March 13. Fabra I Coats II

By Roey

Beneath the lofty ceilings of a grand lobby, we, an eager group, assembled, anticipating an enlightening odyssey into the heart of Spanish art and culture. Professor Herman Bashiron Mendolicchio from the University of Barcelona, with the poise of a seasoned academic and the passion of a true art aficionado, was about to paint the air with the vibrant hues of Spain’s rich cultural heritage. Here, where the past and future of artistic innovation convene, we were not mere spectators but active participants, embarking on a shared journey of discovery set against the bustling backdrop of Barcelona. Welcome to a narrative that promises to expand your intellectual horizons and transform the way you perceive the intersection of art, culture, and education.

Herman adeptly laid out his presentation in a tripartite structure, each part shedding light on a distinct yet interconnected facet of his professional pursuit. Initially, he focused on ‘Research/Academy,’ where he elaborated on his academic endeavors. Next, he navigated through ‘Curatorial Practice,’ showcasing his extensive work in the arts. The final segment, ‘In-between,’ delved into the synthesis of these realms, fostering a cross-disciplinary.

“What does a transversal education mean to you? How do you communicate your work? How would you like to expand your knowledge and learning practice?” Herman asked the participants, guiding the room into a contemplative silence. The attendees, hailing from various disciplines, eagerly contributed, transforming the session into a participatory narrative rather than a monologue.

One of the participants discussed how transversal education meant breaking out of silos, fostering interdisciplinary dialogues, and embracing diverse methodologies. Another reflected on the role of culture in education and how learning practices could be expanded beyond the classroom to encompass global and societal dimensions. Herman listened intently, his face reflecting a genuine interest in each response. He underlined the importance of integrating personal experiences into professional practice, challenging the audience to reflect on how their unique backgrounds inform their approach to learning and collaboration.

Herman emphasizes a transversal approach to education that interweaves various disciplines and cultural perspectives. His work illustrates the importance of networking, sharing knowledge, and engaging in participatory practices, which he demonstrates through his coordination of an international cultural cooperation course. He suggests that learning and teaching by doing can be significantly impactful, particularly in the arts where cross-disciplinary collaboration is vital.

Within his lecture, Herman highlighted notable projects to exemplify his teachings. ‘Artistic Acupuncture,’ for instance, is an endeavor that seeks to address complex issues through brief yet impactful artistic engagements within diverse European locales. These projects serve not only as illustrations of his lecture themes but also as embodiments of participatory art practices that resonate with his transversal approach to education.” Another key project is “Up to Context Learning from the Field,” which resulted from a residency focused on participatory practices in Asia. This initiative led to a publication containing a series of conversations about participatory art practices.

His blend of academic and practical work, combined with his international perspective, and his belief in transversality showcase an educational philosophy that encourages expansive thinking, multidisciplinary interaction, and the meaningful exchange of ideas. His approach challenges conventional educational structures, advocating for dynamic, participative, and transformative learning experiences.

The section on “Art and Culture in Spain (with a special focus on Barcelona)” provided a panoramic view of Spain’s vibrant cultural scene, particularly highlighting the explosion of museum development over the past 50 years following the end of the dictatorship. Spain, now boasting over 1,500 museums, many established in the last two and a half decades, places a significant emphasis on cultural heritage, with a high ranking in UNESCO World Heritage sites.

In Barcelona, Herman underscored the city’s status as a cultural nexus, showcasing a selection of museums and cultural centers like the CCCB and the MACBA, which offer contemporary exhibitions and are pivotal in shaping the city’s artistic landscape. He also touched on Barcelona’s innovative cultural policy of converting old factories into artistic production spaces, a move that has further enriched the cultural fabric of the city.

This insightful overview of Spanish culture, with a lens on Barcelona, invites reflections on the intricate relationship between cultural identity, language diversity—such as the prominence of Catalan in Catalonia—and the arts. Herman’s exploration of the cultural ecosystem offers a narrative of a country that embraces its multifaceted heritage and uses it as a bedrock for continuous growth and artistic expression.