Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This essay seeks to reflect on what it means to be a teacher today. Dialogues are established between the words of those currently in government in our country and some thoughts and feelings about our task. We ask ourselves some questions: what are we going to teach now that we don't know what to teach anymore? What is or what should be the teaching role in the current socioeconomic context? What does it mean to be a teacher here and now? Why do things happen as they do? What is our responsibility for the present? What commitment do we want/can we assume? Reflection on the teaching profession is intertwined here with: the historicization of the Argentine educational system, neoliberal policies and their impact on education, possible actions around teaching and learning, and the inherent politicization of all teaching practice. With free, vital, and spontaneous writing —but not therefore less rigorous or profound in its approaches— this essay reflects on teaching from a perspective situated in the present. In order to share ideas to make education —today— an act of justice.

This article focuses on the creation of new audiences as a result of a process based simultaneously on reflection and practice in cultural management. In November 2020, Vi luz y entré was founded in the city of Córdoba, which gave rise to the Club de Espectadorxs for young people between the ages of 18 and 25 who are starting out in the expectation of performing arts. We propose that when it comes to inexperienced spectators, the fact that the process of involvement (Brown, 2017) is shared among peers, allows the experience of expectation to be experienced as a social practice, that the meanings of the aesthetic experience are enhanced and that going to the theater as a cultural practice (Bourdieu, 2012) is incorporated as a habit. Finally, we reflect on whether it is possible to form spectators from a non-pedagogical point of view, based on affective ties and a sense of belonging? And what practices empower and emancipate audiences? These questions are addressed throughout the article in a reflective exercise from the practice of the case, with the aim of systematising the strategies of artistic mediation and audience involvement developed with new performing arts audiences.

In this paper we investigate the affective life in independent art, specifically in the contemporary dance world of the Paravachasca Valley (Córdoba, Argentina), from a collaborative ethnographic work of observant participation in the Cantorodado group, between the years 2018-2022. Situated in the Social Studies of Art and the affective turn, we make a thick description of the sensitive territory of this art world, distinguishing some of the vectors that compose it, as real types: a way of (earning the) collective life, an ethic of care and an affective atmosphere of enthusiasm. We use an analytical proposal that moves in the tension between analytic-individual and analytic-force, between the relative freedoms of the agents and the structuring structures of subjection. We contribute at the understanding of the affective life of independent contemporary dance and independent art as a way of (earning a) living, from specific aspects linked: morality, friendship, management, wellness and gift. Acknowledging that the analytical proposal used can mean a contribution to the study of the affective life.

The language of puppets/objects seems to be one of those languages that operates with known coordinates and with recurring functionalities, however, each production has contingent characteristics and that results in the complexity to systematize and analyze. In this article we will propose a link between public space and scales to analyze four performances with very unique features: a proposal for puppets to present in hospitals, a Theater for Identity project with puppets that collaborates with the search for grandsons and granddaughters, a street proposal with surprising implications and a conversion of rammed earth into an altarpiece to embrace childhood within the framework of quarantine in times of pandemic. Affectivity, resistance, teaching in the key of puppeteer/object language.

This essay proposes a reading of the practices of artists Tau Luna Acosta, Verena Melgarejo Weinandt and Rita Ponce de León based on a cross-reference with tools and methodologies from sociology, philosophy and pedagogy by authors such as Silvia Rivera Cusicanqui, Gloria Anzaldúa, Marie Bardet and bell hooks. In order to exemplify the diverse ways in which these ideas land in the works of Acosta, Weinandt and Ponce de León, I will analyze a selection of installations, videos, drawings and workshops that allow us to understand their practice beyond the material results, where the process has more or equal relevance than the final result. Taking their own experience as migrants to other countries, I will also contemplate processes of collective memory and identity construction as themes that are problematized in different ways in their work. The goal is to show how their artistic practices materialize tools from other disciplines in order to generate transforming, healing and alliance-building experiences among the people who participate, resulting in processes that aim to generate complicity and solidarity beyond the work and its formal exhibition.

The Barda Museum of the Desert [mBDD] extends over a territory of seventy hectares, in the municipality of Contralmirante Cordero, in the province of Río Negro, northern Patagonia, Argentina. It is an independent platform for production, training and dissemination, which promotes transdisciplinary research and highlights the different methodologies of science, architecture and arts. Its perspective, as an eco-museum, is linked to cultural geography and its relationship with the social, community, environmental and territorial questions of the region. The mBDD seeks to provoke and promote the democratization and dissemination of contemporary, sustainable and art-educational cultural projects. Within the framework of the incorporation of the work “The museum is a school” to the mBDD collection, during the period 2023-2025, loaned by Luis Camnitzer’s will and the Alexander Gray Associates gallery, New York, what follows is a conversation with the artist which began in the meeting of several questions at the same time: what challenges do museums face today? What about art? How do museums reach the collective sensitivity? What is important to point out from artistic practice? Can school exceed the limits of teaching? How do we inhabit the dimension of delirium and fantasy?

The invitation to coordinate this dossier came from the hand of a research project that we started in the year 2023, integrated by teaching colleagues, students and graduates of the Visual Arts career. It began in a classroom and, as such, it was sketched from the questions that emerged from the teaching practice located there, but also from the questions that the pandemic brought us, in terms of isolation and the absence of a space to share. The return to face-to-face attendance made us return to the familiar normality, even though we knew, from our own experience, that those years of scarce contacts brought with them a significant amount of changes. In planning programs, methodologies, activities and, above all, foreseeing possibilities and difficulties of coexistence, the pandemic period enhanced our attention to the links that occur in the practice of teaching; which would be equivalent to translating them in relation to affectivity and pedagogy, as well as resistance. From there, the tenth issue of this journal was presented to us as an opportunity to organize a mapping of events, readings, conversations and pedagogical practices that work from these crossings.  

On different occasions, university art education has been involved in debates about its own models. In this regard, the aims, methodologies and evaluation systems are discussed, resulting in the development of different plans and programs. To address these matters, in September 2023, at the XXVI Jornadas de Investigación en Artes at the Centro de Producción e Investigación en Artes (CePIA), of the Facultad de Artes of the Universidad Nacional of Córdoba (Argentina), a round table or conversation was held under the title “Tensions between artistic and educational imaginaries in the university context.” In this context of exchanging of teaching and research experiences, I shared some insights based located in the Facultad of Bellas Artes of the Universidad Complutense of Madrid. This text groups the notes presented at that meeting into three sections: 1) university assignments in European modernity and some current considerations; 2) the names and roles of the people who participate in the teaching and learning process in a context of apparent depersonalization; and 3) the task of opening spaces for conversation.  

Cuaderno de Notas de América Imaginaria is an interactive installation composed of two simultaneous video projections and a light table in the center used as a support so that visitors can draw their experience around the work. This installation was born as a collaboration of the Story Cooperative, Media Arts and Popular Communication Project, directed by Mariana Carrasco (Valdivia), for the cycle of exhibitions Bordear La Bestia, Imaginarios y Oficio Textil en Tierras y Tramas, by the artist Ana Karina P. Castro.

Asterisca is a series of drawings that emphasize the artistic practice at the same time as a university note -a publication that contains them- on the teaching and learning of drawing, used in the course Drawing IV (Visual Arts, Faculty of Arts, National University of Córdoba).The purpose of this text is to investigate the relationship between artistic practice and teaching practice. We will focus particularly on describing Asterisca, we want to explore the links between drawing as a subject taught in the academy and drawing as a contemporary artistic practice. Towards the end we are going to ask ourselves more specifically about the between of being an artist and a teacher in the arts.