<\/p>\n
Um Servi\u00e7o voltado para a cultura contempor\u00e2nea e um centro de educa\u00e7\u00e3o pela arte dedicado \u00e0s crian\u00e7as num museu que \u00e9 um centro de cultura<\/strong><\/p>\n Ao contr\u00e1rio do que aconteceu numa s\u00e9rie de pa\u00edses europeus, onde no P\u00f3s II Guerra Mundial foram constru\u00eddos museus de arte moderna, sinal de democracia e liberdade, em Portugal, devido ao regime de Salazar e Caetano, esta constru\u00e7\u00e3o aconteceu j\u00e1 na d\u00e9cada de 1980, por iniciativa da Funda\u00e7\u00e3o Calouste Gulbenkian. Assim, o Centro de Arte Moderna (CAM) da Funda\u00e7\u00e3o Calouste Gulbenkian, inaugurado em 1983, viria a ser, na pr\u00e1tica, o primeiro museu de arte moderna do pa\u00eds com uma colec\u00e7\u00e3o, reunida desde 1958, refor\u00e7ada e organizada para esta ocasi\u00e3o.<\/p>\n Pensado como um centro de arte e n\u00e3o como um museu, o CAM inclu\u00eda uma sala polivalente, um anfiteatro ao ar livre, uma sala de exposi\u00e7\u00f5es tempor\u00e1rias e um pavilh\u00e3o para crian\u00e7as. A actividade que tinha lugar\u00a0para l\u00e1 das galerias\u00a0do museu era da responsabilidade do Servi\u00e7o de Anima\u00e7\u00e3o, Cria\u00e7\u00e3o Art\u00edstica e Educa\u00e7\u00e3o pela Arte (ACARTE). V\u00e1rias temporalidades parecem coexistir: a promessa realizada de uma vontade de ter um museu de arte moderna vinda da d\u00e9cada de 1950\/1960; alojada num espa\u00e7o arquitect\u00f3nico caracter\u00edstico da d\u00e9cada de 1970 e inaugurada na d\u00e9cada de 1980, o CAM; e albergando no seu interior um Servi\u00e7o, o ACARTE, em sintonia com os esfor\u00e7os de cria\u00e7\u00e3o de uma \u201cEuropa da Cultura\u201d da d\u00e9cada de 1990; e que se poderia entender como prefigurando a viragem curatorial em direc\u00e7\u00e3o ao discursivo e ao performativo que tem lugar j\u00e1 em 2000.<\/p>\n O ACARTE pode igualmente entender-se como o culminar de duas d\u00e9cadas de investiga\u00e7\u00e3o em Educa\u00e7\u00e3o pela Arte e Educa\u00e7\u00e3o Art\u00edstica, pois a sua Fundadora e primeira Directora, Madalena Perdig\u00e3o, n\u00e3o apenas criou a Orquestra, o Coro e o Ballet Gulbenkian, como foi respons\u00e1vel pela reforma do Conservat\u00f3rio, em 1971, e por um projecto falhado de reestrutura\u00e7\u00e3o do Ensino Art\u00edstico Nacional, em 1978. Uma hist\u00f3ria intrincada liga assim as experi\u00eancias em Educa\u00e7\u00e3o pela Arte levadas a cabo na Gulbenkian antes da Revolu\u00e7\u00e3o, a reforma do conservat\u00f3rio, a falhada reestrutura\u00e7\u00e3o do Ensino Art\u00edstico Nacional e o regresso de Perdig\u00e3o \u00e0 Funda\u00e7\u00e3o Calouste Gulbenkian em 1984. Neste sentido, a actividade do ACARTE na d\u00e9cada de 1980 continua as experimenta\u00e7\u00f5es pedag\u00f3gicas da d\u00e9cada de 1960. Mas n\u00e3o apenas: esta actividade pode tamb\u00e9m ser entendida no cruzamento entre uma s\u00e9rie de pr\u00e1ticas de curadoria e programa\u00e7\u00e3o. Ao pautar a sua ac\u00e7\u00e3o por uma \u201caten\u00e7\u00e3o \u00e0 falta\u201d, o ACARTE ter\u00e1 desenvolvido uma forma particular de albergar propostas est\u00e9ticas e pol\u00edticas geralmente atribu\u00eddas a per\u00edodos distintos, abrindo-se \u00e0s diferentes percep\u00e7\u00f5es que os contempor\u00e2neos teriam do seu momento hist\u00f3rico. Torna-se, como tal, um caso de estudo exemplar no que diz respeito a modernidades descentradas.<\/p>\n Estruturando-se como uma lente para observar o ACARTE na d\u00e9cada de 1980, a\u00a0Timeline Digital ACARTE 1984-1989<\/a>, composta exclusivamente para este fim, procura abrir a ac\u00e7\u00e3o deste Servi\u00e7o a investiga\u00e7\u00f5es futuras, sendo parte integrante da investiga\u00e7\u00e3o publicada em\u00a0Uma Curadoria da Falta: O Servi\u00e7o ACARTE da Funda\u00e7\u00e3o Calouste Gulbenkian 1984-1989<\/i>\u00a0<\/i><\/span><\/a>(Lisboa: Sistema Solar, 2021),\u00a0<\/span><\/i>em que se\u00a0procura situar este Servi\u00e7o no seu contexto de emerg\u00eancia, prestando particular aten\u00e7\u00e3o aos modos como a sua ac\u00e7\u00e3o contribui para uma reconfigura\u00e7\u00e3o da experi\u00eancia da corporalidade que por estes anos tem lugar.<\/p>\n<\/div>\n Unlike several European countries where modern art museums were built in the 1950s\/1960s following World War II as a symbol of democracy, Portugal\u2019s economic conditions (the country was drained by the colonial wars) and Salazar\u2019s rule would only allow for the construction of a modern art museum in the 1980s under the private initiative of the Calouste Gulbenkian Foundation, shortly before Portugal joined the European Economic Community. The Gulbenkian\u2019s Centro de Arte Moderna [CAM \u2013 Modern Art Center] opened in 1983, and it was the first modern art museum in Portugal.<\/p>\n Thought of as an art center rather than a museum, CAM included a multi-purpose hall; an open-air amphitheater; a temporary exhibition hall and a children\u2019s art center. The activity taking place\u00a0beyond the exhibitions gallery\u00a0where the museum was lodged was the responsibility of ACARTE, the Gulbenkian Foundation\u2019s Department of Artistic Creation and Art Education. Several temporalities seem to be at stake. Schematically: CAM was a promise from the 1950\/60s that was fulfilled; placed in an architectonic archetype from the 1970s; which opened in the 1980s; hosting the ACARTE Department, whose curatorial approach \u2013 mainly focused on performance, dance, theatre and relational events \u2013 could be seen as prefiguring the curatorial discursive and performance turn of the 2000s.<\/p>\n ACARTE can also be thought of as the culminating point of two decades of research on Education through Art and Artistic Education. Its founder and first director Madalena Perdig\u00e3o not only founded the Gulbenkian Orchestra, Chorus and Ballet, but was also responsible for the reform of the national conservatory school in 1971 and for a failed reorganization project of the national artistic education in 1978, after the 1974 Revolution.<\/p>\n There is thus an intricate history linking the pedagogic experiments prompted by the Gulbenkian Foundation before the 1974 Revolution, the reform of the national conservatory school, Perdig\u00e3o\u2019s failed efforts towards restructuring the National Art Education, and her return to the Gulbenkian Foundation as ACARTE Director in 1984. Hence, ACARTE\u2019s activities in the 1980s are directly related to the 1960s\u2019 experiments in pedagogy. But not exclusively: the department\u2019s activities can also be looked at as being at the crossroads between a series of curatorial and programming practices. By basing its activity on the need to attend to what \u201cis missing\u201d ACARTE developed a particularly attentive way of moving through aesthetic and political proposals usually allocated to different time spans, thus accounting for the different perceptions its contemporaries had of their time. As such, ACARTE is a superb case study with regard to decentered modernities.<\/p>\n Organized as a lens to look into ACARTE through the 1980s, this work is divided into two parts: Text and\u00a0Digital Timeline ACARTE 1984-1989. If the latter, a digital archive, aims at opening up ACARTE\u2019s activity to future researches, the first aims at situating this Department in its context of emergence. It pays particular attention to the ways in which ACARTE can be seen as a major event for the reconfiguration of the subject\u2019s experience of corporeality that was taking place by then.<\/p>\n Structured as a lens through which to observe the Servi\u00e7o de Anima\u00e7\u00e3o, Cria\u00e7\u00e3o Art\u00edstica e Educa\u00e7\u00e3o pela Arte [Animation, Artistic Creation and Education Through Art Department]\/ACARTE\u00a0in the 1980s, the Digital Timeline ACARTE 1984-1989, composed exclusively for this purpose, seeks to open up future research on ACARTE and the portuguese cultural recent history. Originally crafted as a part of the research work\u00a0published in\u00a0(Sistema Solar, 2021) aims at situating\u00a0situate this Service in its context of emergence, paying particular attention to the ways in which its action contributes to a reconfiguration of the experience of corporeality that takes place in the portuguese 1980s.<\/p>\n","protected":false},"excerpt":{"rendered":" Um Servi\u00e7o voltado para a cultura contempor\u00e2nea e um centro de educa\u00e7\u00e3o pela arte dedicado \u00e0s crian\u00e7as num museu que \u00e9 um centro de cultura Ao contr\u00e1rio do que aconteceu numa s\u00e9rie de pa\u00edses europeus, onde no P\u00f3s II … Ler mais
\nACARTE, a Department focused on contemporary culture and a centre for education through art aimed at children in a museum that is a cultural centre: Madalena Perdig\u00e3o\u2019s ACARTE<\/strong><\/p>\n