Even today, finishing the second decade of the 21st century, the need to educate in art and culture is still an open topic of debate. It is commonly thought that the culture, to whose creation we all contribute, arises by spontaneous generation and does not need maintenance or attention. But on the contrary, culture as a social phenomenon, and art, as one of its particular tangible manifestations, requires the contribution of all. It only takes true meaning when there is a conscious exchange between the historical and identity legacy that culture transmits and the new uses and meanings of value that modern societies attribute to it. Well understood, culture does not need many resources to develop, since, as a social phenomenon, it will emerge and grow wherever there are individuals. But what it is necessary to do is "educate" in the importance and value that culture has per se, because without this educational work there is a destruction of the past, a depreciation of the heritage created over centuries and a loss of the close referents which give meaning to our contemporary society.

Image from Educathyssen

Far from what one might think, educating in art and culture is much more than learning history and artistic techniques. Art is an expression that emerges in a specific context, and, as such, transmits a large part of the elements that determine the culture of that particular time and place. It would be difficult to think that the Renaissance creators reflected in their works the concern for climate change, as they now do, or that the new authors capture with the same zeal religious scenes that were the favourite leitmotiv of the painting of yore. For this reason, to accommodate art and culture in the classroom is to channel a collective knowledge developed over the centuries that constitutes the best vestiges of our identity as individuals belonging to a particular context.

Unesco has pointed out that the mastery of culture and the arts is fundamental for the development of people. For this same reason, it encourages designing educational programs that incorporate these branches of knowledge. The benefits are diverse: education in art fosters alternative thinking and the search for creative solutions to problems, favours qualities such as tolerance and sensitivity, helps diversity to be appreciated and to open an intercultural dialogue, as well as developing other intellectual and creative abilities of the individual.

«Each child is an artist. The problem is how to remain an artist once we have grown up»

Pablo Picasso

Why is art still seen as something reserved for a few? In the same way that other disciplines equally necessary for development, such as sports activities, associated with collaborative values ​​and psychomotricity, art and culture, require the same attention. In recent years, several voices have highlighted the benefits associated with training in art from early ages. More than a matter of convenience, it is, in reality, an essential content for the development that will go along the individual in different stages of life. Concepts so demanded in the modern business world as creativity, imagination or innovation, are based on stimuli taught from childhood. Nowadays, intelligence and the use of qualities are not limited exclusively to being proficient with language and mathematics. The promotion of alternative thinking and the solution of ingenious problems, with their well-known applications in the world of entrepreneurship, are intimately associated with art training.

Image from educathyssen

Several studies suggest a change of approach when incorporating arts into education. The benefits are innumerable and alter the preconceived and inherited schemes even today on the permanent search for accuracy in the results, typical of subjects such as mathematics. The unpredictable essence of artistic creation helps to develop critical thinking and generate alternative ways of reasoning. The ideas of right and wrong are blurred, and there is room for means of expression that favour new structures of logical discourse. There is no single form of intelligence, and it is clear that the integration of art and culture in the learning process is necessary. Hopefully, this gradual awareness will translate into the incorporation of new tools and educational resources from childhood. It is only possible to love and understand what is known.

ABIERTO INFINITO.LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: TRAYECTORIA. BY AMANDA GATTI

March 6 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

Amanda Gatti. Escaparate. 2023. DT-Espacio. Photograph by Pedro Mendes.

The proposal expands Amanda Gatti’s research initiated in La Plasti Ciudad del Cuerpo — an ongoing series of performance and installation presented since 2023 in spaces such as Fundación Antonio Pérez, Galería Nueva, CRUCE, and the Acción Spring(t)/UCM Congress — where she explores the relationship between her body and objects found in urban space. There, body and materials are articulated through a constant negotiation between functionality, weight, and support, generating temporary architectural compositions.

In Trayectoria, this research shifts toward the act of dragging: a gesture that makes visible the friction between body, objects, and space. The corridor ceases to be a neutrality to be crossed and becomes an operative intermediate zone, where form and content — veil and what is veiled, as Walter Benjamin points out — become confused. The space, saturated with objects turned into a mobile chain, clears and remakes itself with each step. Clearing, for Benjamin, is already an experience of space: each advance sustains this unfinished separation, always oriented toward a destination that may never be reached.

La Plasti Ciudad del Cuerpo #3. Amanda Gatti. Performance documentation. CRUCE 2054 exhibition, Galería CRUCE. Photograph by Pedro Mendes.

Displacement is not limited to material friction: it also becomes a symbolic inscription of that which every life trajectory drags along. The objects — remnants of past uses — function as metaphors for what remains attached to the body even when it no longer serves any function. The performance makes visible the condition of moving forward while carrying heterogeneous weights: material, affective, social. Thus, the gesture of walking linked to these objects turns the route into a writing in motion, where each step simultaneously activates a physical transit and a vital transit. Trayectoria proposes that every life is also a dragging: a continuous recomposing from what we insist on carrying with us.

The action operates objects as verbs: to push, to tense, to trip, to pull. From it emerges an operativity that involves the entire body and exceeds the visual. The image ceases to be representation and becomes gesture: a gesture that founds new spatial forms, that overflows, that produces an ephemeral mode of reappropriation of the corridor.

The trajectory thus becomes an affective map inscribed in the body, a way of merging with the environment by putting past and future, durability and wear, utility and obsolescence into friction. The action returns to public space what was taken from it, but now stripped of function: freed from meaning, freed from commodification, freed to be imagined otherwise.

ABOUT AMANDA GATTI

Amanda Gatti (1996, Porto Alegre, Brazil) is an artist and researcher whose practice unfolds across performance, video, photography, and installation. She explores the intersections of body, object, and space, investigating how we occupy — and are occupied by — the spaces around us. Drawing from experiences of displacement and the observation of domestic and urban environments, her work conceives the body as mediator and archive, transforming found objects, spatial arrangements, and everyday gestures into ephemeral architectures and relational situations.

She studied the Master’s in Scenic Practice and Visual Culture at Museo Reina Sofía/UCLM (Spain, 2023) and the Bachelor’s degree in Audiovisual Production at PUCRS (Brazil, 2018), where she received scholarships such as the Santander Universities grant. In Spain, her work has been presented in institutions and contexts such as Museo Reina Sofía, Fundación Antonio Pérez, Galería Nueva, CRUCE, and Teatro Pradillo, as well as in exhibitions and festivals in Brazil, Germany, Ireland, the United Kingdom, and the United States. She currently resides in Madrid, with secondary bases in Brazil and the United Kingdom.