El Arte en La Ensenanza - Gabriela Augustowsky

8/13/2019 El Arte en La Ensenanza - Gabriela Augustowsky

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{\rtf1{\info{\title El arte en la ense?anza}{\author Gabriela Augustowsky & Gabriela Augustowsky: Es licenciada en Ciencias de la Educaci?n por la Universidad de Buenos Aires. Mag?ster en Did?ctica por esa misma casa y diplomada en EstudiosAvanzados en Bellas Artes por la Universidad Complutense de Madrid. Es secretaria acad?mica de la Maestr?a en Did?ctica de la UBA y profesora de posgrado en laFacultad de Arquitectura, Dise?o y Urbanismo (UBA). Ejerce tambi?n la docenciaen la Universidad Pedag?gica y la Universidad ORT, de Uruguay. Autora de Las paredes del aula (Amorrortu, 2005) y Ense?ar a mirar im?genes en la escuela (Tintafresca, 2008), entre otras numerosas publicaciones, ha desarrollado investigaciones y programas de innovaci?n did?ctica en el ?mbito de las artes visuales y laeducaci?n." opf:role="aut">Dise?o y Urbanismo (UBA). Ejerce tambi?n la docenciaen la Universidad Pedag?gica y la Universidad ORT}}\ansi\ansicpg1252\deff0\deflang1033{\fonttbl{\f0\froman\fprq2\fcharset128 Times New Roman;}{\f1\froman\fprq2\fcharset128 Times New Roman;}{\f2\fswiss\fprq2\fcharset128 Arial;}{\f3\fnil\fprq2\fcharset128 Arial;}{\f4\fnil\fprq2\fcharset128 MS Mincho;}{\f5\fnil\fprq2\fcharset128 Tahoma;}{\f6\fnil\fprq0\fcharset128 Tahoma;}}{\stylesheet{\ql \li0\ri0\nowidctlpar\wrapdefault\faauto\rin0\lin0\itap0 \rtlch\fcs1 \af25\afs24\alang1033 \ltrch\fcs0 \fs24\lang1033\langfe255\cgrid\langnp1033\langfenp255 \snext0 Normal;}{\s1\ql \li0\ri0\sb240\sa120\keepn\nowidctlpar\wrapdefault\faauto\outlinelevel0\rin0\lin0\itap0 \rtlch\fcs1 \ab\af0\afs32\alang1033 \ltrch\fcs0 \b\fs32\lang1033\langfe255\loch\f1\hich\af1\dbch\af26\cgrid\langnp1033\langfenp255 \sbasedon15 \snext16 \slink21 heading 1;}

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rin0\lin0\itap0 \rtlch\fcs1 \ab\af0\afs23\alang1033 \ltrch\fcs0 \b\fs23\lang1033\langfe255\loch\f1\hich\af1\dbch\af26\cgrid\langnp1033\langfenp255 \sbasedon15 \snext16 \slink25 heading 5;}{\s6\ql \li0\ri0\sb240\sa120\keepn\nowidctlpar\wrapdefault\faauto\outlinelevel5\rin0\lin0\itap0 \rtlch\fcs1 \ab\af0\afs21\alang1033 \ltrch\fcs0 \b\fs21\lang1033\langfe255\loch\f1\hich\af1\dbch\af26\cgrid\langnp1033\langfenp255 \sbasedon15 \snext16 \slink26 heading 6;}}{{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlAugustowsky, Gabriela\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql

El arte en la ense\u241?anza. - 1a ed. - Buenos Aires : Paid\u243?s, 2012.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlE-Book.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlISBN 978-950-12-0028-7\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {


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{\ql1. Educaci\u243?n.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlCDD 370.1\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlDirectora de colecci\u243?n: Rosa Rottemberg\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlCubierta: Gustavo Macri\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\u169? 2012, Gabriela Augustowsky\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlTodos los derechos reservados\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\u169? 2012, Editorial Paid\u243?s SAICF\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql

Publicado bajo su sello Paid\u243?s\u174?\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlIndependencia 1682, Buenos Aires \u8211? Argentina\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlE-mail: [email protected]\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlwww.paidosargentina.com.ar\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql

Digitalizaci\u243?n: Proyecto451\par\pard\plain\hyphpar}\par\pard\plain\hyphpar}{{\qlPrimera edici\u243?n en formato digital: octubre de 2012\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlQueda rigurosamente prohibida, sin la autorizaci\u243?n escrita de los titularesdel \u8220?Copyright\u8221?, bajo las sanciones establecidas en las leyes, la reproducci\u243?nparcial o total de esta obra por cualquier medio o procedimiento, incluidos la reprograf\u237?a y el tratamiento inform\u225?tico.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlInscripci\u243?n ley 11.723 en tr\u225?mite\par\pard\plain\hyphpar}\par\pard\pla

in\hyphpar} {{\qlISBN edici\u243?n digital (ePub): 978-950-12-0028-7\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {\par\pard\hyphpar }{\page } {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql{\bEL ARTE EN LA ENSE\u209?ANZA}\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {\par\pard\hyphpar }{\page } {


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{\qc\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qcGabriela Augustowsky\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qcEL ARTE EN LA ENSE\u209?ANZA\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {\par\pard\hyphpar }{\page } {{\qr\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qr{\iEl camino por el que voy va hacia atr\u225?s para ver el futuro.}\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qrJitka Hanzlov\u225?\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qr{\iA Edith Litwin}\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qr(Buenos Aires, 1944-2010).\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {\par\pard\hyphpar }{\page } {{\qr{\bAGRADECIMIENTOS}\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {

{\qlQuiero expresar mi profunda gratitud a todas las personas e instituciones que brindaron generosamente su apoyo, sus conocimientos, sus obras y sus experienciaspara este libro.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlAl profesor Gustavo Halle, a la profesora Marcela Riera y a todo el equipo docente del Colegio San Marcos por su enorme disposici\u243?n para comunicar y compartir sus pr\u225?cticas de ense\u241?anza.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlA las autoridades, equipo docente, alumnos y alumnas de la Escuela de Educaci\u243?n Especial y Formaci\u243?n Laboral N\u186? 29 Dr. Osvaldo Magnasco, MEGCBA.MA\u209?OLO y su trabajo diario nos muestran que a veces el ruido no nos deja ve

r.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlA las autoridades del Bachillerato Instituto \u8220?El taller\u8221?, por invitarnos al mundo \u237?ntimo de su taller de grabado; y a los directivos y docentesdel Colegio Aula XXI, por permitirnos dar a conocer sus proyectos que abren eldi\u225?logo entre disciplinas.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar}{{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlA Liliana Porter por su enorme gentileza al autorizarnos a reproducir su obra {\iTejedora}, perteneciente a la serie {\i

Trabajos forzados}. Es un honor que la tejedora contin\u250?e sus labores en estas p\u225?ginas.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlA Vicente Rozados Sauser por autorizarnos a reproducir sus obras y por sus ense\u241?anzas al desandar \u8220?en voz alta\u8221? sus procesos creativos.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlA Guadalupe Fern\u225?ndez, por sus \u225?rboles y su r\u237?o, y por explicarnos por qu\u233?; a Selva Bianchi, por sus abecedarios m\u225?gicos.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {


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el taller de pl\u225?stica, su presencia en el cotidiano escolar va m\u225?s all\u225?, atravesando numerosas \u225?reas curriculares y permeando otras pr\u225?cticas y escenarios. Al ubicar el arte en la escuela, en t\u233?rminos curriculares, podemos afirmar que se trata del espacio que Edith Litwin defin\u237?a como \u8220?en el borde del curr\u237?culum\u8221?, un territorio algo l\u225?bil que transita entre disciplinas que se niegan tercamente a reconocer sus parentescos y entre prescripciones curriculares que solo hilvanan tenuemente puntadas demulti, intra, inter. Entonces, para abordar el arte en la escuela, es necesariorecurrir y poner en relaci\u243?n saberes producidos en diferentes campos del conocimiento: la did\u225?ctica general, las did\u225?cticas de arte, la did\u225?ctica de las ciencias sociales, la tecnolog\u237?a educativa, la filosof\u237?a,la est\u233?tica y la \u233?tica; la teor\u237?a del arte, la historia del arte, la psicolog\u237?a, la museolog\u237?a, la comunicaci\u243?n, el dise\u241?o.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEste libro es el resultado de numerosos encuentros, di\u225?logos, intercambios\u8211?simb\u243?licos y materiales\u8211? entre teor\u237?as y pr\u225?cticas,maneras de decir, de pensar y de hacer, algunas muy viejas y algunas nuev\u237?simas. Una s\u243?lida y potente idea cobija, orienta y sostiene la conversaci\u243?n: \u8220?El arte como experiencia\u8221?. Hacia 1934, y como respuesta a lasconcepciones espiritualistas del arte, el fil\u243?sofo norteamericano John Dewey postulaba una noci\u243?n de \u8220?experiencia est\u233?tica\u8221? que relaciona el arte con lo cotidiano, con el cuerpo, con la actividad y con la creaci\u243?n. Para Dewey, el arte no es algo lejano, esot\u233?rico, sino que tiene un

a funci\u243?n en nuestras vidas. El arte es una actividad experiencial, tanto en su producci\u243?n como en su recepci\u243?n. Las experiencias est\u233?ticasson manifestaciones de nuestro potencial para desarrollar una vida mejor, m\u225?s digna, m\u225?s inteligente, m\u225?s justa.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEsta noci\u243?n corre el eje de la cuesti\u243?n del arte desde las obras hacialos sujetos creadores y el hacer:\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEl arte es una cualidad del hacer y de lo que ya se ha hecho. Solo exteriormente

puede ser designado con un sustantivo. En realidad es de naturaleza adjetiva, puesto que se adhiere a la manera y contenido del hacer. [\u8230?]\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEl producto del arte \u8211?templo, pintura, estatua, poema\u8211? no es la obrade arte, sino que esta se realiza cuando el ser humano coopera con el productode modo que su resultado sea una experiencia gozada a causa de sus propiedades liberadoras, ordenadoras (Dewey, 1934: 241).\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlPostular el arte como experiencia en la escuela, implica continuar desmontando l

entamente su car\u225?cter elitista para situarlo al servicio de lo humano y susensibilidad. Implica aunar en la ense\u241?anza intelecto y emoci\u243?n, sentimientos y raz\u243?n, poniendo en acci\u243?n todos los sentidos y el cuerpo, elcuerpo que juega, que late, y que tambi\u233?n duele. Se trata de un arte no solo para chicos talentosos, artistas considerados dotados o los intelectuales cr\u237?ticos de arte, porque para Dewey {\itodas} las personas est\u225?n en condiciones de participar de experiencias est\u233?ticas.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlAs\u237?, concebir el arte como experiencia en la escuela significa conocer y cr


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ear actividades, proyectos, propuestas en las que chicos, chicas y j\u243?venessean incitados a ocupar la escena en un movimiento que los involucre personalmente, \u237?ntimamente; que los convoque de modo genuino a la construcci\u243?n desentidos propios para repensarse y recrearse individual y colectivamente a trav\u233?s del arte. Los proyectos que se relatan, destacados en el \u237?ndice y en el desarrollo de los cap\u237?tulos, han sido escogidos por su potencia para \u8220?iluminar\u8221?, y quiz\u225?s inspirar, pr\u225?cticas de ense\u241?anzaque participan de esta perspectiva. Y amplificando la idea de experiencia, estelibro es tambi\u233?n el resultado del di\u225?logo y la colaboraci\u243?n de colegas que desempe\u241?an su tarea profesional en instituciones desde las que aportan sus perspectivas y reflexiones singulares, \u250?nicas. Marcelo G\u243?mez, desde su comprometida y original labor diaria en la ense\u241?anza de arte enuna escuela para chicos sordos e hipoac\u250?sicos; Valeria Traversa, que audazmente y un poco a contramano de los tiempos, desarrolla un exitoso proyecto de grabado con adolescentes; Delma Rodr\u237?guez, que transita el vertiginoso campode innovaci\u243?n en las artes mediales y la formaci\u243?n docente en espaciosvirtuales, y Mariana Luterstein, que brinda su mirada cr\u237?tica, experiencial y po\u233?tica desde el museo de arte.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlPor \u250?ltimo, estas p\u225?ginas son una invitaci\u243?n a redescubrir, encontrar, recuperar y poner en valor lo mejor de nuestras tradiciones y legados en relaci\u243?n con el arte en el d\u237?a a d\u237?a escolar. Una invitaci\u243?na reflexionar, desde nuevos marcos conceptuales, acerca del lugar del arte y su

estrecha vinculaci\u243?n con otras ense\u241?anzas y con la construcci\u243?n activa de una ciudadan\u237?a democr\u225?tica e inclusiva. Una insistente invitaci\u243?n a delinear, probar, componer, imaginar, inventar\u8230? porque de estose trata la ense\u241?anza y porque esta es, ante todo, una \u8220?obra en construcci\u243?n\u8221? que solo se completar\u225? en el encuentro con las experiencias est\u233?ticas de ustedes, lectores/creadores.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {\par\pard\hyphpar }{\page } {{\qr{\b1. EL ARTE COMO EXPERIENCIA}\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlDesde los inicios de nuestros sistemas educativos las \u8220?bellas artes\u8221?forman parte de la vida escolar y de la ense\u241?anza m\u225?s all\u225? de la

s clases destinadas espec\u237?ficamente a la formaci\u243?n art\u237?stica de los estudiantes.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEn la actualidad tambi\u233?n, numerosas pr\u225?cticas, nociones y producciones, ligadas al campo que ahora denominamos artes pl\u225?sticas y visuales, desbordan ampliamente su espacio curricular espec\u237?fico y constituyen una parte sustantiva del d\u237?a a d\u237?a escolar.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlSe trata de espacios, actividades, procesos, obras, materiales, modos de ver y de hacer en relaci\u243?n con el arte que se encuentran fuertemente arraigadas, que cuentan con un alto grado de naturalizaci\u243?n y que, sin embargo, son escasamente estudiados desde una perspectiva did\u225?ctica general.\par\pard\plain\

hyphpar}\par\pard\plain\hyphpar} {{\qlComo punto de partida para abordar esta cuesti\u243?n resulta primordial establecer, o al menos debatir, qu\u233? entendemos por arte, d\u243?nde hay arte, qu\u233? significados y sentidos le atribuimos individual y colectivamente. Hoy, lavariedad de los lenguajes art\u237?sticos, las innovadoras estrategias de producci\u243?n, los cambios en las configuraciones del arte y la cultura, las nuevasperspectivas te\u243?ricas y las discusiones acerca de las funciones que nuestrasociedad le asigna al arte, nos desaf\u237?an a revisar supuestos, conceptos, ideas y pr\u225?cticas.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {


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{\qlDesde el punto de vista educativo, cobran fuerza las discusiones acerca de qu\u233? tipo de saber es el arte, cu\u225?l es su valor formativo, qu\u233? relaci\u243?n existe entre el arte y otro tipo de conocimientos que transmite la escuela.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEl an\u225?lisis de las profundas rupturas y nuevos paradigmas que se produjeronen el siglo XX y una aproximaci\u243?n al arte contempor\u225?neo nos permitenexpandir las definiciones y \u225?mbitos de acci\u243?n. Asimismo, la noci\u243?n filos\u243?fica de \u8220?experiencia est\u233?tica\u8221? postulada por JohnDewey, nos brinda un s\u243?lido andamiaje conceptual para incorporar a la discusi\u243?n los procesos creativos y los sujetos como creadores situados social ypol\u237?ticamente.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlDesde estas perspectivas, es posible reconocer, legitimar y potenciar el papel formativo que el arte ya tiene y al mismo tiempo postular a la escuela \u8211?ensu sentido m\u225?s amplio\u8211? como el \u225?mbito por excelencia para imaginar y plasmar experiencias con el arte y en el arte ligadas fuertemente a lo vital, a la construcci\u243?n identitaria, la expresi\u243?n, la producci\u243?n y el conocimiento.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEn este sentido, pasan a ocupar un lugar de privilegio los componentes sensibles, visibles, materiales de la ense\u241?anza y cobran inter\u233?s formas de representaci\u243?n no ling\u252?\u237?sticas frecuentemente postergadas por la prim

ac\u237?a de las palabras. As\u237?, elementos constitutivos de la ense\u241?anza como el espacio f\u237?sico, libros de texto, materiales did\u225?cticos, recursos digitales se constituyen en magn\u237?ficas oportunidades para propiciar experiencias est\u233?ticas.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlPero el eje central de estas experiencias son nuestros estudiantes, con sus gustos, sus ideas, sus maneras de ver, interpretar y representar el mundo. Abordar el arte como experiencia en la escuela implica ense\u241?ar a los chicos, chicasy j\u243?venes a crear con sentidos propios, conectados consigo mismos pero a lavez involucrados con su entorno y con los otros; implica adem\u225?s asumir elreto de formarlos para que sean receptores l\u250?cidos, cr\u237?ticos, curiosos, informados, deseantes y capaces tambi\u233?n de vibrar de emoci\u243?n.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {

{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql{\bDE QU\u201? HABLAMOS CUANDO HABLAMOS DE ARTE}\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEn el a\u241?o 1913 el artista franc\u233?s Marcel Duchamp (1887-1968) coloc\u243? una rueda de bicicleta sobre un banquito de cocina y, junto con la rueda, ech

\u243? a andar una pregunta que a\u250?n hoy sigue rodando: \u191?esto es arte?\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlDurante siglos, los cuadros enmarcados y colgados en la pared y las esculturas en sus pedestales hab\u237?an sido los referentes casi un\u237?vocos para la palabra \u8220?arte\u8221? en el mundo occidental. La delimitaci\u243?n del campo art\u237?stico atend\u237?a no solo a las piezas que lo constitu\u237?an sino tambi\u233?n a los modos de contemplar, apreciar y gozar del arte. {\iRueda de bicicleta} plante\u243? a principios del siglo XX una dificultad: los par\u225?metros est\u233?ticos convencionales, que se utilizaban hasta ese moment


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o, resultaban in\u250?tiles para mirar o comprender este artefacto.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlObjetos industriales, de uso com\u250?n, como un secador de botellas y el ya famoso mingitorio \u8211?denominados {\iready made} hacia 1915\u8211?, cuando son exhibidos en un contexto art\u237?stico, incitan a cuestionarnos acerca de las cualidades sensibles de una obra de arte. Marcel Duchamp explica que en estas obras lo que se ve no es lo m\u225?s importante, \u233?l ha elegido estos objetos justamente por su \u8220?indiferencia est\u233?tica\u8221?, es decir que no poseen ninguna cualidad est\u233?tica notable, no portan ning\u250?n atractivo particular, no hay ninguna evidencia intr\u237?nseca, propia de la obra, que nos permita otorgarle el estatuto de arte.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlMientras que para el arte \u8220?tradicional\u8221? el placer est\u233?tico reside en una experiencia fuertemente ligada al placer sensorial, este enfoque traela noci\u243?n de un placer racional. As\u237?, la conjunci\u243?n entre sensibilidad y concepto articulan una nueva perspectiva de arte tanto para los creadores como para los espectadores. Esta cuesti\u243?n abre paso a un nuevo paradigma(Gyldenfelt, 2008).\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEl fil\u243?sofo y cr\u237?tico de arte Arthur C. Danto (n. 1924), marca otro hi

to para la ruptura con las normativas art\u237?sticas del arte acad\u233?mico, yla perspectiva de las bellas artes: {\iCaja de jab\u243?n Brillo (Brillo Box),} obra de Andy Warhol (1928-1987) del a\u241?o 1964. La obra consiste en una serie de cajas confeccionadas con prismas demadera pintadas y serigrafiadas con colores acr\u237?licos, de 50 x 50 x 38 cmen las que se reproducen el logo y las descripciones del envase del jab\u243?n:\u8220?24 paquetes gigantes\u8221?, \u8220?esponjas con jab\u243?n resistentes al \u243?xido\u8221?, \u8220?saca brillo al aluminio r\u225?pido\u8221?.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlNo hay nada que distinga en apariencia {\iBrillo Box} de las cajas de jab\u243?n del supermercado. Entonces, si son aparentemente iguales, \u191?por qu\u233? las cajas de Warhol son una obra de arte y l

as que yo tengo en mi lavadero no? \u191?Cu\u225?l es la diferencia entre una obra de arte y una mera cosa?\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlSeg\u250?n explica Danto en su libro {\iLa transfiguraci\u243?n del lugar com\u250?n}, estas cajas, han sido desligadasde su funci\u243?n, y ocupan ahora otra entidad al ser presentadas como obras dearte en el marco de una exhibici\u243?n. Se trata de objetos que han ingresadoa un nuevo contexto. Si bien son indiscernibles en t\u233?rminos de percepci\u243?n, no lo son en t\u233?rminos de interpretaci\u243?n. Es necesario entonces hacer un giro desde la experiencia sensible hacia el pensamiento. Una obra de arterequiere de un esfuerzo de interpretaci\u243?n, mientras que una cosa no.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql

La concepci\u243?n enunciada por Danto tiene importantes consecuencias para el campo de la educaci\u243?n, esta manera de entender la obra de arte requiere un nuevo tipo de espectador que pueda desarrollar competencias interpretativas que remiten a la historia del arte, las teor\u237?as del arte, la filosof\u237?a.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEn el pasado han surgido y se han desarrollado m\u250?ltiples formas de arte, algunas sensibles o \u8220?retinianas\u8221?, como las denominaba despectivamenteDuchamp, otras conceptuales vinculadas necesariamente a su interpretaci\u243?n.Theodor Adorno (1903-1969), fil\u243?sofo alem\u225?n, m\u225?ximo representante


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de la escuela de Frankfurt, se\u241?alaba en su \u250?ltima obra del a\u241?o 1969, {\iTeor\u237?a est\u233?tica}:\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlHa llegado a ser evidente que nada referente al arte es evidente, ni en \u233?lmismo, ni en relaci\u243?n con la totalidad, ni siquiera en su derecho a la existencia. En arte todo se ha hecho posible, se ha franqueado la puerta a la infinitud y la reflexi\u243?n tiene que enfrentarse a ello (Adorno, 1980: 9).\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEl siglo XX inicia una \u233?poca de profundos cambios y nuevos paradigmas paraabordar el hecho art\u237?stico, en este contexto, cobra fuerza una pregunta quenos resulta muy af\u237?n: \u191?los dibujos que realizan los ni\u241?os y lasni\u241?as desde muy temprana edad, son arte? En el a\u241?o 1887 Corrado Ricci(1858-1934) publica en Italia {\iL\u8217?arte dei bambini} e instala la pol\u233?mica sobre si considerar arte ono a este tipo de creaciones. Ricci, especialista en cuestiones de historia delarte, arqueolog\u237?a y museolog\u237?a, explor\u243? e investig\u243? la cultura infantil y fue quien reconoci\u243?, por primera vez en la historia, que el dibujo infantil posee un encanto especial que lo sit\u250?a muy cerca de la expre

si\u243?n art\u237?stica. Sosten\u237?a que el ni\u241?o no representa lo que vesino lo que sabe y recuerda, dibuja lo que m\u225?s le impacta o interesa, ponesu atenci\u243?n en los detalles, las particularidades y sus impresiones moment\u225?neas. Para Ricci, la representaci\u243?n gr\u225?fica infantil no constituye un problema \u243?ptico sino una cuesti\u243?n mental, emotiva (Effland, 1990; Genari, 1997).\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEn sinton\u237?a con los desarrollos de la psicolog\u237?a, la pedagog\u237?a ylas nuevas definiciones de infancia, las vanguardias art\u237?sticas \u8220?hist\u243?ricas\u8221? \u8211?de las primeras d\u233?cadas del siglo XX\u8211? asumen la defensa del arte infantil. Todos los aspectos que hasta entonces hab\u237?an sido considerados negativos, como la espontaneidad, la emotividad, la solturadel trazo, ver el mundo sin ataduras ni preconcepciones esteticistas, comienzan

a ser valorados y definidos como pertenecientes al campo art\u237?stico. El artista y educador vien\u233?s Franz Cisek (1865-1946), vinculado al movimiento de la Secesi\u243?n vienesa, fue uno de los muchos que tom\u243? como inspiraci\u243?n las creaciones infantiles y sostuvo enf\u225?ticamente que los ni\u241?os eran artistas. En el a\u241?o 1908 particip\u243? de una exposici\u243?n en Viena en cuya entrada se expusieron numerosas obras infantiles de su colecci\u243?n, otorg\u225?ndoles as\u237? el estatuto de obras de arte. A m\u225?s de cien a\u241?os, este debate sigue en pie. \u191?Todas las expresiones infantiles son arte?\u191?Todas las creaciones de ni\u241?os y ni\u241?as tienen el mismo valor? \u191?Es posible hablar hoy de \u8220?un\u8221? arte infantil?\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {

{\ql{\bDefiniciones en contexto. El arte contempor\u225?neo}\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlHasta aqu\u237?, resulta evidente que la perspectiva hist\u243?rica es fundamental para alcanzar una definici\u243?n de arte. Pero tambi\u233?n es requisito establecer un marco referencial espacial, territorial, sociocultural para abordar l


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a cuesti\u243?n. Las teor\u237?as y perspectivas acerca de qu\u233? es arte, qu\u233? no lo es, qu\u233? arte valoramos y por qu\u233?, han estado atravesadas fuertemente por el pensamiento eurocentrista. Desde el Renacimiento, la cultura europea occidental estableci\u243? su identidad a partir de su diferenciaci\u243?n con lo que no es, con lo que no quiere ser, definiendo como arte primitivo, arte ex\u243?tico o arte ingenuo las creaciones no europeas. Esta mirada implic\u243? tambi\u233?n etiquetar como \u8220?arte\u8221? a artefactos, acciones y representaciones que obedecen a otras l\u243?gicas e intenciones en sus propios contextos (usos rituales, ceremoniales) y a desestimar otros, por ejemplo las visiones de la est\u233?tica cl\u225?sica japonesa incluyen los jardines, la caligraf\u237?a, las espadas y la ceremonia del t\u233? (Berger, 2000; Feeland, 2003).\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlSi bien nociones como primitivismo y exotismo para referirse al arte no europeoya est\u225?n en desuso, algunas categorizaciones como \u8220?arte latinoamericano\u8221?, \u8220?arte australiano\u8221?, \u8220?arte africano\u8221? \u8211?que amontonan y homogeneizan una ampl\u237?sima variedad de expresiones\u8211? a\u250?n se utilizan y circulan como potentes estereotipos en los medios de comunicaci\u243?n que consumen habitualmente nuestros estudiantes.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEl escritor mexicano Juan Villoro (1956) da cuenta, mordazmente, de esta situaci\u243?n en su cuento \u8220?Amigos mexicanos\u8221?. En este relato de ficci\u243?n, un periodista norteamericano quiere establecer \u8220?un contacto fragoroso

con el verdadero pa\u237?s de Frida\u8221?, y para esto contrata a un colega mexicano:\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlMe contrat\u243? como su contacto hacia lo genuino. Pero me cost\u243? trabajo satisfacer su apetito de autenticidad. Lo que yo le mostraba le parec\u237?a o bien un colorido montaje para turistas, o un espanto sin folklor. \u201?l deseabauna realidad como los \u243?leos de Frida: espantosa pero \u250?nica. No entend\u237?a que los afamados trajes regionales de la pintora ya solo se encontraban en el segundo piso del Museo de Antropolog\u237?a o en rancher\u237?as extraviadas donde nunca eran tan lujosos ni estaban tan bien bordados. Tampoco entend\u237?a que las mexicanas de hoy se depilan el honesto bigote que a su juicio convert

\u237?an a F. K. en un \u237?cono bisexual (Villoro, 2008: 80).\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qlEn este sentido, son numerosas las manifestaciones art\u237?sticas contempor\u225?neas que exponen fuertes cuestionamientos y posicionamientos cr\u237?ticos ante cualquier supremac\u237?a art\u237?stica o cultural. En la escena art\u237?stica actual, son m\u250?ltiples las expresiones que abordan aspectos identitarios,territoriales, culturales, pol\u237?ticos, \u233?tnicos, comunitarios, de g\u233?nero. A modo de ejemplo, en el a\u241?o 2010, en el marco de las celebracionespor el Bicentenario de la Rep\u250?blica Argentina, se desarroll\u243? la muestra titulada {\i

Mujeres 1810-2010} (1). La exposici\u243?n indaga y problematiza la historia delas mujeres a trav\u233?s de testimonios hist\u243?ricos y numerosas obras de artistas contempor\u225?neos que abordan el tema desde la belleza, la iron\u237?ao la provocaci\u243?n. En el sector destinado al Trabajo, una serie de obras trata la invisibilidad de las tareas dom\u233?sticas, all\u237? se expuso {\iTejedora} (2005) de la artista Liliana Porter (n. 1941), perteneciente a la serie {\iTrabajos forzados}. La obra presenta sobre un estante blanco la figura diminutade una tejedora sentada encima de un peque\u241?o cubo de madera. Ella sostienedos agujas y un ovillo de lana roja con el que va conformando un enorme g\u233?n


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ero que, en relaci\u243?n con ella, es como un mar rojo. Debido a la escala y ala desproporci\u243?n entre la peque\u241?a se\u241?ora y su gigantesco tejido,en esta exquisita pieza la labor manual, rutinaria, adquiere la envergadura de una haza\u241?a.\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\ql\par\pard\plain\hyphpar}\par\pard\plain\hyphpar} {{\qc

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13/1862

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14/1862

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15/1862

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16/1862

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


17/1862

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


18/1862

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19/1862

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20/1862


21/1862


22/1862

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23/1862

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24/1862

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25/1862

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26/1862

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


27/1862

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Documents

El Arte en La Ensenanza - Gabriela Augustowsky