Outras agendas em mediação cultural
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Data
2019-08-08
Autores
Oliveira, Lucas Silva de [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
À luz das ideias de Carmen Mörsch, esta pesquisa apresenta uma reflexão sobre abordagens críticas em mediação cultural por meio do relato do seu próprio autor, um dos mediadores implicados na transição do modelo pedagógico do Museu de Arte de São Paulo Assis Chateaubriand (MASP), entre 2015 e 2017. A pesquisa analisa tanto a escolha institucional do MASP por romper com o modelo das visitas guiadas, como duas das alternativas a esse modelo de trabalho com escolas, desenvolvidas em paralelo à ruptura, sendo elas projetos colaborativos com escolas e programas de formação e interlocução com professores. Ao longo da análise, saltam alguns fundamentos dessa abordagem crítica, aqui denominados como outras agendas: a produção de memória do trabalho desenvolvido com os públicos; a implicação nas agendas sociais manifestas no entorno dos museus; e a criação de políticas culturais por meio das quais os públicos são entendidos como interlocutores, não como receptores, de modo a abrir os museus para a participação dos públicos na construção das suas narrativas sobre a cultura. Com base nesses fundamentos e nas apostas, conquistas e entraves do trabalho de interlocução entre o MASP e as escolas, a mediação é investigada nesta pesquisa como vetor para a criação de outra ética na relação entre museus e públicos.
In the light of the ideas of Carmen Mörsch, this research presents a reflection on critical approaches in cultural mediation through the author's own account, one of the mediators involved in the transition of the pedagogical model of the São Paulo Art Museum Assis Chateaubriand (MASP) between 2015 and 2017. The research analyzes both the institutional choice of MASP to break with the model of guided visits, and two of the alternatives to this model of working with schools, developed in parallel to the rupture, being they collaborative projects with schools and programs of training and interlocution with teachers. Throughout the analysis, some fundamentals of this critical approach, here denominated like other agendas, jump: the production of memory of the work developed with the public; the implication in the social agendas manifest in the surroundings of the museums; and the creation of cultural policies through which audiences are understood as interlocutors, not as recipients, in order to open museums for public participation in the construction of their narratives on culture. Based on these foundations and the bets, achievements and obstacles of the interlocution work between the MASP and the schools, mediation is investigated in this research as a vector for the creation of another ethic in the relationship between museums and publics.
In the light of the ideas of Carmen Mörsch, this research presents a reflection on critical approaches in cultural mediation through the author's own account, one of the mediators involved in the transition of the pedagogical model of the São Paulo Art Museum Assis Chateaubriand (MASP) between 2015 and 2017. The research analyzes both the institutional choice of MASP to break with the model of guided visits, and two of the alternatives to this model of working with schools, developed in parallel to the rupture, being they collaborative projects with schools and programs of training and interlocution with teachers. Throughout the analysis, some fundamentals of this critical approach, here denominated like other agendas, jump: the production of memory of the work developed with the public; the implication in the social agendas manifest in the surroundings of the museums; and the creation of cultural policies through which audiences are understood as interlocutors, not as recipients, in order to open museums for public participation in the construction of their narratives on culture. Based on these foundations and the bets, achievements and obstacles of the interlocution work between the MASP and the schools, mediation is investigated in this research as a vector for the creation of another ethic in the relationship between museums and publics.
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Palavras-chave
Mediação cultural, Mediação crítica, Processos colaborativos, Formação de professores, Artes visuais, Cultural mediation, Critical mediation, Collaborative processes, Teacher training, Visual arts