The photo that illustrates this article was captured on a hot sunny day in the city of Manaus, state of Amazonas, on the premises of the Federal University of Amazonas, during the 41st ANPED Meeting, in 2023. In a way, this image with the phrase that gave rise to this reflection gives us clues to think that the contemporary artistic panorama has undergone profound transformations that challenge tradition. In today's world, the hegemony of these institutions has been questioned, and a new approach to understanding art emerges, challenging established paradigms. The attempt of this text is to understand the obsolescence of the tradition of fine arts schools in contemporary times, highlighting contemporary thinkers whose ideas contribute to a broader and more dynamic understanding of art in the 21st century.

One of the main starting points for discussing the obsolescence of fine arts schools is the deconstruction of the very idea of school, with colonial and technical roots that are still perennial. Thinkers such as Jacques Derrida It is Michael Foucault influence this perspective by questioning traditional aesthetic norms and standards. Derrida, in his philosophy of deconstruction, challenges established dichotomies, questioning the opposition between the popular and the erudite, revealing the arbitrariness of these categories. Foucault, by investigating relations of power and knowledge, invites us to rethink how educational institutions can serve as mechanisms for controlling and maintaining elitist aesthetic norms.

However, it is important to recognize that criticism does not mean a complete abandonment of traditional practices. Fine art schools can play a vital role in preserving and revitalizing classical techniques while incorporating new artistic approaches. Painting should carry this standard. Traditional practices have historical and cultural value, and their teaching can be a solid foundation upon which contemporary innovations are built.

New Pedagogical Approaches

Much has been discussed about the influence of pedagogical trends on art teaching in the context of basic education, especially in elementary and secondary education, and we need to give credit for this milestone to the teacher Ana Mae Barbosa. Their contributions highlight the importance of methodologies that encourage students' creativity, autonomy, and critical thinking. Ana Mae Barbosa defends Art/Education, an approach that integrates artistic production, art history, and art criticism, promoting a more complete and meaningful educational experience.

Furthermore, interdisciplinarity has become an essential practice to update arts teaching. Integrating sciences, technologies, and humanities into artistic practices expands the possibilities of expression and understanding of art as a multifaceted practice that dialogues with the world around it. Some schools already incorporate partnerships with other disciplines to create collaborative projects that reflect the complexities of the contemporary world.

To Art and Everyday Life

An important criticism of the tradition of fine arts schools is the increasing fusion of art and life. Contemporary times witness the blurring of boundaries between artistic practice and everyday experience. The French philosopher Henri Lefebvre, in his work "The Production of Space", argues that everyday life is the new battlefield of art. In this context, art emerges not only as an isolated aesthetic object, but as a practice that permeates everyday existence.

Artist capitalism is characterized by the fact that it creates economic value through

of aesthetic and experimental value: it asserts itself as a conceptual, productive and

distributor of pleasures, sensations, enchantment. In return, one of the functions

traditional art is taken over by the business world. Capitalism has become

artist for systematically engaging in operations that, appealing to the

styles, images, entertainment, mobilize affections, aesthetic, playful and

sensitive to consumers. Artist capitalism is the formation that links the economic to

sensitivity and imagination; it is based on the interconnection of calculation and intuition,

of the rational and the emotional, of the financial and the artistic (2015:43).

This fusion between art and life is exemplified by practices such as urban performances and artistic interventions in public spaces, which challenge the notion of art confined to galleries and museums. Contemporary artists are exploring art forms that actively engage communities, creating dialogues with social and cultural issues that affect people's everyday lives.

Participatory and collaborative art

Another crucial point for understanding the obsolescence of fine arts schools is the rise of participatory and collaborative art. The contemporary artist Marina Abramovich, known for its interactive performances, challenges the passivity of the traditional spectator. His work, and that of other artists engaged in relational art, highlight the importance of active participation in artistic creation, breaking with the idea that art is just an object to be contemplated.

Participatory art not only challenges traditional boundaries of what is considered art, it also raises questions about who has the right to create and participate in the artistic process. This has led many schools to reconsider their approaches, looking for ways to engage students in collaborative practices that reflect these contemporary dynamics.

The Role of New Technologies

The rise of new technologies and digital media also contributes to the obsolescence of the fine arts school tradition. The philosopher Pierre Lévy, in his reflections on cyberculture, highlights how the internet and digital media expand the possibilities of artistic expression. The digitization of art not only challenges secularized teaching methods, but also expands the reach and accessibility of artistic production.

Fine arts schools that incorporate new technologies into their curricula are better positioned to prepare their students for a world where digital skills are critical. Courses that teach digital design, animation, and interactive art, for example, are becoming increasingly popular and necessary to equip students with the skills required in today's job market.

Challenges and Opportunities for Fine Arts Schools

Is there any horizon left for the future function of this institution? In the face of the deconstruction of transaesthetic norms, the fusion of capitalism, art and life, the rise of participatory and collaborative art, and the influence of new media, the tradition of fine art schools in contemporary times finds itself in a process of transformation. Contemporary thinkers such as Derrida, Foucault, Lefebvre, Abramovich and Lévy offer a critical lens for understanding and adapting to significant changes in the production and reception of art.

The obsolescence of fine arts schools does not imply the death of art, but rather a profound transformation that requires a more flexible and open approach to diversity and innovation in the current artistic scene that does not further subject its survival to the demands of artistic capitalism. This transformation includes not only recognizing and valuing cultural diversity, promoting an inclusive artistic education that represents different voices and perspectives, but something more radical, breaking with the agreements that homologate and impose restricted dimensions on art, its circulation and production.

Integrating diversity and inclusion

The discussion about the relevance of fine arts schools must also include the issue of diversity and inclusion. Schools must strive to reflect the plurality of artistic and cultural practices, creating spaces where all voices are heard and valued. This involves including artistic practices from historically marginalized communities and promoting education that recognizes art as a powerful tool for resistance and social transformation.

Conclusion

Ultimately, fine arts schools face the challenge of adapting to an ever-changing world where art is seen as a living, dynamic practice that transcends traditional boundaries. By adopting a more open and inclusive approach that integrates new technologies, promotes diversity, and values both traditional practices and contemporary innovations, these institutions can continue to play a crucial role in training 21st century artists.

References

LIPOVETSKY. G. & SERROY, J. The aestheticization of the world: living in the age of

artist capitalism. New York: Routledge, 2015.