{"id":863,"date":"2010-12-27T03:43:50","date_gmt":"2010-12-27T10:43:50","guid":{"rendered":"https:\/\/curatoriaforense.net\/niued\/?p=863"},"modified":"2013-12-28T14:55:43","modified_gmt":"2013-12-28T21:55:43","slug":"rise-clinic-01-horizontal-pedagogical-models","status":"publish","type":"post","link":"https:\/\/curatoriaforense.net\/niued\/?p=863","title":{"rendered":"The Rise of the Clinic 01 :: Horizontal Pedagogical Models"},"content":{"rendered":"

\"\"
\n<\/a><\/p>\n

SPARRING TOUR 2009<\/strong>
\nBarraca Vorticista, Buenos Aires.<\/p>\n

This article was written in the context
\nof SPARRING TOUR 2009<\/a><\/p>\n

[versi\u00f3n en espa\u00f1ol<\/a>] <\/span><\/p>\n

In\u00a0Buenos Aires and throughout Argentina, we have entered\u00a0into a contemporary art clinic spiral. The supply <\/span>(detached\u00a0from demand)<\/span> is telling about a particular phenomenon: the pedagogical value\u00a0construction.
\n<\/span><\/span><\/p>\n

I\u00a0will address these issues in the present series of articles.
\n<\/span><\/span><\/span><\/span><\/p>\n

The <\/span><\/span>visual arts clinic shares with\u00a0the music clinic (a guitar clinic, for instance) a medical practice\u00a0idea: diagnosis and specific treatment. This is the reason, why <\/span>it does not have the vertical knowledge transmission structure, which\u00a0distinguishes any seminar or lecture, <\/span>but<\/span><\/em> their effective implementation: a double-edged sword because it <\/span>leaves freedom to apply the recipe or understand the\u00a0proceedings.<\/span><\/p>\n

Also\u00a0we will appraise whether (<\/span>unlike<\/span> the workshop) the art clinic does not have a progressive pretension\u00a0to teach something that it does not know or -instead- the\u00a0industrialist exploit to improve supply chains.<\/span><\/span><\/p>\n

My\u00a0hypothesis is that behind this phenomenon is an implicit recognition\u00a0of knowledge incompleteness and -in this sense- a parallel\u00a0construction to its transmission through unconstrained systems poles\u00a0apart from the late-modern academia.\u00a0This is relevant because it\u00a0implies effective action on plans and programs which shape the way\u00a0knowledge is used by institutions to feed the need of more\u00a0institution.<\/span><\/span><\/p>\n

The\u00a0strategy, perhaps fortuitous, is impeccable: the exhaustion of\u00a0inventive critical mechanisms (otherwise willful); discredited by\u00a0repetition those critics which <\/span>satirized the methods and, finally, understood the inherent resistance of\u00a0institutional editorial changes, the clinic <\/span>rescues\u00a0exercise as a method.<\/span><\/span><\/span><\/p>\n

But\u00a0the clinic is not naive. It takes advantage of anxiety and prestige.\u00a0It can be found, in the artists, a combined state of expectation,\u00a0unease and surplus capacity, all which allow a strategic withdrawal\u00a0to polish objectives and modes of artistic and discursive production.<\/span><\/span><\/span><\/p>\n

The clinician <\/em>(those\u00a0who impart it), meanwhile -in their very different nature- are\u00a0the ones who have built a name (brand-making) in their expertise\u00a0areas and their actual curriculum (things done) are dimensioned in\u00a0expanded areas of visibility: a fact (an exhibition, a piece, an\u00a0intervention) has an influence echoing itself, avoiding obsolescence\u00a0by forcing to induce its significant review.<\/span><\/span><\/span><\/p>\n

In Argentina,\u00a0there is much advanced: the art system has developed into a three\u00a0rang scheme (major cities, strategic alliances and local scenes)\u00a0which is the result of a continuous account of interventions such as Espigas<\/em>, Antorchas<\/em>, Trama<\/em>, Kuitca<\/em> Grant<\/em>, Entrecampos<\/em>,\u00a0etc.<\/span><\/span><\/p>\n

These\u00a0interventions had a master plan and very specific objectives and, at\u00a0the same time, helped to open new spaces, thanks to the so-called\u00a0imposition-resistance balance, which led to an effective discussion\u00a0of symbolic and economic value notions. This dispute led also to a\u00a0democratization and arguable growth on structure value and the\u00a0decision criteria.<\/span><\/span><\/span><\/p>\n

This\u00a0is how we are now, the climate favors the clinic autonomy.<\/span><\/span><\/span><\/span><\/p>\n

Jorge Sep\u00falveda T.
\nIndependent Curator
\nBuenos Aires, april 2009<\/p>\n

[like]<\/p>\n

Galer\u00eda de Im\u00e1genes \/ Image Gallery<\/p>\nngg_shortcode_0_placeholder\n


\n<\/span><\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

SPARRING TOUR 2009 Barraca Vorticista, Buenos Aires. This article was written in the context of SPARRING TOUR 2009 [versi\u00f3n en espa\u00f1ol] In\u00a0Buenos Aires and throughout Argentina, we have entered\u00a0into a contemporary art clinic spiral. The supply (detached\u00a0from demand) is telling about a particular phenomenon: the pedagogical value\u00a0construction. I\u00a0will address these issues in the present series […]<\/p>\n","protected":false},"author":16,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"saved_in_kubio":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"_joinchat":[],"footnotes":""},"categories":[5],"tags":[27,807,2679,806,1308,2680,805,1283,32,311,371,503,809,3017,2678],"class_list":["post-863","post","type-post","status-publish","format-standard","hentry","category-artistas","tag-argentina","tag-art-clinic","tag-artists","tag-barraca-vorticista","tag-buenos-aires-argentina","tag-clinician","tag-english","tag-english-version","tag-entrecampos-regional","tag-fundacion-antorchas","tag-espigas","tag-jorge-sepulveda-t","tag-kuitca-grant","tag-sparring-tour","tag-workshop"],"_links":{"self":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts\/863","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=863"}],"version-history":[{"count":10,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts\/863\/revisions"}],"predecessor-version":[{"id":899,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts\/863\/revisions\/899"}],"wp:attachment":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=863"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=863"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}