This research proposes to reflect on students' learning and development concerning the experience of and relationship to contemporary art by involving art institutions as well as artists in the learning process, in the visual arts classroom context. Although this pedagogic approach has not been used in middle schools in Portugal, in the European context there are some references, namely in the UK.

Contemporary art is not integrated in the middle school curriculum of Visual Arts in Portugal and neither is the presence of artists. There is a lack of information in this area that builds up a learning process based on a deification of the artist and on art as a myth. This led to work with the pupils on the deconstruction of myths around art and artists. The contemporary art museum is relevant in this context as an educational institution and as a key place for legitimizing the work of art and simultaneously a place of questioning. According to Atkinson(2011), in contemporary art practice we can find work which often challenges what art practice or what being an artist is and, as a consequence, what it can become. Contemporary art practice advocates challenging thinking and the taking of risks.

It is also relevant to understand the role of the artist considering his engagement with participants based on his own authorial work as well as on his relation with the museum as an artist educator. By sharing art practice process, emotional bonds are created between students and the artist. This fact may open possible paths to the deconstruction of myths relating to art. If the contemporary artist is also a museum educator the communication and the approach to the contemporary art museum tends to be developed on a inner perspective of thinking the museum. The contemporary art institutions involved are Serralves Contemporary Art Museum and Casa da Imagem. The implementation of the research started with a group of 26 pupils, one artist educator and one teacher.

The research intends to focus in the meaning of this experience for students/ individuals involved, regarding memory, identity and deconstruction/construction of knowledge through a process of share, reflexive and critical involvement. Appropriation of culture and social interaction intends to be a learning process based on dialog.

It is important, in this context, to reflect on the fact that knowledge is being built from the point where the teacher/researcher is situated (Pringle, 2002). Pedagogy of the event and of the not-known, co-constructivism and slow education are educational concepts/paradigms for teaching and learning which can summarize the pedagogical theoretical framework of this research, defining where the researcher stands as teacher. Trying to respect different rhythms (slow schooling) and involving  students on learning through collaborative activities(co-constructivism) intends to relate experiencing and engagement by exploring the world not in terms of what exists but in terms of what can be created(pedagogy of the event).

The pedagogic approach of this study is to construct knowledge and understanding on art, based on pupils' personal experiences developed in a cultural and social space by reflecting on teachers role and by reflecting on how artists and art institutions can interact inside the school. Trying to change educative routine and analyse and reflect upon its several aspects (positive, negative, neutral or unexpected) is a way of teachers being involved in their own educational process.

Can contemporary art projects undertaken between art institutions and artist educators in school context develop a conscious, critical and reflexive relationship between school and contemporary art museum/institutions? What effect does these projects have on pupils' personal development and understanding of art? What are the other effects?

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