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Disrupting Museum Education: Counter-Monument as a Pedagogical Space

image of Disrupting Museum Education: Counter-Monument as a Pedagogical Space

Museums, memorial centres, heritage institutions and counter-monuments, provide the public opportunities to address challenging issues, such as war and genocide, through artistic perspectives and through the public's own emotional capacity. The dimension of affect comes to the fore when approaching spaces such as counter-monuments, where tragedies and the violent past are being exhibited as a warning to the present, as is the case with Fragmentos: Espacio de Arte y Memoria (2018) by the Colombian artist Doris Salcedo. Located in Bogotá, Colombia, this countermonument constitutes an innoovative pedagogical space where it is possible to create dialogues and reflect on the effects caused by the Colombian armed conflict. This chapter is guided by the analysis of this counter-monument and reflects on the importance of creating this type of commemorative sites to address challenging times.

Keywords: Armed conflict ; Art installation ; Commemorative practices ; Countr-monuments ; Emotional responses ; Museum education ; Museums, memorial centres, heritage institutions ; Peace and education ; Post-Conflict Colombia

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Disrupting Museum Education: Counter-Monument as a Pedagogical Space
Intellect , 89 (2024); https://doi.org/10.1386/9781789389135_9
/content/books/9781789389135.c07
/content/books/9781789389135.c07
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References

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References

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     [Google Scholar]
  2. Duzán, M. (2018, December 10). Doris Salcedo en entrevista con María Jimena Duzán [Video file]. YouTube. https://www.youtube.com/watch?v=MdNLzcx14uE
  3. Frois, J. P. , & White, B. (2013). Words for artworks: The aesthetics of meaning making. The International Journal of Art & Design Education, 32(1), 109–125.
     [Google Scholar]
  4. Herscher, A. (2014). In ruins: Architecture, memory, countermemory. Journal of the Society of Architectural Historians, 73(4), 464–469.
     [Google Scholar]
  5. Lachapelle, R. (2011). The landscape, the built environment, and the work of art: Three meaningful territories for art education and material culture studies. In P. Bolin & D. Blandy (Eds.), Matter matters: Art education and material culture studies (pp. 12–24). National Art Education Association.
     [Google Scholar]
  6. Malagón-Kurka, M. (2010). Arte como presencia indéxica: la obra de tres artistas colombianos en tiempo de violencia: Beatriz González, Oscar Muñoz y Doris Salcedo en la década de los noventa. Edición Uniandes.
  7. Roca, J. (2016, October 18). A la opinión pública, una carta abierta de José Roca. Revista Arcadia. https://www.revistaarcadia.com/agenda/articulo/defensa-a-sumando-ausencias-de-doris-salcedo/a57113100
  8. Rocha, M. (2018). Creating classroom materials: Efforts to open up a debate about Colombia's armed conflict. In B. Ramírez & M. Schulze (Eds.), Transitional justice and education: Engaging young people in peacebuilding and reconciliation (pp. 45–66). V&R Academic.
     [Google Scholar]
  9. Rubiano, E. (2017). Victims, memory and mourning: Contemporary art in the post-accord scenario. Análisis Político, 90(1), 103–120.
     [Google Scholar]
  10. Savenije, G. , & de Bruijn, P. (2017). Historical empathy in a museum: Uniting contextualisation and emotional engagement. International Journal of Heritage Studies, 23(9), 832–845. https://doi.org/10.1080/13527258.2017.1339108
    [Google Scholar]
  11. Schneider, M. (2014). Material witness: Doris Salcedo's practice as an address on political violence through materiality [Doctoral dissertation, Harvard University]. Harvard University Digital Archive. http://nrs.harvard.edu/urn-3:HUL.InstRepos:11746516
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     [Google Scholar]
  13. Stevens, Q. , Franck, K. A. , & Fazakerley, R. (2012). Counter-monuments: the anti-monumental and the dialogic. The Journal of Architecture, 17(6), 951–972. https://doi.org/10.1080/13602365.2012.746035
    [Google Scholar]
  14. Tamashiro, R. , & Furnari, E. (2015). Museums for peace: Agents and instruments of peace education. Journal of Peace Education, 12(3), 223–235. https://doi.org/10.1080/17400201.2015.1092712
    [Google Scholar]
  15. Thobo-Carlsen, M. (2016). Walking the museum: Performing the museum. The Senses and Society, 11(2), 136–157. https://doi.org/10.1080/17458927.2016.1190067
    [Google Scholar]
  16. Uhrmacher, B. , & Tinkler, B. (2008). Engaging learners and the community through the study of monuments. International Journal of Leadership in Education, 11(3), 225–238. https://doi.org/10.1080/13603120801918772
    [Google Scholar]
  17. van den Dungen, P. , & Yamane, K. (2015). Peace education through peace museums. Journal of Peace Education, 12(3), 213–222. https://doi.org/10.1080/17400201.2015.1103393
    [Google Scholar]
  18. Williams, P. (2007). Memorial museums: The global rush to commemorate atrocities. Berg.
     [Google Scholar]
  19. Young, J. (1992). The counter-monument: Memory against itself in Germany today. Critical Inquiry, 18(2), 267–296.
     [Google Scholar]
  20. Zembylas, M. (2007). The politics of trauma: Empathy, reconciliation, and peace education. Journal of Peace Education, 4(2), 207–224. https://doi.org/10.1080/17400200701523603
    [Google Scholar]

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