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City Research Online City Research Online City, University of London Institutional Repository Citation: Bueno Delgado, P (2014). Towards a Professional Learning Dialogue in Mexican Contemporary Art Museums. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17618/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. 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City Research Online: http://openaccess.city.ac.uk/ [email protected] Towards a Professional Learning Dialogue in Mexican Contemporary Art Museums Patricia Bueno Delgado Thesis submitted for the degree of Doctor of Philosophy (PhD) City University London Department of Culture and Creative Industries March 2014 List of Contents List of Illustrations iv Acknowledgements vi Declaration vii Abstract viii Table of abbreviations ix Chapter 1 Learning Dialogue: Introduction and Research 1 Methodology 1.1 Contemporary Art Today 7 1.2 Research Questions and Literature Review 12 1.3 Research Methods and Approach to Analysis for this 16 Study 1.4 Fieldwork Context and Research Objectives 21 1.5 Research Considerations and Problems 26 Chapter 2 Learning in Museums in the Mexican Context 30 2.1 Political and Cultural Framework affecting Mexican 32 Museums 2.2 Education Policy in the Institutional Management 44 Structure 2.3 Education Departments in Contemporary Art Museums 52 2.4 Academia and Professional Training in Mexican Art 67 Museum Education Chapter 3 The University Museum of Contemporary Art Case 79 Study 3.1 The National Autonomous University of Mexico 80 3.2 The University Museum of Contemporary Art 89 3.3 Museum Learning Experiences and Participation 96 3.4 Learning at MuAC 106 Chapter 4 The Enlaces Programme and Dialogue 113 4.1 Background and Way of Working 114 4.2 Dialogue: Key Element of the Enlaces Programme 126 4.3 The Impact of Dialogue on Learning 130 4.4 International Lessons of Dialogue in Museums 137 i Chapter 5 Implications from the Enlaces Participants Learning 148 Dialogue 5.1 Learning Dialogue with Audiences 150 (a) Visual Internal Dialogue 154 (b) Content Dialogue 158 (c) Participatory Dialogue 165 5.2 Learning Dialogue with MuAC staff 172 (i) Peer Dialogue 175 (ii) Professional Dialogue and Practice 180 (iii) Limited Dialogue: Areas of Improvement 186 Chapter 6 Conclusions: Towards a Professional Learning 201 Dialogue in Mexican Contemporary Art Museums 6.1 Returning to the Research Question and Aims 202 6.2 Further Questions and Direction for Future Research 220 Appendixes 1.1 Interviewees Code Summary 225 1.2 Questionnaire to Education Departments 226 1.3 Interview with Professionals involved in Learning 228 1.4 Interview with Directors and Curators 229 1.5 Questionnaire to Enlaces Participants 230 1.6 Interview with Enlaces Participants 231 1.7 Interview with Staff Members at University Museum of 232 Contemporary Art 1.8 Interview with Contemporary Art Museum Educators 234 1.9 List of Professionals Interviewed 235 1.10 Quotes from Mexican Contemporary Art Museums’ Books 237 of Comments 1.11 List of Exhibitions Visited during Research in Mexico City 245 1.12 Categories established from Interviews’ Content Analysis 249 and Coding 1.13 Transcript Samples from Interviews 258 1.14 Spanish to English Translations 277 ii 2.1 Cities with Most Museums in the World 2009 278 2.2 Finances of Education Departments 279 2.3 History of Mexico City Art Museums 282 2.4 Contemporary Art Museums in Mexico City Today 287 2.5 Evaluation Tools Used by Contemporary Art Museums to 288 Learn about Audiences 2.6 Staff in Contemporary Art Museums 2010 292 Bibliography 293 iii List of Illustrations Figures Page 2.1 Federal Government’s Organisation Chart focused on 45 Museums 2.2 Fundación/Colección Jumex Organisational Chart 50 2.3 Public Museums’ Organisational Chart 56 3.1 UNAM’s Organisational Chart focused on Museums 84 3.2 MuAC’s Organisation Chart 93 6.1 Audiences’ Learning Dialogue Model 208 6.2 Professional Learning Dialogue Model 214 6.3 Interactive Model of Learning Dialogue 217 Images Page 1.1 Orozco, Gabriel (1993) Pelota Ponchada [Pinched Ball]. C- 3 print. 22.9x34cm. (E-flux, 2004) 1.2 Werthein, Judi (2009) Cosa [Thing], variable dimension. Los 8 de Arriba los de Abajo [The ones on top, the ones below], Sala de Arte Público Siqueiros, Mexico City. 13th November 2009-14th February 2010 3.1 Reyes, Pedro (2006) Leverage. Powder coated steel and 103 wood. Variable dimension. Los de Arriba los de Abajo [The ones on top, the ones below], Sala de Arte Público Siqueiros, Mexico City. 13th November 2009-14th February 2010 3.2 Dias & Riedweg (2000) Meu Nome na Tua Boca [My name 108 in your mouth], video installation, variable dimensions. La Periferia de tus Ojos [The Surroundings of your Eyes], MuAC, Mexico City. 19th December 2009-14th March 2010 5.1 Lara, Adriana (2008) Installation (Banana Skin), variable 152 dimensions. An Unruly History of the Readymade, Fundación/Colección Jumex, Mexico City. 8th October 2008- February 2009 5.2 Artwork in the background by O’Connell, Antonio (2009) 161 Jazzercise. Installation variable dimensions. Recycling Programme 2009-2010, University Museum of Contemporary Art, Mexico City. 14th September 2009-21st March 2010. iv 5.3 Artwork in the background by Rodriguez Romero, Idaid 168 (2009) Salón de Cardas [The Wool Room], Wall Painting variable dimensions. A Factory, A Machine, A Body…, University Museum of Contemporary Art, Mexico City. 24th October 2009-14th February 2010. v City, University of London Northampton Square London EC1V 0HB United Kingdom T +44 (0)20 7040 5060 THE FOLLOWING PARTS OF THIS THESIS HAVE BEEN REDACTED FOR COPYRIGHT REASONS: Image 1.1 Orozco, Gabriel (1993) Pelota Ponchada [Pinched Ball]. C-print. 22.9x34cm (E-flux, 2004). Pg.3 Image 1.2. Werthein, Judi (2009) Cosa [Thing], variable dimension. Los de Arriba los de Abajo [The oneson top, the ones below], Sala de Arte Público Siqueiros, Mexico City. 13th November 2009-14th February 2010. Pg. 8 Image 3.1. Reyes, Pedro (2006) Leverage. [Detail] Powder coated steel and wood. Variable dimension.Los de Arriba los de Abajo [The ones on top, the ones below], Sala de Arte Público Siqueiros, Mexico City. 13th November 2009-14th February 2010. Pg.103 Image 3.2. Dias & Riedweg (2000) Meu Nome na Tua Boca [My name in your mouth], video installation, variable dimensions. La Periferia de tus Ojos [The Surroundings of your Eyes], MuAC, Mexico City. 19th December 2009-14th March 2010. Pg. 108 Image 5.1. Lara, Adriana (2008) Installation (Banana Skin), variable dimensions. An Unruly History of the Readymade, Fundación/Colección Jumex, Mexico City. 8th October 2008-February 2009. Pg.152 Image 5.2 Artwork in the background by O’Connell, Antonio (2009) Jazzercise. Installation variable dimensions. Recycling Programme 2009-2010, University Museum of Contemporary Art, Mexico City. 14th September 2009-21st March 2010 Pg.161 Image 5.3 Artwork in the background by Rodriguez Romero, Idaid (2009) Salón de Cardas [The Wool Room], Wall Painting variable dimensions. A Factory, A Machine, A Body…, University Museum of Contemporary Art, Mexico City. 24th October 2009-14th February 2010. Pg.168 www.city.ac.uk Academic excellence for business and the professions Acknowledgements I have been very fortunate to have Vicky Woollard as my supervisor. Her unconditional support, guidance and scholarship have been invaluable during my research journey. She has inspired and encouraged me to find a path and complete this work. I would like to recognise MuAC and its staff members, for welcoming me and giving me access to the museum during my fieldwork research, and in particular the Enlaces participants for sharing their wonderful experiences and awakening my interest for contemporary art. I also appreciate the support and time given by all the professionals in Mexico City museums, for sharing their knowledge and experiences to inform this investigation. I could not have completed my thesis without the support of my sponsors in Mexico who provided me with financial security to focus on my research: Consejo Nacional de Ciencia y Tecnología and Fondo Nacional para la Cultura y las Artes. I also thank my beloved ones for their support, patience and encouraging words throughout this journey. To my family: Pa, Ma, Po and Roc, for always being there for me, despite there being an ocean between us. To David for keeping my spirits up, always finding ways to make me smile even at the tougher times of completing this journey. vi Declaration I, Patricia Bueno-Delgado, grant powers of discretion to the University Librarian to allow this thesis to be copied in whole or in part without further reference to me. This permission covers only single copies made for study purposes, subject to normal conditions of acknowledgement. vii Abstract Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn.
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