The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.


El Aprendizaje Infinito focuses on the experiences developed in Argentina between the 20th and 21st centuries, promoted by artists, educators, pioneer pedagogues and projects for the democratization of knowledge, organized from the institutions and their margins, with the same inclusive, experimental and transforming roots.


Its curator, Jimena Ferreiro, who worked in collaboration with Alfredo Aracil, head of the Moderno's Education Department, explains: "there was a very close work between the Curatorial and Education areas that made this project possible, related to the so-called "pedagogical turn" of the 2000s, which is a way of thinking the production of knowledge within the institutions in a situation of parity: not only do the curators think and the educators execute, but the process is collaborative, reciprocal and supportive. The mission of the educational system is to imagine lives in better conditions. This coincides with the utopian dimension of artistic practice. Art and Education have the same communitarian and equality-based root that bets on social transformation."

The projects and archives on display highlight the ways in which art can contribute to the common good by facilitating people's participation in building deep bonds with each other and with the world.


The exhibition takes place in rooms A and B on the first floor of the museum. Room A revolves around new landscapes for learning. It features works by Diana Aisenberg and Amalia Pica, installations such as the recreation of a popular museum of Argentine art by Tomás Espina, which includes masks with artists' faces, and picnic paintings by Marina De Caro from her series Tierra de las emociones perdidas (Land of Lost Emotions). Room B displays cases that problematize the dissemination and accessibility of specific art contents. It presents a large installation/reading space by Lucas Di Pascuale, the archive of Emilio Pettoruti's Vagón de Arte project and old TV sets that broadcast art programs, such as the mythical El Banquete Telemático by Federico Klemm and Carlos Espartaco, recorded at the Museo Moderno, or Marta Traba's TV interventions. In the same room, models of official and self-managed educational management in contexts of vulnerability are presented, such as the recreation of the artistic curatorial camps, the first mural with the history of Cromoactivismo, and the retrospective of the Liliana Maresca School of Villa Fiorito. Also participating are neighboring projects from the museum's neighborhood with which the Moderno collaborates on a regular basis.

Artists: Andrés Aizicovich, Diana Aisenberg, Ernesto Ballesteros, Norah Borges, Olga and Leticia Cossettini, Cromoactivismo (Marina De Caro, Guille Mongan, Vic Musotto and Daiana Rose), Marina De Caro, Claudia del Río, Mirtha Dermisache and the Jornadas del Color y la Forma, Lucas Di Pascuale, Leonel Fernández Pinola, Silvia Gurfein, Graciela Gutiérrez Marx, Federico Jorge Klemm, Guillermo Kuitca, Nicolás Martella y Manuel A. Fernández, Diego Melero, Rosario Vera Peñaloza, Emilio Pettoruti, Amalia Pica, Emilio Renart, Marcela Sinclair, Eduardo Stupía, Marta Traba and Edgardo Antonio Vigo.

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