WEEK10

Regarding recent readings of the ‘educational turn’ taken by curatorial practice of contemporary art, that these ideas particularly resonate with the interests of my own research, namely how artistic spaces can double as transformative environments for education. My proposal entails promoting audience interaction and participation in exhibitions to enhance their educational value, which aligns well with the idea of expanding the role of the space art museums to turn away from mere exhibitions and become vibrant educational centres.

These readings, like the one on the Serpentine Gallery initiative, provide examples that prove how art can be a powerful tool to increase participation and education within the community. Not only would this approach broaden audience experiences, but also democratise the arts, making them more inclusive and reflective of societal issues and dynamics. Indeed, O’Neill and Wilson (2012) state that this interactive approach “challenges the traditional roles of audience and creator, promoting participatory and immersive ways of engaging with the arts.”

What inspires my project is the potential for art galleries to go beyond passively harbour artworks and actively use them as catalysts for dialogue and learning. In the same vein, in the future curatorial projects I envision transform the gallery into a classroom of sorts, where each exhibition creates an opportunity to educate and engage on a deeper and more meaningful level. This would completely deviate from traditional conceptions of art and its societal role, with the gallery becoming, in Bishop’s words, “an educational space [which] challenges the passive consumption of art and encourages audiences to be more proactive in their engagement” (2012).

References:

· Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso Books.

· O’Neill, P., & Wilson, M. (Eds.). (2012). Curating and the Educational Turn. Amsterdam: De Appel Arts Centre & Open Editions.