe, thus imposing a restricted idea of knowledge and human relations that profoundly conditioned the way knowledge was constructed. Modernity as a method, with its taxonomic obsession for classifying and categorizing, not only created bureaucracy and methods of approval as control mechanisms, but also established principles of visual culture, departmentalizing knowledge into epistemological structures that continue to determine our relationship with knowledge in disciplines such as biology, naturalism, arts, and sciences, specialized approaches to conceiving the world.<\/p>\n
Over time, science began to legitimize itself and to progressively replace religion as a source of knowledge about the world. By the end of the 19th century, social studies adopted the term \u201cscience\u201d to gain academic validation for the so-called \u201cscientific method.\u201d The specialization of disciplines helped consolidate a rigid structure to classify knowledge. Today, however, we are trying to overcome this specialization through cross-curricular approaches.<\/p>\n
At the same time, artistic practices inherited the stereotype of the \u201cmisunderstood\u201d and tormented artist from Romanticism, and education took root as an instrument for transmitting officialized hegemonic knowledge. As a result, in contemporary times we have been left with a rigid concept of art and education, hindering a more global and comprehensive understanding of knowledge. According to Foucault, both hegemonic education and art, once institutionalized, operate within the exercise of biopolitics, that is, the politics that regulate and condition ways of life. It is in this context that visual education in schools has been relegated to \u201cmanual\u201d knowledge, leisure time, or as a decorative resource, time dedicated to a subject that should be used for \u201cmore important\u201d academic tasks such as mathematics or science, the true \u201cparents\u201d of world knowledge. It is significant and symptomatic that the current educational system does not require the presence of art specialists in schools while guaranteeing the teaching of religion, highlighting the scant importance given to visual culture as an educational element. Isn\u2019t it ironic that in an immanently visual world we are still incapable of thinking and critically reading the images we consume and create?<\/p>\n
Perhaps the time has come to definitively blur all classifications of knowledge, conceiving and practicing collaborative frameworks that present other ways of seeing ourselves, allowing for a more flexible, interdisciplinary, and enriching approach to knowledge. Are we capable of conceiving schools, art centers, museums, and the practice of mediation as collective tools to help build a society that embraces uncertainty, community experience, and establishes no boundaries between inside and out? How should we pay attention to processes and challenge the evaluation system as a learning objective? Can we (re)build institutions as transitions without stagnant knowledge driven by community impulses that blur hierarchies? It is crucial to find answers to these questions.<\/p>\n
Bibliographic references:<\/strong>
\n\u201cGaleano, Eduardo (2022). Ser como ellos. El capitalismo visto desde la periferia. Siglo XXI
\n<\/em>\u201cFocault, Michel\u201d (1978). The Birth of Biopolitics
\n<\/em><\/p>\n[Featured Image: Archive E:\\\\ART: Guinovart, Mem\u00f2ria del blau. Sala de exposiciones del Centro Cultural, Ripollet. Touring exhibiotion organized by Diputaci\u00f3 de Barcelona (ODA), 2004]<\/p>\n","protected":false},"excerpt":{"rendered":"
E:\\\\ART: Center for Mediation, Education, and Contemporary Art is a public service organization that operates as a factory for creation for contemporary art and creative processes, an educational initiative to…<\/p>\n","protected":false},"author":2916,"featured_media":65604,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[7036],"tags":[8608,8609,7774,8582,8580],"coauthors":[7033],"acf":[],"yoast_head":"\n
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