Session Information
20 SES 10 B, Museum Education and Intercultural Competences
Paper Session
Contribution
Museum, as a state institution, accessible to all audiences, is a recent phenomenon in the west. The social changes of the last half century put the issue of public access to art in the research agenda and the education in museums becomes a matter for reflection and study. However, one may question the geographical extension of this statement, by inquiring the process of construction and placement of a new cultural project – a contemporary art gallery – in a post-community country.
This paper lies on an ongoing Ph.D. research project in which we analyse the emergence of a political agenda for education in cultural contexts, developed in the first decade of the 21st century at the global, regional and national levels of policymaking (Cortesão, et al 2001). That analysis is used as a framework to question how the same global and regional trends are translate into local educational strategies, programmes, disclosures and social-pedagogical practices in cultural institutions. Therefore our main aim, in this project, is to widen the research universe on the cultural field, through the comprehension of the role of cultural institutions, as Stoer (2001) argues, in the construction of contemporary educational pathways in the European space.
The end of the two ideological blocks and the re-independence of the former soviet republics allow the enlargement of the European project. At the same time, it also dictated the globalisation of the capitalist system and the subsequent expansion of its forms of culture production and sociocultural features. Despite Globalisation appear as monolithic and uniform, the complex local-global dialectic has been creating social phenomena that can not be analysed independently from the local social, political, economical and cultural context (Sousa Santos, 2002).
Thus, the post-communism Lithuanian is marked by major transformations in all contexts, including radical changes in the artistic paradigm from which emerge new art institutions – i.e. the Contemporary Art Centre (CAC). Occupying the former Palace of Exhibition, dedicated to the Socialist Realism and propaganda, this museum was transformed into a white cube (Trilupaitytė & Jablonskienė, 2007) or even as one can stress into a black box – due to the strong investment on video art.
If the western literature has been stress the increasing importance of the museums and the paradigmatic shift from a museological policy centred on the object – acquisition and conservation – to a policy focused on the audiences and on their possibility of fruition (Hooper-Greenhill, 1997); which has been the role played by this new cultural institution, dedicated to contemporary art, in a post-communist country? How has this institution being address its educational role, if it does? Has CAC being occupy a place of an imaginary museum for contemporary art, as Skaidra Trilupaitytė stress? Or even, does CAC have been challenging the fears of the Lithuanian society towards the globalization and europeization (Samalavicius, 2005)?
CAC trace the transformation from the soviet artist's union exhibition hall to an international style gallery, dealing with a subsequent resistance, but also becoming a meeting place to question the new Lithuanian and a place to develop the art in respond of that flourishing context (Kuizinas & Fomina, 2007).
Method
Expected Outcomes
References
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