Presentamos una de las acciones llevadas cabo en 2019 en el proyecto “BombeArte” en las escuelas primarias y secundarias de la ONGD “ACOES” en Tegucigalpa (Honduras). La acción “La clase-piedra” fue una instalación participativa en la que colaboró el alumnado (de cinco a dieciocho años) y profesorado de la escuela, unas 1.500 personas en total. El objetivo del proyecto es el desarrollo de la Educación Artística en estos centros educativos situados en contextos de riesgo de exclusión social. Nos propusimos vincular algunas de las obras escultóricas de la cultura maya de Copán con obras de arte contemporáneo propiciando un entorno de creación y aprendizaje sobre dibujo, escultura, fotografía e instalación. La A/r/tografía Social reúne cuatro dimensiones metodológicas y profesionales -artística, investigadora, educativa y social- simultáneamente. La a/r/tografía, en el contexto de la “Investigación Basada en Artes”, congrega las características propias de la investigación en ciencias humanas y sociales con las cualidades distintivas de la creación artística. Los proyectos socio-educativo de educación artística pueden contribuir a imaginar un mundo mejor y a la construcción de sociedad más justas e integradoras. El ensayo visual es una modalidad de publicación académica de los resultados de investigaciones basadas en artes.
This article describes an a/r/tographic project entitled Art for Learning Art wherein the audience was invited to respond visually to a museum exhibition-installation. The three main objectives were: first, to rethink current practices in museum education in an effort to reach a dialectical synthesis between art-making and educational activities; second, to further develop three key identities held within a/r/tography; and third, to develop visual research instruments in a/r/tographic final reports. An exhibition-installation was organized around seven engravings, two photographs and one sculpture including the artworks by L. Bourgeois, E. Chillida, E. Munch, P. Picasso, A. Tàpies, among others, in the Spanish Caja-Granada Memory of Andalusia Museum. The main educational goal was to engage visitors with learning to interact visually with original artwork before producing new images that would then immediately became part of the installation.
Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.
Artistic photographers have been engaging with educational contexts since the early twentieth century. According to Spirn and Sullivan (2005), visual creation offers a tool for reasoning which, if based on aesthetical concepts, allows us to discover new information and patterns for research into educational contexts. In this visual essay, organized by pairs of images, we propose a photographic research project based on key visual elements obtained from studying several artistic photographers. Each pair is structured by comparisons, through which the enquiry and its argumentation is established. The visual essay examines how artistic photography can provide visual clues to explore an educational space.
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