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  • IT'S ABOUT TIME. Critical Art Education in Digital Times (Sophie Lingg, Helena Schmidt)
    Editorial The 18th edition of the Art Education Research e Journal was created in the first half of the year 2020. In addition to the steadily worsening climate crisis, the extent of which is alrea...
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • Cy­borg Ex­its in the Class­room (Doris Arztmann, Eva Egermann)
    Body-​het­eroglos­sia and crip tools for dirty knowl­edges in art teach­ing Choosing the form of an email-conversation, Doris Arztmann and Eva Egermann discuss their workshop Body-Heteroglossia – u...
  • Crip Ma­te­ri­als as Forms of Un_Uni­ver­si­ty Think­ing (Eva Egermann)
    In 1990, writing about women’s studies, Elizabeth Minnich noted: ‘Invisibility itself teaches something. Students who never hear of a woman philosopher have trouble believing in such a creature.’ ...
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • Participatory spaces of aesthetic education Transferring a museum-pedagogical program with theater methods (Bettina Gassmann)
    The basis of this contribution is formed by my master thesis at the FHNW School of Education (PH), which centers on aesthetic education. The aim of this work was to activate students to participate in the educational field of the school with a workshop using the theatrical methods of Augusto Boal. Boal's theater considers itself a school of participation. The focus of this article is on the researching teacher's discomfort and understanding of their role. The art exhibition "Action" at the Kunsthaus Zürich provided an important reference for the workshop. During the workshop, a forced protest action went differently than planned. The actions of the students unsettled the researching teacher, who, confronted with irritation and incalculability, reflected upon these topics theoretically. A central theme of the thesis was how students can act cooperatively in art lessons. Observations made during the workshop formed the focus of the study. Autoethnographic methods were employed: A research diary with photos of all participants was created, among other things. Concrete experiments on dealing with contradictions were carried out and reflected upon. In this article, the research teacher describes one of these situations. The students did not abide by the agreement and acted on their own authority. Assuming an "artistic" perspective, such irritations should be welcomed. Less so from the point of view of the teacher, who desires reliability. In the conflict of the teaching/learning process, a distinction is made as to the type of discomfort: whether and how the unfamiliar or unknown is alien to the content or the method (cf. Sack 2011). The impossibility of a punctual demand for student participation becomes evident. A productive solution lies in the acceptance of the conflict. The imperative of participation is problematic, because participation should indeed be voluntary. The possibility of refusal is regarded as a formative option for action in the interplay between the potential for hope and the possibility of participation in the educational field of the school.
  • Micro Pedagogical Leaps in the Context of Aesthetic Education (Silvia Henke, Wiktoria Furrer)
    By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • Drawing – Talking – Showing (Nadia Bader)
    The starting point of the study Drawing - Talking - Showing is the question of how communicative exchange in art teaching influences visual thinking and practice. The aim is an empirically founded and (practice-) theoretically contextualized conception of which influences and interactions arise between communicative and creative events and which conditions underlie them – both in the classroom in general and specifically in the school subject art/visual design. The contingency and complexity of teaching practices is taken seriously and considered systematically. The study thus builds on positions that focus on the unpredictable, unavailable, phatic and crisis dimension of teaching and learning (Meyer-Drawe, Pazzini, Sabisch, Schürch/Willenbacher, Wimmer, among others). On the basis of video data from a lesson of observational drawing at Gymnasium, teaching-learning conversations and drawing processes are qualitatively and empirically examined. Visualized research and presentation methods play a central role in the examination. In four case studies, exemplary teaching-learning situations are analyzed from multiple perspectives, revealing the diverse, overlapping and sometimes contradictory influences that shape the situational development of teaching-learning processes. Cross-case and comparative findings are discussed on the basis of practice-theoretical concepts (e.g. Reckwitz, Schmidt, Polanyi, Neuweg) and linked to art and theater pedagogical positions that address the performativity, eventfulness, corporeality and materiality of teaching (e.g. Lange, Hentschel). This article is devoted to two special features of the study: on the one hand, the connection with the pilot study Drawing - Speeches (BUA, 2012/13) and, on the other hand, the further development of video-based research methods with a special focus on the visual dimension.
  • Drawing – Talking – Showing (Nadia Bader)
    The starting point of the study Drawing - Talking - Showing is the question of how communicative exchange in art teaching influences visual thinking and practice. The aim is an empirically founded and (practice-) theoretically contextualized conception of which influences and interactions arise between communicative and creative events and which conditions underlie them – both in the classroom in general and specifically in the school subject art/visual design. The contingency and complexity of teaching practices is taken seriously and considered systematically. The study thus builds on positions that focus on the unpredictable, unavailable, phatic and crisis dimension of teaching and learning (Meyer-Drawe, Pazzini, Sabisch, Schürch/Willenbacher, Wimmer, among others). On the basis of video data from a lesson of observational drawing at Gymnasium, teaching-learning conversations and drawing processes are qualitatively and empirically examined. Visualized research and presentation methods play a central role in the examination. In four case studies, exemplary teaching-learning situations are analyzed from multiple perspectives, revealing the diverse, overlapping and sometimes contradictory influences that shape the situational development of teaching-learning processes. Cross-case and comparative findings are discussed on the basis of practice-theoretical concepts (e.g. Reckwitz, Schmidt, Polanyi, Neuweg) and linked to art and theater pedagogical positions that address the performativity, eventfulness, corporeality and materiality of teaching (e.g. Lange, Hentschel). This article is devoted to two special features of the study: on the one hand, the connection with the pilot study Drawing - Speeches (BUA, 2012/13) and, on the other hand, the further development of video-based research methods with a special focus on the visual dimension.
  • The idea comes while drawing (Malin Widén)
    Progressive digitalization is changing our perception, our thinking and our actions. It also changes our relationship to the image. Yet at the same time, the relevance of visual education must constantly be defended. Instead of thinking through drawing about the power and effects of images–thinking in images and placing them in new contexts–school tends to treat image-making according to a certain scheme oriented towards homogeneous, easily assessable visual products. In my view, new approaches and examples are needed, especially in didactics; those that do not portray drawing as an imitation of existing image categories, but as a thought process; a visual thought process that is individual and can take place across disciplines. What it means to connect drawing with thinking and what challenges and possibilities a reflexive drawing practice could bring for primary schools, are questions I have investigated experimentally and scientifically within the framework of the master thesis The idea comes while drawing. In my work, drawing is both the object and method of research – visual and linguistic thought processes mutually inspire and reflect each other.
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • Humus (Christiane Hamacher)
    Humus is generally found in the uppermost layer of the earth – from around ten to thirty centimeters in depth – and is a vulnerable and fragile substance. This part of the soil is a key habitat for various living creatures and is currently in an extremely bad state across the globe. Humus is lost through intensive farming practices such as meat production, which causes erosion of the soil. A further factor is the use of concrete to seal off natural ground. Our experiment focuses on humus as a living and performative substance and plays with an element of surprise. A ton of humus, piled up into a heap, awaits students in a room sealed off with large sections of plastic sheeting, which is staged almost like a scientific laboratory. Microscopes, laboratory glasses, various storage containers, gloves, pipettes, magnifying glasses, tweezers, mortars, and other objects lay ready arranged on tables. Each student then receives their own research kit and some humus. The pile of material is thus made to a reservoir and catalyst for artistic research, allowing aesthetic processes to be both created and observed. I see this creative engagement with humus as a form of individual reflection and thought that generates new forms of knowledge. Familiar approaches are abandoned, and students are able to produce, rediscover, and gather their own material experiences and perceptions. In this way, humus is used as an invitation to experiment, and to try out different artistic approaches to shared global issues.
  • SOMEWHERE OFF THE REAL. Voice-controlled interfaces and their media-critical mediation (Malin Kuht)
    SOMEWHERE OFF THE REAL considers interfaces as conjunctions of possiblilities, histories and underlying factors of digital media. Interfaces enable and shape interaction with digital information and communication technologies. The predominantly female-coded design of voice control, which is increasingly found in smart devices, derives from the history of a gendered division of labor and traditional social roles in society. The paper argues that our interactions with digital technologies determine our relationship to them. These processes are illuminated by the artistic practices of Melanie Hoff and Joy Buolamwini. With Draw What You Think Alexa Looks Like (2019), Melanie Hoff demonstrates that the design of interfaces of voice controlled technologies greatly influences how they are perceived. Joy Buolamwini's works substantiate the culturally programmed view of algorithms on humans. The paper summarizes a multi-level interrogation of digital technologies and illustrates the political (power) relations inscribed in them. Artistic strategies can aid in making these relationships visible and negotiable. Affective human connections are contrasted here with the implied assumptions of machines. The concepts presented are deepened in the author's own artistic work OFFREAL. The focus is on visual aspects of service provider simulations. In addition to the female-coded voice, many avatars are designed according to pop-cultural ideals of beauty, which raises political and representational questions. The categories race and gender remain contested in the discourse on virtual bodies. Overall, SOMEWHERE OFF THE REAL argues for a critical consideration of the increasing female-coded embodiment of interfaces, factoring in structural contexts.
  • Humus (Christiane Hamacher)
    Humus is generally found in the uppermost layer of the earth – from around ten to thirty centimeters in depth – and is a vulnerable and fragile substance. This part of the soil is a key habitat for various living creatures and is currently in an extremely bad state across the globe. Humus is lost through intensive farming practices such as meat production, which causes erosion of the soil. A further factor is the use of concrete to seal off natural ground. Our experiment focuses on humus as a living and performative substance and plays with an element of surprise. A ton of humus, piled up into a heap, awaits students in a room sealed off with large sections of plastic sheeting, which is staged almost like a scientific laboratory. Microscopes, laboratory glasses, various storage containers, gloves, pipettes, magnifying glasses, tweezers, mortars, and other objects lay ready arranged on tables. Each student then receives their own research kit and some humus. The pile of material is thus made to a reservoir and catalyst for artistic research, allowing aesthetic processes to be both created and observed. I see this creative engagement with humus as a form of individual reflection and thought that generates new forms of knowledge. Familiar approaches are abandoned, and students are able to produce, rediscover, and gather their own material experiences and perceptions. In this way, humus is used as an invitation to experiment, and to try out different artistic approaches to shared global issues.
  • From The­o­ry in­to Prac­tice – Re­search and Trans­for­ma­tion (Dolores Smith)
    The research project to which this text refers was based on the challenge to provide conditions for equal access to arts education for children and young people placed at a disadvantage - especiall...
  • Not for the im­pa­tient: (Carmen Mörsch)
    the sketch of a his­to­ry of con­flict­ing ideas and po­lit­i­cal trends in ac­tion re­search The text provides an outline of the history of action research from its beginnings in the 1920s up unti...
  • En­ab­ling ques­ti­ons (Ursula Ulrich)
    The text retraces how studying the theatrical design workshop «role kids» with primary school children from Lucerne turned into a challenging expedition. Ulrich shows how team-based action researc...
  • Review (Cornelia Dinsleder )
    No translation available at the moment.
  • Rehearsing Researching: Re-enactment of a script through collaborative writing (Janina Krepart, Heinrich Lüber , Jules Sturm)
    This article is based on a critical engagement with the practical conditions of teaching and doing research, which are significantly influenced by the respective artistic and theoretical backgrounds of the three authors involved in this project, by the media through which they communicate and (inter)act, and by the artistic, educational and scientific strategies and practices implemented in the work itself. Together the writers try out the experimental practice of re-scription as a mode of research. They bring to bear their individual writing experiences on the situation of co-writing this e-journal article by engaging with concepts from artistic-educational theories, such as becoming research, working from conditions, turning education and chronopolitics. It is an experimental approach to methodological processes, developed by way of pedagogical, artistic, and radical publishing strategies. The making of this article thus becomes part of a time-permitting and probing research process, which aims to infuse future artistic ways of teaching and learning.
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • From The­o­ry in­to Prac­tice – Re­search and Trans­for­ma­tion (Dolores Smith)
    The research project to which this text refers was based on the challenge to provide conditions for equal access to arts education for children and young people placed at a disadvantage - especiall...
  • Ac­ti­vat­ing the Dis­play (Karin Schneider)
    The­ses from the Re­search Project „sci­ence with all sens­es – sci­ence and gen­der in the mak­ing“ The following theses are based on the research project „science with all senses – science and ge...
  • Re­vis­it­ing Eval­u­a­tion (Emily Pringle)
    This text examines the important and potentially creative role that evaluation plays in participatory arts projects taking place in education contexts. A brief overview of evaluation is given befo...
  • Agency at the mar­gins of pow­er (Andrea Hubin)
    Lo­cat­ing a gallery ed­u­ca­tion that op­er­ates with con­cepts of per­for­ma­tiv­i­ty Why is gallery education interested in performativity? Between fights for recognition, reflection on one’s ow...
  • Gallery ed­u­ca­tion – per­for­mance – the dif­fer­end (Carmen Mörsch, Eva Sturm)
    The paper is based on an introductory talk given at the conference Perfoming the Museum as a Public Sphere at Kunstmuseum Lentos, Linz, in April 2008. It parts from Charles Garoian’s thesis that a...
  • Au­ton­o­my with­in the in­sti­tu­tion (Microsilions – Olivier Desvoignes/Marianne Guarino-Huet)
    To­wards a crit­i­cal art ed­u­ca­tion The performative production of the institution is at the center of the contribution by the artists/art educators collective microsillons. They discuss their r...
  • The­ater­ver­mit­tlung [The­atre Ed­u­ca­tion] as Ob­ject of Re­search (Ute Pinkert)
    According to Ute Pinkert the decisive characteristic of theatre pedagogy at theatres is the connection to the institution theatre. For this specific research area she introduces the term «Theaterv...
  • Do­ing Is Rec­og­niz­ing and Rec­og­niz­ing Is Do­ing. The In­sep­a­ra­ble In­ter­re­la­tion be­tween The­o­ry and Prac­tice (Barbara Putz-Plecko)
    About the development of research and theory in the field of art-, gallery-, and cultural education at the University of Applied Arts Vienna The education of art teachers at the University of Appli...
  • Representation and the Critique of Representation in Visual Culture. Focus: gallery education (Stephan Fürstenberg)
    eine virtuelle Lernplattform This online publication introduces approaches, questions, and conflicts into the field of visual culture concerning ways of representing and critique of representation....
  • From migrant to Muslim - (Rifa’at Lenzin)
    the prob­lem of re­li­gious as­crip­tions for mi­grants of Is­lam­ic her­itage How relevant is Islam for muslims living here? What actually makes one a Muslim? Today, the term Muslim is being emplo...
  • Or­dered Bod­ies, em­bod­ied Or­ders – about vi­su­al and lin­guis­tic rep­re­sen­ta­tion­al pat­terns of gallery ed­u­ca­tion (Stephan Fürstenberg)
    In his text, Stephan Fürstenberg focuses on dominant representational forms of the figures art mediator and public. In referencing historical image examples, he works out productions of difference...
  • En­gage­ment and vis­i­bil­i­ty. Who ben­e­fits? (Henrike Plegge)
    Work­ing with young mi­grants in gallery ed­u­ca­tion and ex­hi­bi­tions In her paper, Henrike Plegge discusses different forms of participation and visibility of young migrants in a gallery educat...
  • Teach­ing the world to the arts (Wanda Wieczorek)
    Many cultural institutions today find themselves in a dilemma: On the one hand, programming should, and wants, to reach as many people as possible – especially young people, and particularly those...
  • Mem­o­ry, Archive and Me­di­a­tion (Felipe Polanía)
    Ap­proach­es for me­di­a­tion prac­tice with refugees Is it possible to speak of a collective memory of people who have fled their places of home? Can mediation contribute to contruct a collective ...
  • «Ma­te­r­i­al Mem­o­ry» and Post­mi­grant So­ci­ety (Jonas Bürgi)
    Pro­pos­als for col­lec­tion de­vel­op­ment and in­ter­pre­ta­tion at the Swiss Na­tion­al Mu­se­um National Museums claim authority in defining ‚cultural heritage’. Migration histories, as relativ...
  • Mediation of Realities: The Society of Friends of Halit (Ayşe Güleç)
    Carried out as part of documenta 14 in Kassel, The Society Friends of Halit focused on the crimes of the National Socialist Underground (NSU) and its belated prosecution. Though it received overwh...
  • Wandering About: An Experiment in Walking and Learning (Kitto Derrick Wintergreen)
    In 2016 Wintergreen started introducing the format of walking lectures to his students at the Nagenda International Academy of Art and Design (NIAAD/Uganda), aiming to encourage them to observe and...
  • Margaret Trowell’s School of Art A Case Study in Colonial Subject Formation (Emma Wolukau-Wanambwa)
    Margaret Trowell (1904–1985) founded one of the first schools of ‘fine art’ for Africans in the Uganda Protectorate in the 1930s. This essay argues that both Trowell’s arguments for introducing fin...
  • GERMAN, NATURAL AND NAKED? The Colonial Entanglements of the Life Reform (Saskia Köbschall)
    Taking the author’s personal experiences with the German nudist movement as a starting point, this essay explores the discursive link between colonialism, its ideology of racial hierarchies and th...
  • Flight of Riddles – Thinking Through the Difficult Legacy of Progressive Art Education in Austria (Karin Schneider, Andrea Hubin)
    Andrea Hubin and Karin Schneider’s contribution gives an insight into their explorations of Austrian art education’s difficult legacy. Reflecting on the boundaries, aversions, distortions, interru...
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • 3 QUESTIONS FOR ... die Tiefe Kümmernis* (Die Tiefe Kümmernis)
    Die Tiefe Kümmernis, a drag queen and museum art educator, answers three questions about her work in Vienna. She first explains the origin of her name and describes the beginnings of her work as an art educator. In the second answer, she explains how user-generated content on the internet makes the heteronormative, patriarchal canon of European art history more inclusive. In the last part she discusses the potentials and difficulties of online videos about queer art history.
  • How much of a little is enough? An investigation of equipment, workspaces and lesson preparation in the field of visual design. (Pamela Gardi)
    No translation available at the moment.
  • Three questions for... (Hannah Horst)
    There are articles in art magazines about current exhibitions. The SFKP e Journal Art Education Research would like to transfer this format to the field of art mediation through current practice by presenting one art pedagogical project per issue or by making visible an art mediating position of a person or a collective. The performance will take place in a loose form. Understood as snapshots of art pedagogical practice, the answers can be submitted in images, text and/or other media contexts.
  • Read across and talk back (Sabine Gebhardt Fink, Nora Landkammer, Anna Schürch)
    A di­a­logue on per­fo­mance the­o­ry and gallery ed­u­ca­tion Based on Judith Butler's definition of the performative act as an action that has to be constantly repeated and socially legitimized, ...
  • Do­ing Is Rec­og­niz­ing and Rec­og­niz­ing Is Do­ing. The In­sep­a­ra­ble In­ter­re­la­tion be­tween The­o­ry and Prac­tice (Barbara Putz-Plecko)
    About the development of research and theory in the field of art-, gallery-, and cultural education at the University of Applied Arts Vienna The education of art teachers at the University of Appli...
  • Aes­thet­ic Learn­ing in Ur­ban Space – On­go­ing Syn­the­ses of Prac­tice and The­o­ry (Wolfgang Zacharias)
    Wolfgang Zacharias’ contribution shows his interest in aesthetic and urban learning in the context of «Cultural Education 2.0». The text encompasses the experimental educational activities in publ...
  • Aes­thet­ic ed­u­ca­tion and art teach­ing (Paul Mecheril)
    Notes from the per­spec­tive of mi­gra­tion ped­a­gogy Rather than asking about the culture of specific migrant groups, how these cultures can be described and what enables the understanding betwee...
  • Think­ing Through /Dif­fer­ence/ in Art Ed­u­ca­tion Con­texts (jan jagodzinski)
    Work­ing the Third Space and Be­yond This essay was published in 1999. It explores the difficulty of «difference» within pluriculturalist art education. It explores the dominant liberal humanist ap...
  • GERMAN, NATURAL AND NAKED? The Colonial Entanglements of the Life Reform (Saskia Köbschall)
    Taking the author’s personal experiences with the German nudist movement as a starting point, this essay explores the discursive link between colonialism, its ideology of racial hierarchies and th...
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • Review (Cornelia Dinsleder )
    No translation available at the moment.
  • On Current Research in Swiss Art Education. An interview with Ruth Kunz in October 2019 (Ruth Kunz, Gila Kolb)
    The symposium Der professionalisierte Blick (The Professionalized Gaze) took place in 2019, shortly before the volume of the same name was published. For the first issue of the SFKP e Journal Art Education Research, which focuses on current art education research in Switzerland, the interview with Ruth Kunz elaborates on her many years of research practice, her teaching of research in teaching and the research landscape of art education in German-speaking Switzerland. In addition, the interview alludes to the specific potential of art education in research. The interview was conducted by Gila Kolb.
  • Review (Gitta Bertram)
    No translation available at the moment.
  • Micro Pedagogical Leaps in the Context of Aesthetic Education (Silvia Henke, Wiktoria Furrer)
    By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • Lear­ning from Kas­sel (Wanda Wieczorek, Ayşe Güleç, Carmen Mörsch)
    The fifth issue of Art Education Research, entitled «Von Kassel lernen» (Learning from Kassel) reflects on the intersection between cultural and political education, and is based on the example of ...
  • «At­tached, please find my im­age archive» (Anne Gruber)
    Based on the assignment 'image archive', Anne Gruber shows how an attentiveness she developed during her studies to questions from art theory, cultural studies and art can be integrated in her prac...
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • EcoArtLab: Transdisciplinary Approaches to Climate Change (Yvonne Schmidt)
    The EcoArtLab at the Bern University of the Arts is a pilot project that aims to investigate how the interplay between artistic research and human geography or climate science can best contribute to the climate change debate. In this context, a summer school on Climate and the City was held in Bern and Zurich in 2020, organized in collaboration with the Crowther Lab at ETH Zurich, the Institute of Geography at the University of Bern, and the Federal Office for the Environment (FOEN). Drawing on a toolbox of research strategies, thirteen students from various artistic disciplines developed individual project ideas in consultation with scientists during the summer of 2020, which were then exhibited as part of an intervention at Frau Gerolds garden in Zurich. In addition, a series of workshops, panel discussions, and regular meet-ups examined issues of environmental sustainability, such as energy consumption, for a broader audience. The paper at hand offers a glimpse into the Climate & the City summer school. Its focus is on collaboration between artistic processes and climate research, and what approaches to and formats for knowledge generation this can produce. At the same time, it also demonstrates the hurdles and problems that collaborative work brings with it.
  • Everyday photo actions, observations, and questions - an introduction (Flurina Stuppan)
    My article presents exemplary observations of everyday photo actions in groups of adolescents and adults. The observations are written on the basis of inner images. Questions that take a critical position towards the medium of photography and society are formulated based on these observations. The final part of the text presents the different photo actions for discussion and incorporates findings from the master's thesis. An art-educational contextualization forms the conclusion of the text, thus putting the emphasis on everyday actions from a mediating perspective.
  • An ontology of the present. On the transformation of art educational knowledge (Anna Schürch)
    Curriculum revision projects, such as the current revision of the secondary school (Gymnasium) basis curriculum 2020-22 in Switzerland, call for a review of the content and objectives of the individual subjects and provide an opportunity to reflect on the knowledge within a subject, and the way it changes. How can such change be conceived and how can it be oriented if intended to go beyond the pragmatic framework of an educational policy-motivated revision project, which is characterized by scarce time resources and acute pressure to act? The article builds on Michel Foucault’s ontology of the present and seeks, via according educational-philosophical considerations, a perspective on change that positions itself both critically and self-reflexively; that is not oriented to what are diagnosed to be the great challenges of the future, but engages with what is already present and appears in everyday life. A possibility to grasp and reflect on existing art education knowledge is created. A footnote by Margot Zanni and a questionnaire by Michèle Novak expand the text, rooting the gesture of (self-)critical reflection in the act reading.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • Re­vis­it­ing Eval­u­a­tion (Emily Pringle)
    This text examines the important and potentially creative role that evaluation plays in participatory arts projects taking place in education contexts. A brief overview of evaluation is given befo...
  • Per­for­ma­tive in­ter­ven­tions (Sandra Ortmann)
    A performance script for the exhibitions Fomuška, by Micol Assaël, and Frühling, by Pawel Althamer and children living in Kassel, at Kunsthalle Fridericianum Performtive interventions, as a format,...
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • Do it yourself und Radikal Crafting. Wie radikal ist die Handarbeit? Zu Geschichte und Aktualität von Do it yourself-Strategien in Aktivismus und Kunst. (Sonja Eismann)
    Sonja Eismann zeigt in ihrem Beitrag die Geschichte und Aktualität von Do-it-yourself-Strategien in Aktivismus und Kunst auf. Sie geht der Frage der Etablierung dieser Gegenkultur nach, die sich An...
  • Flic Flac* - Feministische Materialien für den Kunstunterricht. (Elke Smodics-Kuscher, Nora Sternfeld, Büro trafo. K)
    Flic Flac* – Fe­mi­nis­ti­sche Ma­te­ria­li­en für den Kunstun­ter­richt. Mit Flic Flac* versuchen Elke Smodics-Kuscher und Nora Sternfeld vom Büro trafo.K sich den Kodierungen, Fallstricken und Wi...
  • Queer und DIY im Kunstunterricht. Eine Einführung (Bernadett Settele)
    In der Einführung werden die Ziele aufgezeigt, die Art Education Research Nr. 3 verfolgt: als „Schulbuch“ Anregungen aus der queer theory und den Kulturwissenschaften für den Kunstunterricht zu ver...
  • AUS MIT RAUS (Eva Lausegger)
    or AM I RACIST? The text deals with an intent to deport a student at our school, the protest movement that mobilized against the deportation, and an art project with students from several courses o...
  • «Sich Verze­ich­nen» – with and through dif­fer­ences (Mikki Muhr)
    Build­ing re­la­tions and leav­ing rests in car­togra­phies What enables reflective processes, that can help to view one’s own thoughts and actions in their conditioning frameworks and to criticall...
  • Front Cov­ers for Vir­tu­al Es­says and Non-​Ex­is­tent Books, 2004-​2016 (Roee Rosen)
    The board presented here, echoing those found in school libraries, was made for the exhibition Art School, curated by Avi Lubin at Tel Aviv Museum of Art in 2016. Celebrating the 70th anniversary o...
  • Counter/Act­ing: Per­for­ma­tive Poros­i­ty (Elke Krasny)
    Based on Counter/Acting, a symposium at the Institute for Education in the Arts at Vienna’s Academy of Fine Arts in cooperation with Kunsthalle Wien, this text opens up links between possible acti...
  • How to Speak with Your Mouth Full? (Studio Without Master)
    If every art school class can be perceived as a collective body, it is usually headed by a master. We want to keep this anatomical metaphor and symbolically decapitate it. The head is generally un...
  • The Liv­ing School (Brandon LaBElle)
    The Living School was held in London from February to June 2016 in collaboration with the South London Gallery and taking place at a range of venues in the city. Focusing on the issues of social ho...
  • The An­ti-​Lec­ture Mul­ti_Verse (Jamika Ajalon)
    (un­re­hearsed) I aim to explore the ways in which artistic practice, academic research, and the blending of multilayered narratives destabilizes traditional, hegemonic sagacity, and static structu...
  • Acting Together: rethinking existing approaches to collective action (Yen Noh)
    This text investigates collective action as an artistic practice. Such practice is often collaborative and curatorial, both working within artist groups and by involving the audience and other art...
  • Stimm­los 2 – Re­hearsal (Simon Harder)
    Stimmlos (voiceless/unvoiced/voting ticket), a series of experimental sound pieces and a work-in-progress, is based on and centred around artworks, giving rise to compact images in space and langua...
  • Learning Processes about Non-Discriminatory Practices in the Field of Cultural Education  (Aïcha Diallo, Danja Erni)
    Since summer 2016, we have been leading the KontextSchule, a platform for the continuing education of teachers and artists in Berlin. Adopting the viewpoint of those who stand inside and outside o...
  • Sown by Scat­ter­ing: Re­flec­tions on an Un­re­al­ized Com­mis­sion for an Artis­tic Project at an Asy­lum Cen­ter (Pascal Schwaighofer)
    What are the implications of a commissioned monument that envisages a participatory process between an artist and the inhabitants of an asylum center? From defining the context and identifying the ...
  • … um das Ende der Welt aufzuhalten! Ein kollektives Nachdenken zum Klimawandel (Bené Asefa Feireiss , Silke Ballath , Kunigunde Berberich , Raphael Daibert , Lukas Oertel , Katharina Stahlhoven , Wiebke Janzen )
    As a collective of authors made up of artists, students, researchers, cultural agents, and activists, our aim is to find a collaborative approach to the question of what the corona crisis has to do with the climate change crisis. This question serves as the starting point for a shared reflection, considered in relation to our various positions and situations. What sort of questions can collective and artistic considerations raise with regard to climate change? How are marginalized and diverse positions included in these reflections? How and what do we learn (and unlearn) from and with one another? How does art experiment with collective forms of thought and action? Following the “METTRAGE positionen-relationen” artistic method, we will work together to produce new questions. The method was developed by Katharina Stahlhoven and Silke Ballath in their capacity as cultural agents, as a negotiating tool for creative schools. The process makes collective thinking visible and negotiable. It positions a participant’s specific perspective in order that it can be further developed in exchange with another person or group, re-contextualizing and modifying it and setting it in motion. Our contribution will comprises a collective image, seven individual images, a conversation, and a question that will lead our discussion.
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • Things, Moods, Actions - The Walk as a Constellation (Markus Schwander)
    Both in artistic research projects and in teaching, walks are used to investigate the perception of space. Walking together is regarded as a constellation in order to recognize and influence the factors that determine the action, i.e. to shape collective action. Artistic examples will be used to show how space and perception are interrelated and how their relationship is constantly re-constructed.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • Humus (Christiane Hamacher)
    Humus is generally found in the uppermost layer of the earth – from around ten to thirty centimeters in depth – and is a vulnerable and fragile substance. This part of the soil is a key habitat for various living creatures and is currently in an extremely bad state across the globe. Humus is lost through intensive farming practices such as meat production, which causes erosion of the soil. A further factor is the use of concrete to seal off natural ground. Our experiment focuses on humus as a living and performative substance and plays with an element of surprise. A ton of humus, piled up into a heap, awaits students in a room sealed off with large sections of plastic sheeting, which is staged almost like a scientific laboratory. Microscopes, laboratory glasses, various storage containers, gloves, pipettes, magnifying glasses, tweezers, mortars, and other objects lay ready arranged on tables. Each student then receives their own research kit and some humus. The pile of material is thus made to a reservoir and catalyst for artistic research, allowing aesthetic processes to be both created and observed. I see this creative engagement with humus as a form of individual reflection and thought that generates new forms of knowledge. Familiar approaches are abandoned, and students are able to produce, rediscover, and gather their own material experiences and perceptions. In this way, humus is used as an invitation to experiment, and to try out different artistic approaches to shared global issues.
  • EcoArtLab: Transdisciplinary Approaches to Climate Change (Yvonne Schmidt)
    The EcoArtLab at the Bern University of the Arts is a pilot project that aims to investigate how the interplay between artistic research and human geography or climate science can best contribute to the climate change debate. In this context, a summer school on Climate and the City was held in Bern and Zurich in 2020, organized in collaboration with the Crowther Lab at ETH Zurich, the Institute of Geography at the University of Bern, and the Federal Office for the Environment (FOEN). Drawing on a toolbox of research strategies, thirteen students from various artistic disciplines developed individual project ideas in consultation with scientists during the summer of 2020, which were then exhibited as part of an intervention at Frau Gerolds garden in Zurich. In addition, a series of workshops, panel discussions, and regular meet-ups examined issues of environmental sustainability, such as energy consumption, for a broader audience. The paper at hand offers a glimpse into the Climate & the City summer school. Its focus is on collaboration between artistic processes and climate research, and what approaches to and formats for knowledge generation this can produce. At the same time, it also demonstrates the hurdles and problems that collaborative work brings with it.
  • Shifts in Space - Displacements in Schools as a Critical Gesture (Margot Zanni)
    How could the implicit effect of school spaces be made more accessible to reflection and at the same time participate in the experience of the constitution of another space? The focus of the explanations is on spatial practices of shifting, varying or displacing. Displacement, in particular, is questioned as a strategy for making the effects of school space visible. Heterogeneously selected case studies will be used. The study of Christiane Brohl and her concept of displacement as an art-pedagogical strategy is prominent. With regard to the question at hand, an extension of her approaches is proposed. The theoretical reference point of heterotopia introduced with it will be discussed in the context of further receptions and a methodology will be found which will then be illustrated using the example of the seminar "Learning in/as/through Space". The analysis of everyday rule breaks (tricks) also plays a role in the development of these methodological considerations. As heterotopic break-ins into school orders, they served as models for the development of the seminar's approaches. This was aimed at students of art pedagogy and took place as a temporary use in the empty rooms of the former Villa Bellerive. The starting point for the planned process of the empty spaces was artistic research on school buildings of different construction periods. The situational translation of the results of this research into the context of the villa spaces - in the sense of an analogy or a contrast - was intended to make certain aspects of school spatial conditions even more prominent and reflectable. With a view to the future teaching activities of the students, this was intended to make possible the experience of a creative scope that wanted to counteract to a certain extent the effect of normative school settings.
  • (Un-)Learning Ecologies – An exploration of two research-based artistic teaching formats as experimental platforms for ecologically sustainable ways of being and becoming (Janina Krepart, Chantal Küng, Judith Tonner)
    To what extent and by which new and urgent challenges are art educators confronted through current and future effects of the climate crisis? And how can artistic teaching practices contribute to a sense of responsibility, and ultimately to ecologically sustainable practices, in “kulturelle Bildung” and arts education? Motivated by these questions, the authors designed and realized two teaching modules for the Bachelor and Master Art Education (ZHdK) in the academic year 2020–21. The article stages a critical dialogue to discuss the courses’ underlying postulations and to consider potential implications for art education research. The conceptual frameworks of the two teaching formats and their respective implementation expose not only diverging underlying accounts of the “subject”; they also present different perspectives, associations and conceptions of ecology and sustainability.
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • Participatory spaces of aesthetic education Transferring a museum-pedagogical program with theater methods (Bettina Gassmann)
    The basis of this contribution is formed by my master thesis at the FHNW School of Education (PH), which centers on aesthetic education. The aim of this work was to activate students to participate in the educational field of the school with a workshop using the theatrical methods of Augusto Boal. Boal's theater considers itself a school of participation. The focus of this article is on the researching teacher's discomfort and understanding of their role. The art exhibition "Action" at the Kunsthaus Zürich provided an important reference for the workshop. During the workshop, a forced protest action went differently than planned. The actions of the students unsettled the researching teacher, who, confronted with irritation and incalculability, reflected upon these topics theoretically. A central theme of the thesis was how students can act cooperatively in art lessons. Observations made during the workshop formed the focus of the study. Autoethnographic methods were employed: A research diary with photos of all participants was created, among other things. Concrete experiments on dealing with contradictions were carried out and reflected upon. In this article, the research teacher describes one of these situations. The students did not abide by the agreement and acted on their own authority. Assuming an "artistic" perspective, such irritations should be welcomed. Less so from the point of view of the teacher, who desires reliability. In the conflict of the teaching/learning process, a distinction is made as to the type of discomfort: whether and how the unfamiliar or unknown is alien to the content or the method (cf. Sack 2011). The impossibility of a punctual demand for student participation becomes evident. A productive solution lies in the acceptance of the conflict. The imperative of participation is problematic, because participation should indeed be voluntary. The possibility of refusal is regarded as a formative option for action in the interplay between the potential for hope and the possibility of participation in the educational field of the school.
  • … um das Ende der Welt aufzuhalten! Ein kollektives Nachdenken zum Klimawandel (Bené Asefa Feireiss , Silke Ballath , Kunigunde Berberich , Raphael Daibert , Lukas Oertel , Katharina Stahlhoven , Wiebke Janzen )
    As a collective of authors made up of artists, students, researchers, cultural agents, and activists, our aim is to find a collaborative approach to the question of what the corona crisis has to do with the climate change crisis. This question serves as the starting point for a shared reflection, considered in relation to our various positions and situations. What sort of questions can collective and artistic considerations raise with regard to climate change? How are marginalized and diverse positions included in these reflections? How and what do we learn (and unlearn) from and with one another? How does art experiment with collective forms of thought and action? Following the “METTRAGE positionen-relationen” artistic method, we will work together to produce new questions. The method was developed by Katharina Stahlhoven and Silke Ballath in their capacity as cultural agents, as a negotiating tool for creative schools. The process makes collective thinking visible and negotiable. It positions a participant’s specific perspective in order that it can be further developed in exchange with another person or group, re-contextualizing and modifying it and setting it in motion. Our contribution will comprises a collective image, seven individual images, a conversation, and a question that will lead our discussion.
  • Rehearsing Researching: Re-enactment of a script through collaborative writing (Janina Krepart, Heinrich Lüber , Jules Sturm)
    This article is based on a critical engagement with the practical conditions of teaching and doing research, which are significantly influenced by the respective artistic and theoretical backgrounds of the three authors involved in this project, by the media through which they communicate and (inter)act, and by the artistic, educational and scientific strategies and practices implemented in the work itself. Together the writers try out the experimental practice of re-scription as a mode of research. They bring to bear their individual writing experiences on the situation of co-writing this e-journal article by engaging with concepts from artistic-educational theories, such as becoming research, working from conditions, turning education and chronopolitics. It is an experimental approach to methodological processes, developed by way of pedagogical, artistic, and radical publishing strategies. The making of this article thus becomes part of a time-permitting and probing research process, which aims to infuse future artistic ways of teaching and learning.
  • An ontology of the present. On the transformation of art educational knowledge (Anna Schürch)
    Curriculum revision projects, such as the current revision of the secondary school (Gymnasium) basis curriculum 2020-22 in Switzerland, call for a review of the content and objectives of the individual subjects and provide an opportunity to reflect on the knowledge within a subject, and the way it changes. How can such change be conceived and how can it be oriented if intended to go beyond the pragmatic framework of an educational policy-motivated revision project, which is characterized by scarce time resources and acute pressure to act? The article builds on Michel Foucault’s ontology of the present and seeks, via according educational-philosophical considerations, a perspective on change that positions itself both critically and self-reflexively; that is not oriented to what are diagnosed to be the great challenges of the future, but engages with what is already present and appears in everyday life. A possibility to grasp and reflect on existing art education knowledge is created. A footnote by Margot Zanni and a questionnaire by Michèle Novak expand the text, rooting the gesture of (self-)critical reflection in the act reading.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • Extracurricular support for art: Dare to expand! (Nicole Heri)
    The master's thesis is a comparison of extra-curricular artistic promotion in the Lucerne area with the K'werk in Basel-Stadt and an examination of the concept of creativity. It was written in the frame of the fine arts program with a major in art in public spheres. In research, creativity is often defined as "the process of creating something new and useful."Problem-solving behavior is seen as an occasion for creativity, which various neuroscientists have proven can be promoted. Yet creative promotion in schools is limited. My thesis, which forms the basis of this contribution, presents ideas for the implementation of a promotion plan for schools and at a politicallevel. An empirical comparison of access, financial expenditure, creativity promotion and the gender impacts of the offers of extra-curricular art education in Lucerne with the K'werk in Basel are central to the undertaking. My evaluation shows that enabling financing is essential to ensuring barrier-free access for young people. Suitable spaces, generous time management and the open discussion of problems are indispensable in the promotion of creativity. Results are divergent in regards to gender and course contents are crucial. The foundingof the BildWerkLuzernis validatedinthe conclusion of the research. A subsequent PhD thesis is intended to elaborate inter-cantonal comparisons of offers, political financial factors and the history of extra-curricular support for art.
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • Are You Sure? Zoom in (Charlotte Friedli)
    The following text is a revised part of my master thesis, Are you sure? Zoom in. Approaching the unapproachable computer. A strategy of empowerment. The question is explored on the basis of the interplay between artistic and art analytical work. The thesis at the outset was that the computer is unapproachable because of its being a complex and mystified dispositive. This condition is examined from different positions. Users do not know what they are really dealing with and are forced to comply with web developers' decisions. Based on Olia Lialina's concept of digital folklore, the aim is to empower simple users and the ephemeral traces they leave on the web. The artistic strategy zoom in was developed based on work with multiple theories. Zoom in stands for approaching an unapproachable Computer. In the act of zooming in, users arrive at unimagined places via pointless detours. The strategy describes four aspects that are examined more closely: infrastructure, sub-actions, the individual and pixels. Artistic artifacts that try to dissolve the distance to the myth that is the computer can be found on the blog www.areyousure.blog.
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • Material Semiotics of Tenderness (Seraina Dür , Jonas Gillmann)
    We, Seraina Dür and Jonas Gillmann, have been working with thirteen pigeons on our project Parliament of Things, Animals, Plants, and Algorithms since 2019, creating performative settings that we act out together with the pigeons and other human and non-human actors. The concept of caring architecture is crucial when conceiving our settings. While pigeons are often shot and displaced in cities, we are interested in how spaces might look that care for all their different residents, instead of dividing and repelling them. Each space we design features a flight hole through which the pigeons can enter and leave, along with ceramic bowls that we and the pigeons eat porridge from, dandelions that we use in play with the pigeons, bathing pools for splashing around, and much more. These objects allow us to connect with the pigeons. Their meanings are produced from our lived experience with the birds, and from our shared but different use of the objects; they are symbols of tenderness between humans and pigeons. Our article Semiotics of Tenderness presents what is now our three-year relationship with the pigeons as a photo and video story. It reflects important current issues, such as how we can best care for our damaged environment. In addressing the question of how this relationship can be conveyed within art and theater spaces, we draw upon Ursula K. Le Guin’s carrier bag theory. In contrast to the heroic story, which runs as straight as an arrow and ends at a target, the carrier bag is a container within which meandering and polyphonic narrative strands are interwoven with one another. With their permeable walls, our caring spaces are themselves carrier bags – vessels where a variety of different stories are gathered. In order that this narrative can be communicated – both verbally and in a material and spatial language that stems from our activities with the pigeons – we attempt to find a semiotics of tenderness.
  • Material Semiotics of Tenderness (Seraina Dür , Jonas Gillmann)
    We, Seraina Dür and Jonas Gillmann, have been working with thirteen pigeons on our project Parliament of Things, Animals, Plants, and Algorithms since 2019, creating performative settings that we act out together with the pigeons and other human and non-human actors. The concept of caring architecture is crucial when conceiving our settings. While pigeons are often shot and displaced in cities, we are interested in how spaces might look that care for all their different residents, instead of dividing and repelling them. Each space we design features a flight hole through which the pigeons can enter and leave, along with ceramic bowls that we and the pigeons eat porridge from, dandelions that we use in play with the pigeons, bathing pools for splashing around, and much more. These objects allow us to connect with the pigeons. Their meanings are produced from our lived experience with the birds, and from our shared but different use of the objects; they are symbols of tenderness between humans and pigeons. Our article Semiotics of Tenderness presents what is now our three-year relationship with the pigeons as a photo and video story. It reflects important current issues, such as how we can best care for our damaged environment. In addressing the question of how this relationship can be conveyed within art and theater spaces, we draw upon Ursula K. Le Guin’s carrier bag theory. In contrast to the heroic story, which runs as straight as an arrow and ends at a target, the carrier bag is a container within which meandering and polyphonic narrative strands are interwoven with one another. With their permeable walls, our caring spaces are themselves carrier bags – vessels where a variety of different stories are gathered. In order that this narrative can be communicated – both verbally and in a material and spatial language that stems from our activities with the pigeons – we attempt to find a semiotics of tenderness.
  • The idea comes while drawing (Malin Widén)
    Progressive digitalization is changing our perception, our thinking and our actions. It also changes our relationship to the image. Yet at the same time, the relevance of visual education must constantly be defended. Instead of thinking through drawing about the power and effects of images–thinking in images and placing them in new contexts–school tends to treat image-making according to a certain scheme oriented towards homogeneous, easily assessable visual products. In my view, new approaches and examples are needed, especially in didactics; those that do not portray drawing as an imitation of existing image categories, but as a thought process; a visual thought process that is individual and can take place across disciplines. What it means to connect drawing with thinking and what challenges and possibilities a reflexive drawing practice could bring for primary schools, are questions I have investigated experimentally and scientifically within the framework of the master thesis The idea comes while drawing. In my work, drawing is both the object and method of research – visual and linguistic thought processes mutually inspire and reflect each other.
  • Rehearsing Researching: Re-enactment of a script through collaborative writing (Janina Krepart, Heinrich Lüber , Jules Sturm)
    This article is based on a critical engagement with the practical conditions of teaching and doing research, which are significantly influenced by the respective artistic and theoretical backgrounds of the three authors involved in this project, by the media through which they communicate and (inter)act, and by the artistic, educational and scientific strategies and practices implemented in the work itself. Together the writers try out the experimental practice of re-scription as a mode of research. They bring to bear their individual writing experiences on the situation of co-writing this e-journal article by engaging with concepts from artistic-educational theories, such as becoming research, working from conditions, turning education and chronopolitics. It is an experimental approach to methodological processes, developed by way of pedagogical, artistic, and radical publishing strategies. The making of this article thus becomes part of a time-permitting and probing research process, which aims to infuse future artistic ways of teaching and learning.
  • Rehearsing Researching: Re-enactment of a script through collaborative writing (Janina Krepart, Heinrich Lüber , Jules Sturm)
    This article is based on a critical engagement with the practical conditions of teaching and doing research, which are significantly influenced by the respective artistic and theoretical backgrounds of the three authors involved in this project, by the media through which they communicate and (inter)act, and by the artistic, educational and scientific strategies and practices implemented in the work itself. Together the writers try out the experimental practice of re-scription as a mode of research. They bring to bear their individual writing experiences on the situation of co-writing this e-journal article by engaging with concepts from artistic-educational theories, such as becoming research, working from conditions, turning education and chronopolitics. It is an experimental approach to methodological processes, developed by way of pedagogical, artistic, and radical publishing strategies. The making of this article thus becomes part of a time-permitting and probing research process, which aims to infuse future artistic ways of teaching and learning.
  • Shifts in Space - Displacements in Schools as a Critical Gesture (Margot Zanni)
    How could the implicit effect of school spaces be made more accessible to reflection and at the same time participate in the experience of the constitution of another space? The focus of the explanations is on spatial practices of shifting, varying or displacing. Displacement, in particular, is questioned as a strategy for making the effects of school space visible. Heterogeneously selected case studies will be used. The study of Christiane Brohl and her concept of displacement as an art-pedagogical strategy is prominent. With regard to the question at hand, an extension of her approaches is proposed. The theoretical reference point of heterotopia introduced with it will be discussed in the context of further receptions and a methodology will be found which will then be illustrated using the example of the seminar "Learning in/as/through Space". The analysis of everyday rule breaks (tricks) also plays a role in the development of these methodological considerations. As heterotopic break-ins into school orders, they served as models for the development of the seminar's approaches. This was aimed at students of art pedagogy and took place as a temporary use in the empty rooms of the former Villa Bellerive. The starting point for the planned process of the empty spaces was artistic research on school buildings of different construction periods. The situational translation of the results of this research into the context of the villa spaces - in the sense of an analogy or a contrast - was intended to make certain aspects of school spatial conditions even more prominent and reflectable. With a view to the future teaching activities of the students, this was intended to make possible the experience of a creative scope that wanted to counteract to a certain extent the effect of normative school settings.
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • Are You Sure? Zoom in (Charlotte Friedli)
    The following text is a revised part of my master thesis, Are you sure? Zoom in. Approaching the unapproachable computer. A strategy of empowerment. The question is explored on the basis of the interplay between artistic and art analytical work. The thesis at the outset was that the computer is unapproachable because of its being a complex and mystified dispositive. This condition is examined from different positions. Users do not know what they are really dealing with and are forced to comply with web developers' decisions. Based on Olia Lialina's concept of digital folklore, the aim is to empower simple users and the ephemeral traces they leave on the web. The artistic strategy zoom in was developed based on work with multiple theories. Zoom in stands for approaching an unapproachable Computer. In the act of zooming in, users arrive at unimagined places via pointless detours. The strategy describes four aspects that are examined more closely: infrastructure, sub-actions, the individual and pixels. Artistic artifacts that try to dissolve the distance to the myth that is the computer can be found on the blog www.areyousure.blog.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • An ontology of the present. On the transformation of art educational knowledge (Anna Schürch)
    Curriculum revision projects, such as the current revision of the secondary school (Gymnasium) basis curriculum 2020-22 in Switzerland, call for a review of the content and objectives of the individual subjects and provide an opportunity to reflect on the knowledge within a subject, and the way it changes. How can such change be conceived and how can it be oriented if intended to go beyond the pragmatic framework of an educational policy-motivated revision project, which is characterized by scarce time resources and acute pressure to act? The article builds on Michel Foucault’s ontology of the present and seeks, via according educational-philosophical considerations, a perspective on change that positions itself both critically and self-reflexively; that is not oriented to what are diagnosed to be the great challenges of the future, but engages with what is already present and appears in everyday life. A possibility to grasp and reflect on existing art education knowledge is created. A footnote by Margot Zanni and a questionnaire by Michèle Novak expand the text, rooting the gesture of (self-)critical reflection in the act reading.
  • Review (Cornelia Dinsleder )
    No translation available at the moment.
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • Learning from Wallmapu (Aldir Polymeris )
    This paper is about a place called Chile and another called Wallmapu, which is either inside, below, or outside the former, depending on your point of view. Wallmapu is a place where complex histories are inscribed – overlapping, boundary-crossing, and globally entangled. These are narratives of composition and assemblage; of hybridity, difference, and multiple perspectives. The Wallmapu has another name: Araucanía. This is the name given by the Chilean state to the region south of the Bío Bío River, where the Mapuche – Chile’s largest indigenous group – originally lived, and where some of them still do today. Wallmapu, on the other hand, is the term used by the Mapuche themselves. It is therefore political, since it represents a different perspective on the territory. Wallmapu ex situ is a complex and multi-layered work that includes a series of online conferences; these were first streamed on a dedicated website and are now archived on it. Nina Willimann and I (working under the group name Trop cher to share) were responsible for the conception and artistic direction of the project, which we developed in collaboration with an interdisciplinary team of experts. A large part of our work involved making contacts and building a network of people who have some sort of relationship (whether biographical, academic, emotional, or artistic) to Wallmapu. This historiographical practice is on the one hand based on the ideas and arguments of the French sociologist and philosopher Bruno Latour, and on the other on the Mapuche worldview, which sees humans as a part of nature and credits natural entities with agency and voices. This text is an attempt to beat a narrow path that allows me to name the territorial and historical conditions that have shaped the relationship between Chile, Wallmapu, and Switzerland. In talking about how we developed Wallmapu ex situ from my own perspective, my aim is not least to relate stories of traveling (and not being able to travel), and of virtual interspaces.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • Emergency Remote Art Education? Reflections on a study with students on art- and aesthetic-cultural educational practices in a state of emergency (Miriam Schmidt-Wetzel, Laura Zachmann)
    The article provides an overview of a study being considered an investigation of and with actors in art education and orients itself methodically/methodologically on characteristics of phenomenological case research. Subject of the qualitative-empirical study is the experience of various actors involved in teaching in the field of art education, or in the subject of Bildnerisches Gestalten, in the midst of the global state of emergency triggered by the Covid-19 pandemic in spring 2020. The investigation is based on two assumptions: first, that under the pressure of the first pandemic wave, educational formats developed ad hoc and without sound knowledge of e-didactics in the mode of Emergency Remote Teaching (ERT) (Hodges et al. 2020); secondly, that the understandings and approaches that are evident in the art educational activities of the ERT are important for developing a well-founded Remote Art Education. In-depth insights into the study are provided by excerpts from the first of three sub-studies. It is focused on a group discussion with three bachelor students about their first professional internships in aesthetic-educational and socio-cultural fields under lockdown conditions. Drawing on observations from the sub-study, the article sketches initial findings on forms of ERT specific to art education and sheds light on their potential for teaching concepts expanding into the digital and into the distance. Via critical reflection on the methodological approach in the context of this first sub-study, it further examines the selected approaches in terms of how they deal with the specific challenges of research at a distance and under exceptional circumstances – in the mode, so to speak, of Emergency Remote Art Education Research.
  • Extracurricular support for art: Dare to expand! (Nicole Heri)
    The master's thesis is a comparison of extra-curricular artistic promotion in the Lucerne area with the K'werk in Basel-Stadt and an examination of the concept of creativity. It was written in the frame of the fine arts program with a major in art in public spheres. In research, creativity is often defined as "the process of creating something new and useful."Problem-solving behavior is seen as an occasion for creativity, which various neuroscientists have proven can be promoted. Yet creative promotion in schools is limited. My thesis, which forms the basis of this contribution, presents ideas for the implementation of a promotion plan for schools and at a politicallevel. An empirical comparison of access, financial expenditure, creativity promotion and the gender impacts of the offers of extra-curricular art education in Lucerne with the K'werk in Basel are central to the undertaking. My evaluation shows that enabling financing is essential to ensuring barrier-free access for young people. Suitable spaces, generous time management and the open discussion of problems are indispensable in the promotion of creativity. Results are divergent in regards to gender and course contents are crucial. The foundingof the BildWerkLuzernis validatedinthe conclusion of the research. A subsequent PhD thesis is intended to elaborate inter-cantonal comparisons of offers, political financial factors and the history of extra-curricular support for art.
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • An ontology of the present. On the transformation of art educational knowledge (Anna Schürch)
    Curriculum revision projects, such as the current revision of the secondary school (Gymnasium) basis curriculum 2020-22 in Switzerland, call for a review of the content and objectives of the individual subjects and provide an opportunity to reflect on the knowledge within a subject, and the way it changes. How can such change be conceived and how can it be oriented if intended to go beyond the pragmatic framework of an educational policy-motivated revision project, which is characterized by scarce time resources and acute pressure to act? The article builds on Michel Foucault’s ontology of the present and seeks, via according educational-philosophical considerations, a perspective on change that positions itself both critically and self-reflexively; that is not oriented to what are diagnosed to be the great challenges of the future, but engages with what is already present and appears in everyday life. A possibility to grasp and reflect on existing art education knowledge is created. A footnote by Margot Zanni and a questionnaire by Michèle Novak expand the text, rooting the gesture of (self-)critical reflection in the act reading.
  • The idea comes while drawing (Malin Widén)
    Progressive digitalization is changing our perception, our thinking and our actions. It also changes our relationship to the image. Yet at the same time, the relevance of visual education must constantly be defended. Instead of thinking through drawing about the power and effects of images–thinking in images and placing them in new contexts–school tends to treat image-making according to a certain scheme oriented towards homogeneous, easily assessable visual products. In my view, new approaches and examples are needed, especially in didactics; those that do not portray drawing as an imitation of existing image categories, but as a thought process; a visual thought process that is individual and can take place across disciplines. What it means to connect drawing with thinking and what challenges and possibilities a reflexive drawing practice could bring for primary schools, are questions I have investigated experimentally and scientifically within the framework of the master thesis The idea comes while drawing. In my work, drawing is both the object and method of research – visual and linguistic thought processes mutually inspire and reflect each other.
  • An ontology of the present. On the transformation of art educational knowledge (Anna Schürch)
    Curriculum revision projects, such as the current revision of the secondary school (Gymnasium) basis curriculum 2020-22 in Switzerland, call for a review of the content and objectives of the individual subjects and provide an opportunity to reflect on the knowledge within a subject, and the way it changes. How can such change be conceived and how can it be oriented if intended to go beyond the pragmatic framework of an educational policy-motivated revision project, which is characterized by scarce time resources and acute pressure to act? The article builds on Michel Foucault’s ontology of the present and seeks, via according educational-philosophical considerations, a perspective on change that positions itself both critically and self-reflexively; that is not oriented to what are diagnosed to be the great challenges of the future, but engages with what is already present and appears in everyday life. A possibility to grasp and reflect on existing art education knowledge is created. A footnote by Margot Zanni and a questionnaire by Michèle Novak expand the text, rooting the gesture of (self-)critical reflection in the act reading.
  • Approaching parameters for an informal, artistic education (Zoé Hall)
    In many places, art as a paradigm acquires the role of a political avant-garde. The motivation for this text was found in the need to expand art and bring the political back into the interpersonal. A proposal is formulated on how artistic education could trigger sustainable politicizing processes before contemporary discourses can begin to determine the framework of the enterprise. Art can be found in the interpersonal. On the way to a "better world," the first thing to be determined is what stands in its way. On an individual level, this can be achieved through an awareness of one's own position in the social fabric. On a communal level, criticism should be exercised at eye level. These two demands find their beginnings in the playful discovery of the world: listening to each other, having conversations, exchanging roles, bringing body and experience into a relationship with each other. According to adrienne maree brown, mushrooms, ants, starlings, wave-particle dualism, and dandelions and fern offer useful allegories for the playful rethinking of art and its associated relationships. Communal ventures do not focus on concrete goals, final conclusions are avoided and absolute truths rejected. But there is one thing that remains at the heart of all this: decisions are made on a basis of consensus, and those who benefit from the enterprise are one and the same with those who want to participate in and reflect upon it. What we do does not belong to any institution, either state or private. What we do is not based on a contract and is never linked to wage labor. Only the interest of the participants is relevant and the result remains open. This understanding of artistic education should be abstract and remain informal, because it fundamentally rejects any form of domination.
  • Materialien zum Selbststudium (Danja Erni, Nora Landkammer, Anna Schürch, Bernadett Settele)
    Die Materialien zum Selbststudium sind mit dem Ziel konzipiert, eine Diskussions- und Wissensbasis zu den Themen «queer» und «Do it yourself» im Kunstunterricht zur Verfügung zu stellen. Sie beschä...
  • Un­writ­ing the Body (Fouad Asfour)
    Based on my lecture at Un_University platform in April 2016, this text is a collection of fragments from an ongoing practice of unwriting the body as deschooling option, drawing on Walter Mignolo’...
  • Cri­an­za Or The Art of Nur­tin­ing – An­dean Cos­mo­vi­sions In Com­mu­ni­ty Ed­u­ca­tion (Alejandro Cevallos, Sofía Olascoaga)
    In this Interview with Alejandro Cevallos and Sofía Olascoaga, Grimaldo Rengifo Vásquez reflects on the trajectory of his work since his essay A propósito de Freire(Nurturance in the Andes, 2001), ...
  • The violence of Explaining Myself - The Binds of Translation (Lineo Segoete)
    Lineo Segoete Die Fesseln der Übersetzung –Von der Gewalt, mich erklären zu müssen Mit Beiträgen von Liepollo Moleleki und Zachary Rosen In ihrem Beitrag zur Geschichte der Alphabetisierung und der...
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • An ontology of the present. On the transformation of art educational knowledge (Anna Schürch)
    Curriculum revision projects, such as the current revision of the secondary school (Gymnasium) basis curriculum 2020-22 in Switzerland, call for a review of the content and objectives of the individual subjects and provide an opportunity to reflect on the knowledge within a subject, and the way it changes. How can such change be conceived and how can it be oriented if intended to go beyond the pragmatic framework of an educational policy-motivated revision project, which is characterized by scarce time resources and acute pressure to act? The article builds on Michel Foucault’s ontology of the present and seeks, via according educational-philosophical considerations, a perspective on change that positions itself both critically and self-reflexively; that is not oriented to what are diagnosed to be the great challenges of the future, but engages with what is already present and appears in everyday life. A possibility to grasp and reflect on existing art education knowledge is created. A footnote by Margot Zanni and a questionnaire by Michèle Novak expand the text, rooting the gesture of (self-)critical reflection in the act reading.
  • Read across and talk back (Sabine Gebhardt Fink, Nora Landkammer, Anna Schürch)
    A di­a­logue on per­fo­mance the­o­ry and gallery ed­u­ca­tion Based on Judith Butler's definition of the performative act as an action that has to be constantly repeated and socially legitimized, ...
  • Study­ing in Switzer­land with­in the con­text of the Bologna Process (Philippe Saner)
    The article by sociologist Philippe Saner concentrates on the current conditions for studying at Swiss universities. He critically discusses the practices and effects of the so-called «Bologna Proc...
  • Materialien zum Selbststudium (Danja Erni, Nora Landkammer, Anna Schürch, Bernadett Settele)
    Die Materialien zum Selbststudium sind mit dem Ziel konzipiert, eine Diskussions- und Wissensbasis zu den Themen «queer» und «Do it yourself» im Kunstunterricht zur Verfügung zu stellen. Sie beschä...
  • What are we do­ing here? (Claus Melter)
    Re­flec­tions on bar­ri­ers and dis­crim­i­na­tion in ed­u­ca­tion­al in­sti­tu­tions This text is concerned with self-reflexivity in institutions regarding the critique of barriers and discriminat...
  • Teach­ing method­ol­o­gy, re­search-​based: (Michèle Novak, Anna Schürch)
    think­ing about the re­search ap­pren­tice­ship The research apprenticeship serves the lecturers Michèle Novak and Anna Schürch as a means to introduce a format of research-oriented teaching and le...
  • The Liv­ing School (Brandon LaBElle)
    The Living School was held in London from February to June 2016 in collaboration with the South London Gallery and taking place at a range of venues in the city. Focusing on the issues of social ho...
  • Learning Processes about Non-Discriminatory Practices in the Field of Cultural Education  (Aïcha Diallo, Danja Erni)
    Since summer 2016, we have been leading the KontextSchule, a platform for the continuing education of teachers and artists in Berlin. Adopting the viewpoint of those who stand inside and outside o...
  • Cri­an­za Or The Art of Nur­tin­ing – An­dean Cos­mo­vi­sions In Com­mu­ni­ty Ed­u­ca­tion (Alejandro Cevallos, Sofía Olascoaga)
    In this Interview with Alejandro Cevallos and Sofía Olascoaga, Grimaldo Rengifo Vásquez reflects on the trajectory of his work since his essay A propósito de Freire(Nurturance in the Andes, 2001), ...
  • Für­ein­an­der Sor­gen in den An­den: An­mer­kun­gen zu Pau­lo Frei­re (Grimaldo Rengifo)
    In his seminal essay Nurturance in the Andes, Grimaldo Rengifo Vásquez reflects on his early experiences with the use of the Freire literacy program in indigenous communities in northern Peru. He ...
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • Gallery ed­u­ca­tion – per­for­mance – the dif­fer­end (Carmen Mörsch, Eva Sturm)
    The paper is based on an introductory talk given at the conference Perfoming the Museum as a Public Sphere at Kunstmuseum Lentos, Linz, in April 2008. It parts from Charles Garoian’s thesis that a...
  • Whether we like it or not (Agnieszka Czejkowska)
    Cul­tur­al ed­u­ca­tion and re­search based on ex­ter­nal fundsUniversities, research and non-profit institutions have their dependence on external funds in common. Agnieszka Czejkowska's article d...
  • Art School with mi­gra­tion back­ground (Catrin Seefranz)
    Pre­lim­i­nary thoughts based on a study of in­equal­i­ty in the field of the art school Based on the results of the project making differences which deals with social injustice in the field of Swi...
  • Aes­thet­ic ed­u­ca­tion and art teach­ing (Paul Mecheril)
    Notes from the per­spec­tive of mi­gra­tion ped­a­gogy Rather than asking about the culture of specific migrant groups, how these cultures can be described and what enables the understanding betwee...
  • Sketch­es on Re­flex­iv­i­ty (Rubia Salgado)
    Learn­ing the hege­mo­ni­al lan­guage in mu­se­ums Based on brief sketches on topics such as dialogue, difference, recognition, knowledge, reciprocity and reflexivity in pedagogical settings, this ...
  • Think­ing Through /Dif­fer­ence/ in Art Ed­u­ca­tion Con­texts (jan jagodzinski)
    Work­ing the Third Space and Be­yond This essay was published in 1999. It explores the difficulty of «difference» within pluriculturalist art education. It explores the dominant liberal humanist ap...
  • Or­dered Bod­ies, em­bod­ied Or­ders – about vi­su­al and lin­guis­tic rep­re­sen­ta­tion­al pat­terns of gallery ed­u­ca­tion (Stephan Fürstenberg)
    In his text, Stephan Fürstenberg focuses on dominant representational forms of the figures art mediator and public. In referencing historical image examples, he works out productions of difference...
  • AUS MIT RAUS (Eva Lausegger)
    or AM I RACIST? The text deals with an intent to deport a student at our school, the protest movement that mobilized against the deportation, and an art project with students from several courses o...
  • «Sich Verze­ich­nen» – with and through dif­fer­ences (Mikki Muhr)
    Build­ing re­la­tions and leav­ing rests in car­togra­phies What enables reflective processes, that can help to view one’s own thoughts and actions in their conditioning frameworks and to criticall...
  • The «work­shop about my­self» (Urs Bachmann, Sandra Lippuner)
    Be­tween af­fir­ma­tion and am­bi­gu­i­ty Who «belongs» and who doesn’t? What do I have to do to belong? What happens if I don’t fit the norm? The «workshop about myself» offers foster children pos...
  • How art schools ex­clude and nor­mal­ize (Philippe Saner)
    Re­flec­tions based on a par­tic­i­pa­tive re­search process Based on experiences in the participative co-research-process of Art.School.Differences, an ongoing research and development project at ...
  • The «Cab­i­net of Bad Taste» by Gus­tav E. Paza­u­rek (Imke Volkers)
    On the occasion of the special exhibition Evil Things. An Encyclopedia of Bad Taste by the Werkbundarchiv – Museum der Dinge this article portrays The Cabinet of Bad Taste of Gustav Pazaurek. It o...
  • Is it Taste that makes the dif­fer­ence? (Dr. Rahel Puffert)
    For­ma­tion of jugde­ments of taste and so­cial in­equal­i­ty in art ed­u­ca­tion To a large extent and contrary to the common individualistic description of judgements on taste, our perceptions ar...
  • Cy­borg Ex­its in the Class­room (Doris Arztmann, Eva Egermann)
    Body-​het­eroglos­sia and crip tools for dirty knowl­edges in art teach­ing Choosing the form of an email-conversation, Doris Arztmann and Eva Egermann discuss their workshop Body-Heteroglossia – u...
  • Not for the im­pa­tient: (Carmen Mörsch)
    the sketch of a his­to­ry of con­flict­ing ideas and po­lit­i­cal trends in ac­tion re­search The text provides an outline of the history of action research from its beginnings in the 1920s up unti...
  • Re­search­ing in and to­wards dif­fer­ences and con­tra­dic­tions: (Marion Thuswald)
    in search of crit­i­cal ap­proach­es to pro­fes­sion­al­is­ing in ped­a­gog­ics There is a lack of socially critical approaches to professionalization in the education of pedagogues and also in the...
  • Are You Sure? Zoom in (Charlotte Friedli)
    The following text is a revised part of my master thesis, Are you sure? Zoom in. Approaching the unapproachable computer. A strategy of empowerment. The question is explored on the basis of the interplay between artistic and art analytical work. The thesis at the outset was that the computer is unapproachable because of its being a complex and mystified dispositive. This condition is examined from different positions. Users do not know what they are really dealing with and are forced to comply with web developers' decisions. Based on Olia Lialina's concept of digital folklore, the aim is to empower simple users and the ephemeral traces they leave on the web. The artistic strategy zoom in was developed based on work with multiple theories. Zoom in stands for approaching an unapproachable Computer. In the act of zooming in, users arrive at unimagined places via pointless detours. The strategy describes four aspects that are examined more closely: infrastructure, sub-actions, the individual and pixels. Artistic artifacts that try to dissolve the distance to the myth that is the computer can be found on the blog www.areyousure.blog.
  • SOMEWHERE OFF THE REAL. Voice-controlled interfaces and their media-critical mediation (Malin Kuht)
    SOMEWHERE OFF THE REAL considers interfaces as conjunctions of possiblilities, histories and underlying factors of digital media. Interfaces enable and shape interaction with digital information and communication technologies. The predominantly female-coded design of voice control, which is increasingly found in smart devices, derives from the history of a gendered division of labor and traditional social roles in society. The paper argues that our interactions with digital technologies determine our relationship to them. These processes are illuminated by the artistic practices of Melanie Hoff and Joy Buolamwini. With Draw What You Think Alexa Looks Like (2019), Melanie Hoff demonstrates that the design of interfaces of voice controlled technologies greatly influences how they are perceived. Joy Buolamwini's works substantiate the culturally programmed view of algorithms on humans. The paper summarizes a multi-level interrogation of digital technologies and illustrates the political (power) relations inscribed in them. Artistic strategies can aid in making these relationships visible and negotiable. Affective human connections are contrasted here with the implied assumptions of machines. The concepts presented are deepened in the author's own artistic work OFFREAL. The focus is on visual aspects of service provider simulations. In addition to the female-coded voice, many avatars are designed according to pop-cultural ideals of beauty, which raises political and representational questions. The categories race and gender remain contested in the discourse on virtual bodies. Overall, SOMEWHERE OFF THE REAL argues for a critical consideration of the increasing female-coded embodiment of interfaces, factoring in structural contexts.
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • Are You Sure? Zoom in (Charlotte Friedli)
    The following text is a revised part of my master thesis, Are you sure? Zoom in. Approaching the unapproachable computer. A strategy of empowerment. The question is explored on the basis of the interplay between artistic and art analytical work. The thesis at the outset was that the computer is unapproachable because of its being a complex and mystified dispositive. This condition is examined from different positions. Users do not know what they are really dealing with and are forced to comply with web developers' decisions. Based on Olia Lialina's concept of digital folklore, the aim is to empower simple users and the ephemeral traces they leave on the web. The artistic strategy zoom in was developed based on work with multiple theories. Zoom in stands for approaching an unapproachable Computer. In the act of zooming in, users arrive at unimagined places via pointless detours. The strategy describes four aspects that are examined more closely: infrastructure, sub-actions, the individual and pixels. Artistic artifacts that try to dissolve the distance to the myth that is the computer can be found on the blog www.areyousure.blog.
  • Emergency Remote Art Education? Reflections on a study with students on art- and aesthetic-cultural educational practices in a state of emergency (Miriam Schmidt-Wetzel, Laura Zachmann)
    The article provides an overview of a study being considered an investigation of and with actors in art education and orients itself methodically/methodologically on characteristics of phenomenological case research. Subject of the qualitative-empirical study is the experience of various actors involved in teaching in the field of art education, or in the subject of Bildnerisches Gestalten, in the midst of the global state of emergency triggered by the Covid-19 pandemic in spring 2020. The investigation is based on two assumptions: first, that under the pressure of the first pandemic wave, educational formats developed ad hoc and without sound knowledge of e-didactics in the mode of Emergency Remote Teaching (ERT) (Hodges et al. 2020); secondly, that the understandings and approaches that are evident in the art educational activities of the ERT are important for developing a well-founded Remote Art Education. In-depth insights into the study are provided by excerpts from the first of three sub-studies. It is focused on a group discussion with three bachelor students about their first professional internships in aesthetic-educational and socio-cultural fields under lockdown conditions. Drawing on observations from the sub-study, the article sketches initial findings on forms of ERT specific to art education and sheds light on their potential for teaching concepts expanding into the digital and into the distance. Via critical reflection on the methodological approach in the context of this first sub-study, it further examines the selected approaches in terms of how they deal with the specific challenges of research at a distance and under exceptional circumstances – in the mode, so to speak, of Emergency Remote Art Education Research.
  • IT'S ABOUT TIME. Critical Art Education in Digital Times (Sophie Lingg, Helena Schmidt)
    Editorial The 18th edition of the Art Education Research e Journal was created in the first half of the year 2020. In addition to the steadily worsening climate crisis, the extent of which is alrea...
  • Learning from Wallmapu (Aldir Polymeris )
    This paper is about a place called Chile and another called Wallmapu, which is either inside, below, or outside the former, depending on your point of view. Wallmapu is a place where complex histories are inscribed – overlapping, boundary-crossing, and globally entangled. These are narratives of composition and assemblage; of hybridity, difference, and multiple perspectives. The Wallmapu has another name: Araucanía. This is the name given by the Chilean state to the region south of the Bío Bío River, where the Mapuche – Chile’s largest indigenous group – originally lived, and where some of them still do today. Wallmapu, on the other hand, is the term used by the Mapuche themselves. It is therefore political, since it represents a different perspective on the territory. Wallmapu ex situ is a complex and multi-layered work that includes a series of online conferences; these were first streamed on a dedicated website and are now archived on it. Nina Willimann and I (working under the group name Trop cher to share) were responsible for the conception and artistic direction of the project, which we developed in collaboration with an interdisciplinary team of experts. A large part of our work involved making contacts and building a network of people who have some sort of relationship (whether biographical, academic, emotional, or artistic) to Wallmapu. This historiographical practice is on the one hand based on the ideas and arguments of the French sociologist and philosopher Bruno Latour, and on the other on the Mapuche worldview, which sees humans as a part of nature and credits natural entities with agency and voices. This text is an attempt to beat a narrow path that allows me to name the territorial and historical conditions that have shaped the relationship between Chile, Wallmapu, and Switzerland. In talking about how we developed Wallmapu ex situ from my own perspective, my aim is not least to relate stories of traveling (and not being able to travel), and of virtual interspaces.
  • Rehearsing Researching: Re-enactment of a script through collaborative writing (Janina Krepart, Heinrich Lüber , Jules Sturm)
    This article is based on a critical engagement with the practical conditions of teaching and doing research, which are significantly influenced by the respective artistic and theoretical backgrounds of the three authors involved in this project, by the media through which they communicate and (inter)act, and by the artistic, educational and scientific strategies and practices implemented in the work itself. Together the writers try out the experimental practice of re-scription as a mode of research. They bring to bear their individual writing experiences on the situation of co-writing this e-journal article by engaging with concepts from artistic-educational theories, such as becoming research, working from conditions, turning education and chronopolitics. It is an experimental approach to methodological processes, developed by way of pedagogical, artistic, and radical publishing strategies. The making of this article thus becomes part of a time-permitting and probing research process, which aims to infuse future artistic ways of teaching and learning.
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • Shifts in Space - Displacements in Schools as a Critical Gesture (Margot Zanni)
    How could the implicit effect of school spaces be made more accessible to reflection and at the same time participate in the experience of the constitution of another space? The focus of the explanations is on spatial practices of shifting, varying or displacing. Displacement, in particular, is questioned as a strategy for making the effects of school space visible. Heterogeneously selected case studies will be used. The study of Christiane Brohl and her concept of displacement as an art-pedagogical strategy is prominent. With regard to the question at hand, an extension of her approaches is proposed. The theoretical reference point of heterotopia introduced with it will be discussed in the context of further receptions and a methodology will be found which will then be illustrated using the example of the seminar "Learning in/as/through Space". The analysis of everyday rule breaks (tricks) also plays a role in the development of these methodological considerations. As heterotopic break-ins into school orders, they served as models for the development of the seminar's approaches. This was aimed at students of art pedagogy and took place as a temporary use in the empty rooms of the former Villa Bellerive. The starting point for the planned process of the empty spaces was artistic research on school buildings of different construction periods. The situational translation of the results of this research into the context of the villa spaces - in the sense of an analogy or a contrast - was intended to make certain aspects of school spatial conditions even more prominent and reflectable. With a view to the future teaching activities of the students, this was intended to make possible the experience of a creative scope that wanted to counteract to a certain extent the effect of normative school settings.
  • Are You Sure? Zoom in (Charlotte Friedli)
    The following text is a revised part of my master thesis, Are you sure? Zoom in. Approaching the unapproachable computer. A strategy of empowerment. The question is explored on the basis of the interplay between artistic and art analytical work. The thesis at the outset was that the computer is unapproachable because of its being a complex and mystified dispositive. This condition is examined from different positions. Users do not know what they are really dealing with and are forced to comply with web developers' decisions. Based on Olia Lialina's concept of digital folklore, the aim is to empower simple users and the ephemeral traces they leave on the web. The artistic strategy zoom in was developed based on work with multiple theories. Zoom in stands for approaching an unapproachable Computer. In the act of zooming in, users arrive at unimagined places via pointless detours. The strategy describes four aspects that are examined more closely: infrastructure, sub-actions, the individual and pixels. Artistic artifacts that try to dissolve the distance to the myth that is the computer can be found on the blog www.areyousure.blog.
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • 3 QUESTIONS FOR ... die Tiefe Kümmernis* (Die Tiefe Kümmernis)
    Die Tiefe Kümmernis, a drag queen and museum art educator, answers three questions about her work in Vienna. She first explains the origin of her name and describes the beginnings of her work as an art educator. In the second answer, she explains how user-generated content on the internet makes the heteronormative, patriarchal canon of European art history more inclusive. In the last part she discusses the potentials and difficulties of online videos about queer art history.
  • The idea comes while drawing (Malin Widén)
    Progressive digitalization is changing our perception, our thinking and our actions. It also changes our relationship to the image. Yet at the same time, the relevance of visual education must constantly be defended. Instead of thinking through drawing about the power and effects of images–thinking in images and placing them in new contexts–school tends to treat image-making according to a certain scheme oriented towards homogeneous, easily assessable visual products. In my view, new approaches and examples are needed, especially in didactics; those that do not portray drawing as an imitation of existing image categories, but as a thought process; a visual thought process that is individual and can take place across disciplines. What it means to connect drawing with thinking and what challenges and possibilities a reflexive drawing practice could bring for primary schools, are questions I have investigated experimentally and scientifically within the framework of the master thesis The idea comes while drawing. In my work, drawing is both the object and method of research – visual and linguistic thought processes mutually inspire and reflect each other.
  • Gestalt and well-formedness: Children’s spatial drawings (Stefanie Stadler Elmer, Lea Weniger)
    This text outlines the theoretical framework of our study on spatial drawing in the context of primary school. We investigate how children graphically represent a single spatial body. This is one of three conceptual aspects of children’s spatial drawing, the others concern spatial relationships between objects and the overall spatial organization of the image. The planar depiction of a cuboid in the form of a box is a general representational problem for which various solutions are taught and practiced in our culture. From the position of a structure-genetic epistemology, we are interested in children’s process of problem solving, as it emerges in individual and video-recorded case studies - adaptively and intuitively accompanied by the teacher. We reconstruct these processes in detail by using a micro-genetic methodology. With an exemplar we show empirically, how we apply the concept of "well-formedness" to describe the structural orientation towards a “Gestalt” as well as the implicit use of generative systems of spatial representation.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • Drawing – Talking – Showing (Nadia Bader)
    The starting point of the study Drawing - Talking - Showing is the question of how communicative exchange in art teaching influences visual thinking and practice. The aim is an empirically founded and (practice-) theoretically contextualized conception of which influences and interactions arise between communicative and creative events and which conditions underlie them – both in the classroom in general and specifically in the school subject art/visual design. The contingency and complexity of teaching practices is taken seriously and considered systematically. The study thus builds on positions that focus on the unpredictable, unavailable, phatic and crisis dimension of teaching and learning (Meyer-Drawe, Pazzini, Sabisch, Schürch/Willenbacher, Wimmer, among others). On the basis of video data from a lesson of observational drawing at Gymnasium, teaching-learning conversations and drawing processes are qualitatively and empirically examined. Visualized research and presentation methods play a central role in the examination. In four case studies, exemplary teaching-learning situations are analyzed from multiple perspectives, revealing the diverse, overlapping and sometimes contradictory influences that shape the situational development of teaching-learning processes. Cross-case and comparative findings are discussed on the basis of practice-theoretical concepts (e.g. Reckwitz, Schmidt, Polanyi, Neuweg) and linked to art and theater pedagogical positions that address the performativity, eventfulness, corporeality and materiality of teaching (e.g. Lange, Hentschel). This article is devoted to two special features of the study: on the one hand, the connection with the pilot study Drawing - Speeches (BUA, 2012/13) and, on the other hand, the further development of video-based research methods with a special focus on the visual dimension.
  • The idea comes while drawing (Malin Widén)
    Progressive digitalization is changing our perception, our thinking and our actions. It also changes our relationship to the image. Yet at the same time, the relevance of visual education must constantly be defended. Instead of thinking through drawing about the power and effects of images–thinking in images and placing them in new contexts–school tends to treat image-making according to a certain scheme oriented towards homogeneous, easily assessable visual products. In my view, new approaches and examples are needed, especially in didactics; those that do not portray drawing as an imitation of existing image categories, but as a thought process; a visual thought process that is individual and can take place across disciplines. What it means to connect drawing with thinking and what challenges and possibilities a reflexive drawing practice could bring for primary schools, are questions I have investigated experimentally and scientifically within the framework of the master thesis The idea comes while drawing. In my work, drawing is both the object and method of research – visual and linguistic thought processes mutually inspire and reflect each other.
  • Material Semiotics of Tenderness (Seraina Dür , Jonas Gillmann)
    We, Seraina Dür and Jonas Gillmann, have been working with thirteen pigeons on our project Parliament of Things, Animals, Plants, and Algorithms since 2019, creating performative settings that we act out together with the pigeons and other human and non-human actors. The concept of caring architecture is crucial when conceiving our settings. While pigeons are often shot and displaced in cities, we are interested in how spaces might look that care for all their different residents, instead of dividing and repelling them. Each space we design features a flight hole through which the pigeons can enter and leave, along with ceramic bowls that we and the pigeons eat porridge from, dandelions that we use in play with the pigeons, bathing pools for splashing around, and much more. These objects allow us to connect with the pigeons. Their meanings are produced from our lived experience with the birds, and from our shared but different use of the objects; they are symbols of tenderness between humans and pigeons. Our article Semiotics of Tenderness presents what is now our three-year relationship with the pigeons as a photo and video story. It reflects important current issues, such as how we can best care for our damaged environment. In addressing the question of how this relationship can be conveyed within art and theater spaces, we draw upon Ursula K. Le Guin’s carrier bag theory. In contrast to the heroic story, which runs as straight as an arrow and ends at a target, the carrier bag is a container within which meandering and polyphonic narrative strands are interwoven with one another. With their permeable walls, our caring spaces are themselves carrier bags – vessels where a variety of different stories are gathered. In order that this narrative can be communicated – both verbally and in a material and spatial language that stems from our activities with the pigeons – we attempt to find a semiotics of tenderness.
  • Sedimented – When material acts (Tiziana Halbheer)
    The contribution Sedimented – When material acts deals with materials as vibrant and intra-active phenomena. The impact, liveliness and interlinkage of material with the surrounding world is illustrated based on the material dust precipitation, a mixture of anthropogenically and naturally abraded dusts. A dust walk is proposed as an art-educational and performative strategy by way of which to grasp proximity to material and its impact on one's own physicality, sensation, traditional views and cultural traditions. It is an investigative search for dusty legacies of worldly activities that question value systems and traditional notions of phenomena through actions. Dust precipitation serves as an example of using material as the raw stuff of art-pedagogical thinking and interpretation, exploring the manifold possibilities it presents.
  • Sedimented – When material acts (Tiziana Halbheer)
    The contribution Sedimented – When material acts deals with materials as vibrant and intra-active phenomena. The impact, liveliness and interlinkage of material with the surrounding world is illustrated based on the material dust precipitation, a mixture of anthropogenically and naturally abraded dusts. A dust walk is proposed as an art-educational and performative strategy by way of which to grasp proximity to material and its impact on one's own physicality, sensation, traditional views and cultural traditions. It is an investigative search for dusty legacies of worldly activities that question value systems and traditional notions of phenomena through actions. Dust precipitation serves as an example of using material as the raw stuff of art-pedagogical thinking and interpretation, exploring the manifold possibilities it presents.
  • (Un-)Learning Ecologies – An exploration of two research-based artistic teaching formats as experimental platforms for ecologically sustainable ways of being and becoming (Janina Krepart, Chantal Küng, Judith Tonner)
    To what extent and by which new and urgent challenges are art educators confronted through current and future effects of the climate crisis? And how can artistic teaching practices contribute to a sense of responsibility, and ultimately to ecologically sustainable practices, in “kulturelle Bildung” and arts education? Motivated by these questions, the authors designed and realized two teaching modules for the Bachelor and Master Art Education (ZHdK) in the academic year 2020–21. The article stages a critical dialogue to discuss the courses’ underlying postulations and to consider potential implications for art education research. The conceptual frameworks of the two teaching formats and their respective implementation expose not only diverging underlying accounts of the “subject”; they also present different perspectives, associations and conceptions of ecology and sustainability.
  • (Un-)Learning Ecologies – An exploration of two research-based artistic teaching formats as experimental platforms for ecologically sustainable ways of being and becoming (Janina Krepart, Chantal Küng, Judith Tonner)
    To what extent and by which new and urgent challenges are art educators confronted through current and future effects of the climate crisis? And how can artistic teaching practices contribute to a sense of responsibility, and ultimately to ecologically sustainable practices, in “kulturelle Bildung” and arts education? Motivated by these questions, the authors designed and realized two teaching modules for the Bachelor and Master Art Education (ZHdK) in the academic year 2020–21. The article stages a critical dialogue to discuss the courses’ underlying postulations and to consider potential implications for art education research. The conceptual frameworks of the two teaching formats and their respective implementation expose not only diverging underlying accounts of the “subject”; they also present different perspectives, associations and conceptions of ecology and sustainability.
  • (Un-)Learning Ecologies – An exploration of two research-based artistic teaching formats as experimental platforms for ecologically sustainable ways of being and becoming (Janina Krepart, Chantal Küng, Judith Tonner)
    To what extent and by which new and urgent challenges are art educators confronted through current and future effects of the climate crisis? And how can artistic teaching practices contribute to a sense of responsibility, and ultimately to ecologically sustainable practices, in “kulturelle Bildung” and arts education? Motivated by these questions, the authors designed and realized two teaching modules for the Bachelor and Master Art Education (ZHdK) in the academic year 2020–21. The article stages a critical dialogue to discuss the courses’ underlying postulations and to consider potential implications for art education research. The conceptual frameworks of the two teaching formats and their respective implementation expose not only diverging underlying accounts of the “subject”; they also present different perspectives, associations and conceptions of ecology and sustainability.
  • Montage as a narrative and emancipatory mediation strategy (Julia Marti)
    I propose that the montage, as a media-independent narrative principle that can work with omissions and contradictions, cancel authorship and originality, and reflect on the medium itself, contains a specific potential for an emancipatory politics of mediation; this was my thesis, which I have pursued in a practical and theoretical discussion. In autumn 2017, I presented the exhibition La visite dessinée (The Drawn Visit) at Pavillon Blanc in Colomiers (F). The curator chose eight positions from a collection of contemporary French art and commissioned me to re-stage and narrate the works in an exhibition. I wanted to fulfill this mediation task without assuming the role of the omniscient schoolmaster, trying instead to conceive an exhibition for emancipated spectators. Afterwards, I set myself the task of translating the exhibition into a publication, with the aim of conveying both the exhibition's contents and its mode of mediating. Finally, in the publication series Die gezeichnete Führung (The Drawn Visit), I generated a productive friction out of the pedagogical dilemma by way of postulations that negotiate didactics through didactics itself. In the theoretical discussion I placed Jacques Rancière's The Emancipated Spectator and The Ignorant Schoolmaster in relation to theories of narrative and montage as well as my publication series The Drawn Guide. I also tried to sharpen Rancière's concept of the third thing and to draw general conclusions about an emancipatory politics of mediation by means of montage and narration.
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • Montage as a narrative and emancipatory mediation strategy (Julia Marti)
    I propose that the montage, as a media-independent narrative principle that can work with omissions and contradictions, cancel authorship and originality, and reflect on the medium itself, contains a specific potential for an emancipatory politics of mediation; this was my thesis, which I have pursued in a practical and theoretical discussion. In autumn 2017, I presented the exhibition La visite dessinée (The Drawn Visit) at Pavillon Blanc in Colomiers (F). The curator chose eight positions from a collection of contemporary French art and commissioned me to re-stage and narrate the works in an exhibition. I wanted to fulfill this mediation task without assuming the role of the omniscient schoolmaster, trying instead to conceive an exhibition for emancipated spectators. Afterwards, I set myself the task of translating the exhibition into a publication, with the aim of conveying both the exhibition's contents and its mode of mediating. Finally, in the publication series Die gezeichnete Führung (The Drawn Visit), I generated a productive friction out of the pedagogical dilemma by way of postulations that negotiate didactics through didactics itself. In the theoretical discussion I placed Jacques Rancière's The Emancipated Spectator and The Ignorant Schoolmaster in relation to theories of narrative and montage as well as my publication series The Drawn Guide. I also tried to sharpen Rancière's concept of the third thing and to draw general conclusions about an emancipatory politics of mediation by means of montage and narration.
  • SOMEWHERE OFF THE REAL. Voice-controlled interfaces and their media-critical mediation (Malin Kuht)
    SOMEWHERE OFF THE REAL considers interfaces as conjunctions of possiblilities, histories and underlying factors of digital media. Interfaces enable and shape interaction with digital information and communication technologies. The predominantly female-coded design of voice control, which is increasingly found in smart devices, derives from the history of a gendered division of labor and traditional social roles in society. The paper argues that our interactions with digital technologies determine our relationship to them. These processes are illuminated by the artistic practices of Melanie Hoff and Joy Buolamwini. With Draw What You Think Alexa Looks Like (2019), Melanie Hoff demonstrates that the design of interfaces of voice controlled technologies greatly influences how they are perceived. Joy Buolamwini's works substantiate the culturally programmed view of algorithms on humans. The paper summarizes a multi-level interrogation of digital technologies and illustrates the political (power) relations inscribed in them. Artistic strategies can aid in making these relationships visible and negotiable. Affective human connections are contrasted here with the implied assumptions of machines. The concepts presented are deepened in the author's own artistic work OFFREAL. The focus is on visual aspects of service provider simulations. In addition to the female-coded voice, many avatars are designed according to pop-cultural ideals of beauty, which raises political and representational questions. The categories race and gender remain contested in the discourse on virtual bodies. Overall, SOMEWHERE OFF THE REAL argues for a critical consideration of the increasing female-coded embodiment of interfaces, factoring in structural contexts.
  • Emergency Remote Art Education? Reflections on a study with students on art- and aesthetic-cultural educational practices in a state of emergency (Miriam Schmidt-Wetzel, Laura Zachmann)
    The article provides an overview of a study being considered an investigation of and with actors in art education and orients itself methodically/methodologically on characteristics of phenomenological case research. Subject of the qualitative-empirical study is the experience of various actors involved in teaching in the field of art education, or in the subject of Bildnerisches Gestalten, in the midst of the global state of emergency triggered by the Covid-19 pandemic in spring 2020. The investigation is based on two assumptions: first, that under the pressure of the first pandemic wave, educational formats developed ad hoc and without sound knowledge of e-didactics in the mode of Emergency Remote Teaching (ERT) (Hodges et al. 2020); secondly, that the understandings and approaches that are evident in the art educational activities of the ERT are important for developing a well-founded Remote Art Education. In-depth insights into the study are provided by excerpts from the first of three sub-studies. It is focused on a group discussion with three bachelor students about their first professional internships in aesthetic-educational and socio-cultural fields under lockdown conditions. Drawing on observations from the sub-study, the article sketches initial findings on forms of ERT specific to art education and sheds light on their potential for teaching concepts expanding into the digital and into the distance. Via critical reflection on the methodological approach in the context of this first sub-study, it further examines the selected approaches in terms of how they deal with the specific challenges of research at a distance and under exceptional circumstances – in the mode, so to speak, of Emergency Remote Art Education Research.
  • Approaching parameters for an informal, artistic education (Zoé Hall)
    In many places, art as a paradigm acquires the role of a political avant-garde. The motivation for this text was found in the need to expand art and bring the political back into the interpersonal. A proposal is formulated on how artistic education could trigger sustainable politicizing processes before contemporary discourses can begin to determine the framework of the enterprise. Art can be found in the interpersonal. On the way to a "better world," the first thing to be determined is what stands in its way. On an individual level, this can be achieved through an awareness of one's own position in the social fabric. On a communal level, criticism should be exercised at eye level. These two demands find their beginnings in the playful discovery of the world: listening to each other, having conversations, exchanging roles, bringing body and experience into a relationship with each other. According to adrienne maree brown, mushrooms, ants, starlings, wave-particle dualism, and dandelions and fern offer useful allegories for the playful rethinking of art and its associated relationships. Communal ventures do not focus on concrete goals, final conclusions are avoided and absolute truths rejected. But there is one thing that remains at the heart of all this: decisions are made on a basis of consensus, and those who benefit from the enterprise are one and the same with those who want to participate in and reflect upon it. What we do does not belong to any institution, either state or private. What we do is not based on a contract and is never linked to wage labor. Only the interest of the participants is relevant and the result remains open. This understanding of artistic education should be abstract and remain informal, because it fundamentally rejects any form of domination.
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • Drawing – Talking – Showing (Nadia Bader)
    The starting point of the study Drawing - Talking - Showing is the question of how communicative exchange in art teaching influences visual thinking and practice. The aim is an empirically founded and (practice-) theoretically contextualized conception of which influences and interactions arise between communicative and creative events and which conditions underlie them – both in the classroom in general and specifically in the school subject art/visual design. The contingency and complexity of teaching practices is taken seriously and considered systematically. The study thus builds on positions that focus on the unpredictable, unavailable, phatic and crisis dimension of teaching and learning (Meyer-Drawe, Pazzini, Sabisch, Schürch/Willenbacher, Wimmer, among others). On the basis of video data from a lesson of observational drawing at Gymnasium, teaching-learning conversations and drawing processes are qualitatively and empirically examined. Visualized research and presentation methods play a central role in the examination. In four case studies, exemplary teaching-learning situations are analyzed from multiple perspectives, revealing the diverse, overlapping and sometimes contradictory influences that shape the situational development of teaching-learning processes. Cross-case and comparative findings are discussed on the basis of practice-theoretical concepts (e.g. Reckwitz, Schmidt, Polanyi, Neuweg) and linked to art and theater pedagogical positions that address the performativity, eventfulness, corporeality and materiality of teaching (e.g. Lange, Hentschel). This article is devoted to two special features of the study: on the one hand, the connection with the pilot study Drawing - Speeches (BUA, 2012/13) and, on the other hand, the further development of video-based research methods with a special focus on the visual dimension.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • Humus (Christiane Hamacher)
    Humus is generally found in the uppermost layer of the earth – from around ten to thirty centimeters in depth – and is a vulnerable and fragile substance. This part of the soil is a key habitat for various living creatures and is currently in an extremely bad state across the globe. Humus is lost through intensive farming practices such as meat production, which causes erosion of the soil. A further factor is the use of concrete to seal off natural ground. Our experiment focuses on humus as a living and performative substance and plays with an element of surprise. A ton of humus, piled up into a heap, awaits students in a room sealed off with large sections of plastic sheeting, which is staged almost like a scientific laboratory. Microscopes, laboratory glasses, various storage containers, gloves, pipettes, magnifying glasses, tweezers, mortars, and other objects lay ready arranged on tables. Each student then receives their own research kit and some humus. The pile of material is thus made to a reservoir and catalyst for artistic research, allowing aesthetic processes to be both created and observed. I see this creative engagement with humus as a form of individual reflection and thought that generates new forms of knowledge. Familiar approaches are abandoned, and students are able to produce, rediscover, and gather their own material experiences and perceptions. In this way, humus is used as an invitation to experiment, and to try out different artistic approaches to shared global issues.
  • (Un-)Learning Ecologies – An exploration of two research-based artistic teaching formats as experimental platforms for ecologically sustainable ways of being and becoming (Janina Krepart, Chantal Küng, Judith Tonner)
    To what extent and by which new and urgent challenges are art educators confronted through current and future effects of the climate crisis? And how can artistic teaching practices contribute to a sense of responsibility, and ultimately to ecologically sustainable practices, in “kulturelle Bildung” and arts education? Motivated by these questions, the authors designed and realized two teaching modules for the Bachelor and Master Art Education (ZHdK) in the academic year 2020–21. The article stages a critical dialogue to discuss the courses’ underlying postulations and to consider potential implications for art education research. The conceptual frameworks of the two teaching formats and their respective implementation expose not only diverging underlying accounts of the “subject”; they also present different perspectives, associations and conceptions of ecology and sustainability.
  • Read across and talk back (Sabine Gebhardt Fink, Nora Landkammer, Anna Schürch)
    A di­a­logue on per­fo­mance the­o­ry and gallery ed­u­ca­tion Based on Judith Butler's definition of the performative act as an action that has to be constantly repeated and socially legitimized, ...
  • Whether we like it or not (Agnieszka Czejkowska)
    Cul­tur­al ed­u­ca­tion and re­search based on ex­ter­nal fundsUniversities, research and non-profit institutions have their dependence on external funds in common. Agnieszka Czejkowska's article d...
  • A kind of punk rock, teaching machine. Queer-feministische Zines im Kunstunterricht. (Elke Zobl)
    Elke Zobel stellt Zines als eine Alternative zu den Mainstream-Medien vor, die die Möglichkeit und das Potential vielfältiger Selbstrepräsentation, des Ausdrucks anderer Seiten des Selbst und der H...
  • Em­pow­er­ment as a strat­e­gy of ac­tion against racism (Žaklina Mamutovič)
    Current antiracist education in Germany is mostly directed towards members of the majority society and conceived in their perspective. In practice, perspectives of minority member or People of Colo...
  • The orig­i­nal­i­ty of mod­ernism and oth­er west­ern myths: (Christian Kravagna)
    Art in the (post-​) colo­nial in­ter­stice Through an analysis of how 19th and 20th century European avant-garde art perpetuates and continues to affirm ideas of originality and purity and subseque...
  • Be­tween In­struc­tion and Self-​ed­u­ca­tion (Nanna Lüth)
    Didactic Pattern Analysis Starting From Art What role is played by the artworks in the representation of gallery education? From the spatial composition and the reactions of persons to the art in t...
  • The com­plex task of self-​chang­ing (Büro trafo. K)
    Prac­tices and ques­tions in ed­u­ca­tion­al projects in mi­gra­tion so­ci­ety Nine years ago we called one of our ambitious educational programs a «guide to self-emancipation». The title had an ir...
  • «By eat­ing an ap­ple, you’re eat­ing the scenery.» (Sabian Baumann, Simon Harder)
    In this interview by Simon Harder, Sabian Baumann discusses how s_he and the collaborating performers tried to conceptually and performatively queer nude drawing and its connected patriarchal unde...
  • How does school in­vest in the screen? (Simon Harder)
    In­Vis­i­bil­i­ties and so­cio-​po­lit­i­cal re­spon­si­bil­i­ty of art ed­u­ca­tion This article argues out of a queer-feminist perspective why an understanding of visibility is to be considered p...
  • Stimm­los 2 – Re­hearsal (Simon Harder)
    Stimmlos (voiceless/unvoiced/voting ticket), a series of experimental sound pieces and a work-in-progress, is based on and centred around artworks, giving rise to compact images in space and langua...
  • Every­one has to learn every­thing, or: emo­tion­al la­bor (Nana Adusei-Poku)
    “Everyone has to learn everything, or: emotional labor” is a reflection of the action-based research project “WdKA makes a difference” which took place between 2015 and 2017 at the Willem de Kooni...
  • Learning Processes about Non-Discriminatory Practices in the Field of Cultural Education  (Aïcha Diallo, Danja Erni)
    Since summer 2016, we have been leading the KontextSchule, a platform for the continuing education of teachers and artists in Berlin. Adopting the viewpoint of those who stand inside and outside o...
  • Nanna Lüth ()
    Art | A Crit­i­cal Per­spec­tive on Racism | Art Ed­u­ca­tion On Fragili­ty and Re­sis­tance to edit this issue of Art Education Research that focuses on the challenges related to work in art and a...
  • Ped­a­gogy for Democ­ra­cy. Art/Ed­u­ca­tion against Racism (Nanna Lüth)
    In her editorial, Nanna Lüth connects the issue of partiality within the field of critical art education to discussions about the notion of controversy in political pedagogy. Art education, she po...
  • Für­ein­an­der Sor­gen in den An­den: An­mer­kun­gen zu Pau­lo Frei­re (Grimaldo Rengifo)
    In his seminal essay Nurturance in the Andes, Grimaldo Rengifo Vásquez reflects on his early experiences with the use of the Freire literacy program in indigenous communities in northern Peru. He ...
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • Re­vis­it­ing Eval­u­a­tion (Emily Pringle)
    This text examines the important and potentially creative role that evaluation plays in participatory arts projects taking place in education contexts. A brief overview of evaluation is given befo...
  • Micro Pedagogical Leaps in the Context of Aesthetic Education (Silvia Henke, Wiktoria Furrer)
    By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.
  • Everyday photo actions, observations, and questions - an introduction (Flurina Stuppan)
    My article presents exemplary observations of everyday photo actions in groups of adolescents and adults. The observations are written on the basis of inner images. Questions that take a critical position towards the medium of photography and society are formulated based on these observations. The final part of the text presents the different photo actions for discussion and incorporates findings from the master's thesis. An art-educational contextualization forms the conclusion of the text, thus putting the emphasis on everyday actions from a mediating perspective.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • The idea comes while drawing (Malin Widén)
    Progressive digitalization is changing our perception, our thinking and our actions. It also changes our relationship to the image. Yet at the same time, the relevance of visual education must constantly be defended. Instead of thinking through drawing about the power and effects of images–thinking in images and placing them in new contexts–school tends to treat image-making according to a certain scheme oriented towards homogeneous, easily assessable visual products. In my view, new approaches and examples are needed, especially in didactics; those that do not portray drawing as an imitation of existing image categories, but as a thought process; a visual thought process that is individual and can take place across disciplines. What it means to connect drawing with thinking and what challenges and possibilities a reflexive drawing practice could bring for primary schools, are questions I have investigated experimentally and scientifically within the framework of the master thesis The idea comes while drawing. In my work, drawing is both the object and method of research – visual and linguistic thought processes mutually inspire and reflect each other.
  • Extracurricular support for art: Dare to expand! (Nicole Heri)
    The master's thesis is a comparison of extra-curricular artistic promotion in the Lucerne area with the K'werk in Basel-Stadt and an examination of the concept of creativity. It was written in the frame of the fine arts program with a major in art in public spheres. In research, creativity is often defined as "the process of creating something new and useful."Problem-solving behavior is seen as an occasion for creativity, which various neuroscientists have proven can be promoted. Yet creative promotion in schools is limited. My thesis, which forms the basis of this contribution, presents ideas for the implementation of a promotion plan for schools and at a politicallevel. An empirical comparison of access, financial expenditure, creativity promotion and the gender impacts of the offers of extra-curricular art education in Lucerne with the K'werk in Basel are central to the undertaking. My evaluation shows that enabling financing is essential to ensuring barrier-free access for young people. Suitable spaces, generous time management and the open discussion of problems are indispensable in the promotion of creativity. Results are divergent in regards to gender and course contents are crucial. The foundingof the BildWerkLuzernis validatedinthe conclusion of the research. A subsequent PhD thesis is intended to elaborate inter-cantonal comparisons of offers, political financial factors and the history of extra-curricular support for art.
  • Extracurricular support for art: Dare to expand! (Nicole Heri)
    The master's thesis is a comparison of extra-curricular artistic promotion in the Lucerne area with the K'werk in Basel-Stadt and an examination of the concept of creativity. It was written in the frame of the fine arts program with a major in art in public spheres. In research, creativity is often defined as "the process of creating something new and useful."Problem-solving behavior is seen as an occasion for creativity, which various neuroscientists have proven can be promoted. Yet creative promotion in schools is limited. My thesis, which forms the basis of this contribution, presents ideas for the implementation of a promotion plan for schools and at a politicallevel. An empirical comparison of access, financial expenditure, creativity promotion and the gender impacts of the offers of extra-curricular art education in Lucerne with the K'werk in Basel are central to the undertaking. My evaluation shows that enabling financing is essential to ensuring barrier-free access for young people. Suitable spaces, generous time management and the open discussion of problems are indispensable in the promotion of creativity. Results are divergent in regards to gender and course contents are crucial. The foundingof the BildWerkLuzernis validatedinthe conclusion of the research. A subsequent PhD thesis is intended to elaborate inter-cantonal comparisons of offers, political financial factors and the history of extra-curricular support for art.
  • A kind of punk rock, teaching machine. Queer-feministische Zines im Kunstunterricht. (Elke Zobl)
    Elke Zobel stellt Zines als eine Alternative zu den Mainstream-Medien vor, die die Möglichkeit und das Potential vielfältiger Selbstrepräsentation, des Ausdrucks anderer Seiten des Selbst und der H...
  • Flic Flac* - Feministische Materialien für den Kunstunterricht. (Elke Smodics-Kuscher, Nora Sternfeld, Büro trafo. K)
    Flic Flac* – Fe­mi­nis­ti­sche Ma­te­ria­li­en für den Kunstun­ter­richt. Mit Flic Flac* versuchen Elke Smodics-Kuscher und Nora Sternfeld vom Büro trafo.K sich den Kodierungen, Fallstricken und Wi...
  • Queer und DIY im Kunstunterricht. Eine Einführung (Bernadett Settele)
    In der Einführung werden die Ziele aufgezeigt, die Art Education Research Nr. 3 verfolgt: als „Schulbuch“ Anregungen aus der queer theory und den Kulturwissenschaften für den Kunstunterricht zu ver...
  • Schwierige Themen im Bildnerischen Gestaltung-Unterricht (Danja Erni)
    Danja Erni wirft in der Perspektive der Netzwerkveranstaltung Persönlichkeitsverwicklung # 1: Queer und Do-it-Yourself im Kunstunterricht einen Blick auf ihren eigenen Unterricht sowie auf das Beru...
  • The com­plex task of self-​chang­ing (Büro trafo. K)
    Prac­tices and ques­tions in ed­u­ca­tion­al projects in mi­gra­tion so­ci­ety Nine years ago we called one of our ambitious educational programs a «guide to self-emancipation». The title had an ir...
  • How does school in­vest in the screen? (Simon Harder)
    In­Vis­i­bil­i­ties and so­cio-​po­lit­i­cal re­spon­si­bil­i­ty of art ed­u­ca­tion This article argues out of a queer-feminist perspective why an understanding of visibility is to be considered p...
  • Stimm­los 2 – Re­hearsal (Simon Harder)
    Stimmlos (voiceless/unvoiced/voting ticket), a series of experimental sound pieces and a work-in-progress, is based on and centred around artworks, giving rise to compact images in space and langua...
  • Every­one has to learn every­thing, or: emo­tion­al la­bor (Nana Adusei-Poku)
    “Everyone has to learn everything, or: emotional labor” is a reflection of the action-based research project “WdKA makes a difference” which took place between 2015 and 2017 at the Willem de Kooni...
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • Learning from Wallmapu (Aldir Polymeris )
    This paper is about a place called Chile and another called Wallmapu, which is either inside, below, or outside the former, depending on your point of view. Wallmapu is a place where complex histories are inscribed – overlapping, boundary-crossing, and globally entangled. These are narratives of composition and assemblage; of hybridity, difference, and multiple perspectives. The Wallmapu has another name: Araucanía. This is the name given by the Chilean state to the region south of the Bío Bío River, where the Mapuche – Chile’s largest indigenous group – originally lived, and where some of them still do today. Wallmapu, on the other hand, is the term used by the Mapuche themselves. It is therefore political, since it represents a different perspective on the territory. Wallmapu ex situ is a complex and multi-layered work that includes a series of online conferences; these were first streamed on a dedicated website and are now archived on it. Nina Willimann and I (working under the group name Trop cher to share) were responsible for the conception and artistic direction of the project, which we developed in collaboration with an interdisciplinary team of experts. A large part of our work involved making contacts and building a network of people who have some sort of relationship (whether biographical, academic, emotional, or artistic) to Wallmapu. This historiographical practice is on the one hand based on the ideas and arguments of the French sociologist and philosopher Bruno Latour, and on the other on the Mapuche worldview, which sees humans as a part of nature and credits natural entities with agency and voices. This text is an attempt to beat a narrow path that allows me to name the territorial and historical conditions that have shaped the relationship between Chile, Wallmapu, and Switzerland. In talking about how we developed Wallmapu ex situ from my own perspective, my aim is not least to relate stories of traveling (and not being able to travel), and of virtual interspaces.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • Three questions for... (Hannah Horst)
    There are articles in art magazines about current exhibitions. The SFKP e Journal Art Education Research would like to transfer this format to the field of art mediation through current practice by presenting one art pedagogical project per issue or by making visible an art mediating position of a person or a collective. The performance will take place in a loose form. Understood as snapshots of art pedagogical practice, the answers can be submitted in images, text and/or other media contexts.
  • Material Semiotics of Tenderness (Seraina Dür , Jonas Gillmann)
    We, Seraina Dür and Jonas Gillmann, have been working with thirteen pigeons on our project Parliament of Things, Animals, Plants, and Algorithms since 2019, creating performative settings that we act out together with the pigeons and other human and non-human actors. The concept of caring architecture is crucial when conceiving our settings. While pigeons are often shot and displaced in cities, we are interested in how spaces might look that care for all their different residents, instead of dividing and repelling them. Each space we design features a flight hole through which the pigeons can enter and leave, along with ceramic bowls that we and the pigeons eat porridge from, dandelions that we use in play with the pigeons, bathing pools for splashing around, and much more. These objects allow us to connect with the pigeons. Their meanings are produced from our lived experience with the birds, and from our shared but different use of the objects; they are symbols of tenderness between humans and pigeons. Our article Semiotics of Tenderness presents what is now our three-year relationship with the pigeons as a photo and video story. It reflects important current issues, such as how we can best care for our damaged environment. In addressing the question of how this relationship can be conveyed within art and theater spaces, we draw upon Ursula K. Le Guin’s carrier bag theory. In contrast to the heroic story, which runs as straight as an arrow and ends at a target, the carrier bag is a container within which meandering and polyphonic narrative strands are interwoven with one another. With their permeable walls, our caring spaces are themselves carrier bags – vessels where a variety of different stories are gathered. In order that this narrative can be communicated – both verbally and in a material and spatial language that stems from our activities with the pigeons – we attempt to find a semiotics of tenderness.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • Extracurricular support for art: Dare to expand! (Nicole Heri)
    The master's thesis is a comparison of extra-curricular artistic promotion in the Lucerne area with the K'werk in Basel-Stadt and an examination of the concept of creativity. It was written in the frame of the fine arts program with a major in art in public spheres. In research, creativity is often defined as "the process of creating something new and useful."Problem-solving behavior is seen as an occasion for creativity, which various neuroscientists have proven can be promoted. Yet creative promotion in schools is limited. My thesis, which forms the basis of this contribution, presents ideas for the implementation of a promotion plan for schools and at a politicallevel. An empirical comparison of access, financial expenditure, creativity promotion and the gender impacts of the offers of extra-curricular art education in Lucerne with the K'werk in Basel are central to the undertaking. My evaluation shows that enabling financing is essential to ensuring barrier-free access for young people. Suitable spaces, generous time management and the open discussion of problems are indispensable in the promotion of creativity. Results are divergent in regards to gender and course contents are crucial. The foundingof the BildWerkLuzernis validatedinthe conclusion of the research. A subsequent PhD thesis is intended to elaborate inter-cantonal comparisons of offers, political financial factors and the history of extra-curricular support for art.
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • Montage as a narrative and emancipatory mediation strategy (Julia Marti)
    I propose that the montage, as a media-independent narrative principle that can work with omissions and contradictions, cancel authorship and originality, and reflect on the medium itself, contains a specific potential for an emancipatory politics of mediation; this was my thesis, which I have pursued in a practical and theoretical discussion. In autumn 2017, I presented the exhibition La visite dessinée (The Drawn Visit) at Pavillon Blanc in Colomiers (F). The curator chose eight positions from a collection of contemporary French art and commissioned me to re-stage and narrate the works in an exhibition. I wanted to fulfill this mediation task without assuming the role of the omniscient schoolmaster, trying instead to conceive an exhibition for emancipated spectators. Afterwards, I set myself the task of translating the exhibition into a publication, with the aim of conveying both the exhibition's contents and its mode of mediating. Finally, in the publication series Die gezeichnete Führung (The Drawn Visit), I generated a productive friction out of the pedagogical dilemma by way of postulations that negotiate didactics through didactics itself. In the theoretical discussion I placed Jacques Rancière's The Emancipated Spectator and The Ignorant Schoolmaster in relation to theories of narrative and montage as well as my publication series The Drawn Guide. I also tried to sharpen Rancière's concept of the third thing and to draw general conclusions about an emancipatory politics of mediation by means of montage and narration.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • SOMEWHERE OFF THE REAL. Voice-controlled interfaces and their media-critical mediation (Malin Kuht)
    SOMEWHERE OFF THE REAL considers interfaces as conjunctions of possiblilities, histories and underlying factors of digital media. Interfaces enable and shape interaction with digital information and communication technologies. The predominantly female-coded design of voice control, which is increasingly found in smart devices, derives from the history of a gendered division of labor and traditional social roles in society. The paper argues that our interactions with digital technologies determine our relationship to them. These processes are illuminated by the artistic practices of Melanie Hoff and Joy Buolamwini. With Draw What You Think Alexa Looks Like (2019), Melanie Hoff demonstrates that the design of interfaces of voice controlled technologies greatly influences how they are perceived. Joy Buolamwini's works substantiate the culturally programmed view of algorithms on humans. The paper summarizes a multi-level interrogation of digital technologies and illustrates the political (power) relations inscribed in them. Artistic strategies can aid in making these relationships visible and negotiable. Affective human connections are contrasted here with the implied assumptions of machines. The concepts presented are deepened in the author's own artistic work OFFREAL. The focus is on visual aspects of service provider simulations. In addition to the female-coded voice, many avatars are designed according to pop-cultural ideals of beauty, which raises political and representational questions. The categories race and gender remain contested in the discourse on virtual bodies. Overall, SOMEWHERE OFF THE REAL argues for a critical consideration of the increasing female-coded embodiment of interfaces, factoring in structural contexts.
  • Gestalt and well-formedness: Children’s spatial drawings (Stefanie Stadler Elmer, Lea Weniger)
    This text outlines the theoretical framework of our study on spatial drawing in the context of primary school. We investigate how children graphically represent a single spatial body. This is one of three conceptual aspects of children’s spatial drawing, the others concern spatial relationships between objects and the overall spatial organization of the image. The planar depiction of a cuboid in the form of a box is a general representational problem for which various solutions are taught and practiced in our culture. From the position of a structure-genetic epistemology, we are interested in children’s process of problem solving, as it emerges in individual and video-recorded case studies - adaptively and intuitively accompanied by the teacher. We reconstruct these processes in detail by using a micro-genetic methodology. With an exemplar we show empirically, how we apply the concept of "well-formedness" to describe the structural orientation towards a “Gestalt” as well as the implicit use of generative systems of spatial representation.
  • On Current Research in Swiss Art Education. An interview with Ruth Kunz in October 2019 (Ruth Kunz, Gila Kolb)
    The symposium Der professionalisierte Blick (The Professionalized Gaze) took place in 2019, shortly before the volume of the same name was published. For the first issue of the SFKP e Journal Art Education Research, which focuses on current art education research in Switzerland, the interview with Ruth Kunz elaborates on her many years of research practice, her teaching of research in teaching and the research landscape of art education in German-speaking Switzerland. In addition, the interview alludes to the specific potential of art education in research. The interview was conducted by Gila Kolb.
  • Gestalt and well-formedness: Children’s spatial drawings (Stefanie Stadler Elmer, Lea Weniger)
    This text outlines the theoretical framework of our study on spatial drawing in the context of primary school. We investigate how children graphically represent a single spatial body. This is one of three conceptual aspects of children’s spatial drawing, the others concern spatial relationships between objects and the overall spatial organization of the image. The planar depiction of a cuboid in the form of a box is a general representational problem for which various solutions are taught and practiced in our culture. From the position of a structure-genetic epistemology, we are interested in children’s process of problem solving, as it emerges in individual and video-recorded case studies - adaptively and intuitively accompanied by the teacher. We reconstruct these processes in detail by using a micro-genetic methodology. With an exemplar we show empirically, how we apply the concept of "well-formedness" to describe the structural orientation towards a “Gestalt” as well as the implicit use of generative systems of spatial representation.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • Flight of Riddles – Thinking Through the Difficult Legacy of Progressive Art Education in Austria (Karin Schneider, Andrea Hubin)
    Andrea Hubin and Karin Schneider’s contribution gives an insight into their explorations of Austrian art education’s difficult legacy. Reflecting on the boundaries, aversions, distortions, interru...
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • For­ma­tion of taste as «do­ing na­tion»: ob­ser­va­tions while tak­ing a break (Carmen Mörsch)
    This text documents thoughts – on the formation of taste as a hegemonial practice of nation building, on taste and distinction and on the author's own habitus – developed during repeated visits to ...
  • The taste of an­oth­er pos­si­bil­i­ty (Elke Smodics-Kuscher, Nora Sternfeld, Büro trafo. K)
    We would like to trace the oscillating logic of taste from a perspective of educational practice. How can this logic be understood, between the normalizing production of certainties on the one han...
  • How art schools ex­clude and nor­mal­ize (Philippe Saner)
    Re­flec­tions based on a par­tic­i­pa­tive re­search process Based on experiences in the participative co-research-process of Art.School.Differences, an ongoing research and development project at ...
  • Not for the im­pa­tient: (Carmen Mörsch)
    the sketch of a his­to­ry of con­flict­ing ideas and po­lit­i­cal trends in ac­tion re­search The text provides an outline of the history of action research from its beginnings in the 1920s up unti...
  • «Ma­te­r­i­al Mem­o­ry» and Post­mi­grant So­ci­ety (Jonas Bürgi)
    Pro­pos­als for col­lec­tion de­vel­op­ment and in­ter­pre­ta­tion at the Swiss Na­tion­al Mu­se­um National Museums claim authority in defining ‚cultural heritage’. Migration histories, as relativ...
  • What Emerges in the Si­lence of … (Hong-Kai Wang)
    In universities, there are various referents of knowledge. They are usually embedded in social forms of power relation in precluding rather than opening up other knowledges to us. Using ‘listening’...
  • Un­writ­ing the Body (Fouad Asfour)
    Based on my lecture at Un_University platform in April 2016, this text is a collection of fragments from an ongoing practice of unwriting the body as deschooling option, drawing on Walter Mignolo’...
  • Questions of Inside and Outside – resolved in the utopia of communal,[1] anti-hegemonic knowledge production (Die „Universität der Ignorant_innen“)
    Everyone is ‘ignorant’ as long as marginalized knowledge is ignored, as long as knowledge is produced without critical reflection on its dimension of power. Knowledge production is linked to viole...
  • The An­ti-​Lec­ture Mul­ti_Verse (Jamika Ajalon)
    (un­re­hearsed) I aim to explore the ways in which artistic practice, academic research, and the blending of multilayered narratives destabilizes traditional, hegemonic sagacity, and static structu...
  • Every­one has to learn every­thing, or: emo­tion­al la­bor (Nana Adusei-Poku)
    “Everyone has to learn everything, or: emotional labor” is a reflection of the action-based research project “WdKA makes a difference” which took place between 2015 and 2017 at the Willem de Kooni...
  • Read across and talk back (Sabine Gebhardt Fink, Nora Landkammer, Anna Schürch)
    A di­a­logue on per­fo­mance the­o­ry and gallery ed­u­ca­tion Based on Judith Butler's definition of the performative act as an action that has to be constantly repeated and socially legitimized, ...
  • Agency at the mar­gins of pow­er (Andrea Hubin)
    Lo­cat­ing a gallery ed­u­ca­tion that op­er­ates with con­cepts of per­for­ma­tiv­i­ty Why is gallery education interested in performativity? Between fights for recognition, reflection on one’s ow...
  • Per­form­ing the ed­u­ca­tor (Bernadett Settele)
    What if we think of mediation not as a tool for the frictionless transportation of information but as a vehicle of transformation? How can art educators obtain a certain (different) kind of facult...
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • Gallery ed­u­ca­tion – per­for­mance – the dif­fer­end (Carmen Mörsch, Eva Sturm)
    The paper is based on an introductory talk given at the conference Perfoming the Museum as a Public Sphere at Kunstmuseum Lentos, Linz, in April 2008. It parts from Charles Garoian’s thesis that a...
  • Whether we like it or not (Agnieszka Czejkowska)
    Cul­tur­al ed­u­ca­tion and re­search based on ex­ter­nal fundsUniversities, research and non-profit institutions have their dependence on external funds in common. Agnieszka Czejkowska's article d...
  • Aes­thet­ic Learn­ing in Ur­ban Space – On­go­ing Syn­the­ses of Prac­tice and The­o­ry (Wolfgang Zacharias)
    Wolfgang Zacharias’ contribution shows his interest in aesthetic and urban learning in the context of «Cultural Education 2.0». The text encompasses the experimental educational activities in publ...
  • Do it yourself und Radikal Crafting. Wie radikal ist die Handarbeit? Zu Geschichte und Aktualität von Do it yourself-Strategien in Aktivismus und Kunst. (Sonja Eismann)
    Sonja Eismann zeigt in ihrem Beitrag die Geschichte und Aktualität von Do-it-yourself-Strategien in Aktivismus und Kunst auf. Sie geht der Frage der Etablierung dieser Gegenkultur nach, die sich An...
  • Em­pow­er­ment as a strat­e­gy of ac­tion against racism (Žaklina Mamutovič)
    Current antiracist education in Germany is mostly directed towards members of the majority society and conceived in their perspective. In practice, perspectives of minority member or People of Colo...
  • Refugees as «ma­te­r­i­al» for art projects? (Das AntikultiAtelier)
    An­ti­kul­ti­Ate­lier We are a group of people living in Switzerland and working on asylum and migration policies, racism and representation: many of us as refugees, others as migrants or Swiss. In...
  • «In­te­gra­tion as An­ti-​Re­flec­tive Coat­ing» (Judith Rahner, Nicola Lauré al-Samarai)
    Con­sid­er­ing His­tor­i­cal-​Po­lit­i­cal Ed­u­ca­tion and Mem­o­ry Work with Young Peo­ple of Col­or in Ger­many Dominant debates on so-called Holocaust-education in the migration society not onl...
  • (Un)learn­ing Taste in the every­day (at school) (Danja Erni)
    How does my taste influence my teaching? Why, as a teacher, it almost slightly offends me if the sovereignty of my «good» (qua «educated») taste is challenged by the aesthetical preferences of stu...
  • Counter/Act­ing: Per­for­ma­tive Poros­i­ty (Elke Krasny)
    Based on Counter/Acting, a symposium at the Institute for Education in the Arts at Vienna’s Academy of Fine Arts in cooperation with Kunsthalle Wien, this text opens up links between possible acti...
  • The Liv­ing School (Brandon LaBElle)
    The Living School was held in London from February to June 2016 in collaboration with the South London Gallery and taking place at a range of venues in the city. Focusing on the issues of social ho...
  • Mu­se­um of Burn­ing Ques­tions (Nora Sternfeld)
    Negotiating with reality at the Bergen Assembly 2016 Are exhibition contexts places of refuge for critical teaching and learning, precursors of their total economization, or both? And what does thi...
  • Stimm­los 2 – Re­hearsal (Simon Harder)
    Stimmlos (voiceless/unvoiced/voting ticket), a series of experimental sound pieces and a work-in-progress, is based on and centred around artworks, giving rise to compact images in space and langua...
  • Mediation of Realities: The Society of Friends of Halit (Ayşe Güleç)
    Carried out as part of documenta 14 in Kassel, The Society Friends of Halit focused on the crimes of the National Socialist Underground (NSU) and its belated prosecution. Though it received overwh...
  • ‘Natural Art Education’  – On Biologisms in Art Educational Discourse (Anna Schürch)
    In her contribution on the history of her discipline, Anna Schürch explores how biologicistic argumentative figures have shaped the thinkable and sayable in the context of German-language art educa...
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • Ac­ti­vat­ing the Dis­play (Karin Schneider)
    The­ses from the Re­search Project „sci­ence with all sens­es – sci­ence and gen­der in the mak­ing“ The following theses are based on the research project „science with all senses – science and ge...
  • What are we do­ing here? (Claus Melter)
    Re­flec­tions on bar­ri­ers and dis­crim­i­na­tion in ed­u­ca­tion­al in­sti­tu­tions This text is concerned with self-reflexivity in institutions regarding the critique of barriers and discriminat...
  • Cy­borg Ex­its in the Class­room (Doris Arztmann, Eva Egermann)
    Body-​het­eroglos­sia and crip tools for dirty knowl­edges in art teach­ing Choosing the form of an email-conversation, Doris Arztmann and Eva Egermann discuss their workshop Body-Heteroglossia – u...
  • En­ab­ling ques­ti­ons (Ursula Ulrich)
    The text retraces how studying the theatrical design workshop «role kids» with primary school children from Lucerne turned into a challenging expedition. Ulrich shows how team-based action researc...
  • Nanna Lüth ()
    Art | A Crit­i­cal Per­spec­tive on Racism | Art Ed­u­ca­tion On Fragili­ty and Re­sis­tance to edit this issue of Art Education Research that focuses on the challenges related to work in art and a...
  • Ped­a­gogy for Democ­ra­cy. Art/Ed­u­ca­tion against Racism (Nanna Lüth)
    In her editorial, Nanna Lüth connects the issue of partiality within the field of critical art education to discussions about the notion of controversy in political pedagogy. Art education, she po...
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • Ac­ti­vat­ing the Dis­play (Karin Schneider)
    The­ses from the Re­search Project „sci­ence with all sens­es – sci­ence and gen­der in the mak­ing“ The following theses are based on the research project „science with all senses – science and ge...
  • Queer und DIY im Kunstunterricht. Eine Einführung (Bernadett Settele)
    In der Einführung werden die Ziele aufgezeigt, die Art Education Research Nr. 3 verfolgt: als „Schulbuch“ Anregungen aus der queer theory und den Kulturwissenschaften für den Kunstunterricht zu ver...
  • Or­dered Bod­ies, em­bod­ied Or­ders – about vi­su­al and lin­guis­tic rep­re­sen­ta­tion­al pat­terns of gallery ed­u­ca­tion (Stephan Fürstenberg)
    In his text, Stephan Fürstenberg focuses on dominant representational forms of the figures art mediator and public. In referencing historical image examples, he works out productions of difference...
  • «By eat­ing an ap­ple, you’re eat­ing the scenery.» (Sabian Baumann, Simon Harder)
    In this interview by Simon Harder, Sabian Baumann discusses how s_he and the collaborating performers tried to conceptually and performatively queer nude drawing and its connected patriarchal unde...
  • How does school in­vest in the screen? (Simon Harder)
    In­Vis­i­bil­i­ties and so­cio-​po­lit­i­cal re­spon­si­bil­i­ty of art ed­u­ca­tion This article argues out of a queer-feminist perspective why an understanding of visibility is to be considered p...
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • Shifts in Space - Displacements in Schools as a Critical Gesture (Margot Zanni)
    How could the implicit effect of school spaces be made more accessible to reflection and at the same time participate in the experience of the constitution of another space? The focus of the explanations is on spatial practices of shifting, varying or displacing. Displacement, in particular, is questioned as a strategy for making the effects of school space visible. Heterogeneously selected case studies will be used. The study of Christiane Brohl and her concept of displacement as an art-pedagogical strategy is prominent. With regard to the question at hand, an extension of her approaches is proposed. The theoretical reference point of heterotopia introduced with it will be discussed in the context of further receptions and a methodology will be found which will then be illustrated using the example of the seminar "Learning in/as/through Space". The analysis of everyday rule breaks (tricks) also plays a role in the development of these methodological considerations. As heterotopic break-ins into school orders, they served as models for the development of the seminar's approaches. This was aimed at students of art pedagogy and took place as a temporary use in the empty rooms of the former Villa Bellerive. The starting point for the planned process of the empty spaces was artistic research on school buildings of different construction periods. The situational translation of the results of this research into the context of the villa spaces - in the sense of an analogy or a contrast - was intended to make certain aspects of school spatial conditions even more prominent and reflectable. With a view to the future teaching activities of the students, this was intended to make possible the experience of a creative scope that wanted to counteract to a certain extent the effect of normative school settings.
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • Humus (Christiane Hamacher)
    Humus is generally found in the uppermost layer of the earth – from around ten to thirty centimeters in depth – and is a vulnerable and fragile substance. This part of the soil is a key habitat for various living creatures and is currently in an extremely bad state across the globe. Humus is lost through intensive farming practices such as meat production, which causes erosion of the soil. A further factor is the use of concrete to seal off natural ground. Our experiment focuses on humus as a living and performative substance and plays with an element of surprise. A ton of humus, piled up into a heap, awaits students in a room sealed off with large sections of plastic sheeting, which is staged almost like a scientific laboratory. Microscopes, laboratory glasses, various storage containers, gloves, pipettes, magnifying glasses, tweezers, mortars, and other objects lay ready arranged on tables. Each student then receives their own research kit and some humus. The pile of material is thus made to a reservoir and catalyst for artistic research, allowing aesthetic processes to be both created and observed. I see this creative engagement with humus as a form of individual reflection and thought that generates new forms of knowledge. Familiar approaches are abandoned, and students are able to produce, rediscover, and gather their own material experiences and perceptions. In this way, humus is used as an invitation to experiment, and to try out different artistic approaches to shared global issues.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • Montage as a narrative and emancipatory mediation strategy (Julia Marti)
    I propose that the montage, as a media-independent narrative principle that can work with omissions and contradictions, cancel authorship and originality, and reflect on the medium itself, contains a specific potential for an emancipatory politics of mediation; this was my thesis, which I have pursued in a practical and theoretical discussion. In autumn 2017, I presented the exhibition La visite dessinée (The Drawn Visit) at Pavillon Blanc in Colomiers (F). The curator chose eight positions from a collection of contemporary French art and commissioned me to re-stage and narrate the works in an exhibition. I wanted to fulfill this mediation task without assuming the role of the omniscient schoolmaster, trying instead to conceive an exhibition for emancipated spectators. Afterwards, I set myself the task of translating the exhibition into a publication, with the aim of conveying both the exhibition's contents and its mode of mediating. Finally, in the publication series Die gezeichnete Führung (The Drawn Visit), I generated a productive friction out of the pedagogical dilemma by way of postulations that negotiate didactics through didactics itself. In the theoretical discussion I placed Jacques Rancière's The Emancipated Spectator and The Ignorant Schoolmaster in relation to theories of narrative and montage as well as my publication series The Drawn Guide. I also tried to sharpen Rancière's concept of the third thing and to draw general conclusions about an emancipatory politics of mediation by means of montage and narration.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • Sedimented – When material acts (Tiziana Halbheer)
    The contribution Sedimented – When material acts deals with materials as vibrant and intra-active phenomena. The impact, liveliness and interlinkage of material with the surrounding world is illustrated based on the material dust precipitation, a mixture of anthropogenically and naturally abraded dusts. A dust walk is proposed as an art-educational and performative strategy by way of which to grasp proximity to material and its impact on one's own physicality, sensation, traditional views and cultural traditions. It is an investigative search for dusty legacies of worldly activities that question value systems and traditional notions of phenomena through actions. Dust precipitation serves as an example of using material as the raw stuff of art-pedagogical thinking and interpretation, exploring the manifold possibilities it presents.
  • From The­o­ry in­to Prac­tice – Re­search and Trans­for­ma­tion (Dolores Smith)
    The research project to which this text refers was based on the challenge to provide conditions for equal access to arts education for children and young people placed at a disadvantage - especiall...
  • Ac­ti­vat­ing the Dis­play (Karin Schneider)
    The­ses from the Re­search Project „sci­ence with all sens­es – sci­ence and gen­der in the mak­ing“ The following theses are based on the research project „science with all senses – science and ge...
  • The vis­i­tors are miss­ing. Which vis­i­tors? (Nora Landkammer)
    A re­flex­ion on the Sym­po­sium KUN­ST [auf] FÜHREN The text parts from critique expressed by participants of the symposium KUNST[auf] FÜHREN in Kassel in June 2009: We had been talking about gall...
  • Art School with mi­gra­tion back­ground (Catrin Seefranz)
    Pre­lim­i­nary thoughts based on a study of in­equal­i­ty in the field of the art school Based on the results of the project making differences which deals with social injustice in the field of Swi...
  • Refugees as «ma­te­r­i­al» for art projects? (Das AntikultiAtelier)
    An­ti­kul­ti­Ate­lier We are a group of people living in Switzerland and working on asylum and migration policies, racism and representation: many of us as refugees, others as migrants or Swiss. In...
  • The com­plex task of self-​chang­ing (Büro trafo. K)
    Prac­tices and ques­tions in ed­u­ca­tion­al projects in mi­gra­tion so­ci­ety Nine years ago we called one of our ambitious educational programs a «guide to self-emancipation». The title had an ir...
  • How art schools ex­clude and nor­mal­ize (Philippe Saner)
    Re­flec­tions based on a par­tic­i­pa­tive re­search process Based on experiences in the participative co-research-process of Art.School.Differences, an ongoing research and development project at ...
  • Teach­ing the world to the arts (Wanda Wieczorek)
    Many cultural institutions today find themselves in a dilemma: On the one hand, programming should, and wants, to reach as many people as possible – especially young people, and particularly those...
  • Unterrichtssprache - Working Language (Marlene Lahmer)
    The choice of a working language influences the content and type of discussions and creates in and out groups. At an art university in the German-speaking world, should one speak English due to the...
  • What Emerges in the Si­lence of … (Hong-Kai Wang)
    In universities, there are various referents of knowledge. They are usually embedded in social forms of power relation in precluding rather than opening up other knowledges to us. Using ‘listening’...
  • Every­one has to learn every­thing, or: emo­tion­al la­bor (Nana Adusei-Poku)
    “Everyone has to learn everything, or: emotional labor” is a reflection of the action-based research project “WdKA makes a difference” which took place between 2015 and 2017 at the Willem de Kooni...
  • Sown by Scat­ter­ing: Re­flec­tions on an Un­re­al­ized Com­mis­sion for an Artis­tic Project at an Asy­lum Cen­ter (Pascal Schwaighofer)
    What are the implications of a commissioned monument that envisages a participatory process between an artist and the inhabitants of an asylum center? From defining the context and identifying the ...
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • Approaching parameters for an informal, artistic education (Zoé Hall)
    In many places, art as a paradigm acquires the role of a political avant-garde. The motivation for this text was found in the need to expand art and bring the political back into the interpersonal. A proposal is formulated on how artistic education could trigger sustainable politicizing processes before contemporary discourses can begin to determine the framework of the enterprise. Art can be found in the interpersonal. On the way to a "better world," the first thing to be determined is what stands in its way. On an individual level, this can be achieved through an awareness of one's own position in the social fabric. On a communal level, criticism should be exercised at eye level. These two demands find their beginnings in the playful discovery of the world: listening to each other, having conversations, exchanging roles, bringing body and experience into a relationship with each other. According to adrienne maree brown, mushrooms, ants, starlings, wave-particle dualism, and dandelions and fern offer useful allegories for the playful rethinking of art and its associated relationships. Communal ventures do not focus on concrete goals, final conclusions are avoided and absolute truths rejected. But there is one thing that remains at the heart of all this: decisions are made on a basis of consensus, and those who benefit from the enterprise are one and the same with those who want to participate in and reflect upon it. What we do does not belong to any institution, either state or private. What we do is not based on a contract and is never linked to wage labor. Only the interest of the participants is relevant and the result remains open. This understanding of artistic education should be abstract and remain informal, because it fundamentally rejects any form of domination.
  • Everyday photo actions, observations, and questions - an introduction (Flurina Stuppan)
    My article presents exemplary observations of everyday photo actions in groups of adolescents and adults. The observations are written on the basis of inner images. Questions that take a critical position towards the medium of photography and society are formulated based on these observations. The final part of the text presents the different photo actions for discussion and incorporates findings from the master's thesis. An art-educational contextualization forms the conclusion of the text, thus putting the emphasis on everyday actions from a mediating perspective.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • From The­o­ry in­to Prac­tice – Re­search and Trans­for­ma­tion (Dolores Smith)
    The research project to which this text refers was based on the challenge to provide conditions for equal access to arts education for children and young people placed at a disadvantage - especiall...
  • Flic Flac* - Feministische Materialien für den Kunstunterricht. (Elke Smodics-Kuscher, Nora Sternfeld, Büro trafo. K)
    Flic Flac* – Fe­mi­nis­ti­sche Ma­te­ria­li­en für den Kunstun­ter­richt. Mit Flic Flac* versuchen Elke Smodics-Kuscher und Nora Sternfeld vom Büro trafo.K sich den Kodierungen, Fallstricken und Wi...
  • Materialien zum Selbststudium (Danja Erni, Nora Landkammer, Anna Schürch, Bernadett Settele)
    Die Materialien zum Selbststudium sind mit dem Ziel konzipiert, eine Diskussions- und Wissensbasis zu den Themen «queer» und «Do it yourself» im Kunstunterricht zur Verfügung zu stellen. Sie beschä...
  • Em­pow­er­ment as a strat­e­gy of ac­tion against racism (Žaklina Mamutovič)
    Current antiracist education in Germany is mostly directed towards members of the majority society and conceived in their perspective. In practice, perspectives of minority member or People of Colo...
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • Humus (Christiane Hamacher)
    Humus is generally found in the uppermost layer of the earth – from around ten to thirty centimeters in depth – and is a vulnerable and fragile substance. This part of the soil is a key habitat for various living creatures and is currently in an extremely bad state across the globe. Humus is lost through intensive farming practices such as meat production, which causes erosion of the soil. A further factor is the use of concrete to seal off natural ground. Our experiment focuses on humus as a living and performative substance and plays with an element of surprise. A ton of humus, piled up into a heap, awaits students in a room sealed off with large sections of plastic sheeting, which is staged almost like a scientific laboratory. Microscopes, laboratory glasses, various storage containers, gloves, pipettes, magnifying glasses, tweezers, mortars, and other objects lay ready arranged on tables. Each student then receives their own research kit and some humus. The pile of material is thus made to a reservoir and catalyst for artistic research, allowing aesthetic processes to be both created and observed. I see this creative engagement with humus as a form of individual reflection and thought that generates new forms of knowledge. Familiar approaches are abandoned, and students are able to produce, rediscover, and gather their own material experiences and perceptions. In this way, humus is used as an invitation to experiment, and to try out different artistic approaches to shared global issues.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • SOMEWHERE OFF THE REAL. Voice-controlled interfaces and their media-critical mediation (Malin Kuht)
    SOMEWHERE OFF THE REAL considers interfaces as conjunctions of possiblilities, histories and underlying factors of digital media. Interfaces enable and shape interaction with digital information and communication technologies. The predominantly female-coded design of voice control, which is increasingly found in smart devices, derives from the history of a gendered division of labor and traditional social roles in society. The paper argues that our interactions with digital technologies determine our relationship to them. These processes are illuminated by the artistic practices of Melanie Hoff and Joy Buolamwini. With Draw What You Think Alexa Looks Like (2019), Melanie Hoff demonstrates that the design of interfaces of voice controlled technologies greatly influences how they are perceived. Joy Buolamwini's works substantiate the culturally programmed view of algorithms on humans. The paper summarizes a multi-level interrogation of digital technologies and illustrates the political (power) relations inscribed in them. Artistic strategies can aid in making these relationships visible and negotiable. Affective human connections are contrasted here with the implied assumptions of machines. The concepts presented are deepened in the author's own artistic work OFFREAL. The focus is on visual aspects of service provider simulations. In addition to the female-coded voice, many avatars are designed according to pop-cultural ideals of beauty, which raises political and representational questions. The categories race and gender remain contested in the discourse on virtual bodies. Overall, SOMEWHERE OFF THE REAL argues for a critical consideration of the increasing female-coded embodiment of interfaces, factoring in structural contexts.
  • Are You Sure? Zoom in (Charlotte Friedli)
    The following text is a revised part of my master thesis, Are you sure? Zoom in. Approaching the unapproachable computer. A strategy of empowerment. The question is explored on the basis of the interplay between artistic and art analytical work. The thesis at the outset was that the computer is unapproachable because of its being a complex and mystified dispositive. This condition is examined from different positions. Users do not know what they are really dealing with and are forced to comply with web developers' decisions. Based on Olia Lialina's concept of digital folklore, the aim is to empower simple users and the ephemeral traces they leave on the web. The artistic strategy zoom in was developed based on work with multiple theories. Zoom in stands for approaching an unapproachable Computer. In the act of zooming in, users arrive at unimagined places via pointless detours. The strategy describes four aspects that are examined more closely: infrastructure, sub-actions, the individual and pixels. Artistic artifacts that try to dissolve the distance to the myth that is the computer can be found on the blog www.areyousure.blog.
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • IT'S ABOUT TIME. Critical Art Education in Digital Times (Sophie Lingg, Helena Schmidt)
    Editorial The 18th edition of the Art Education Research e Journal was created in the first half of the year 2020. In addition to the steadily worsening climate crisis, the extent of which is alrea...
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • Three questions for... (Hannah Horst)
    There are articles in art magazines about current exhibitions. The SFKP e Journal Art Education Research would like to transfer this format to the field of art mediation through current practice by presenting one art pedagogical project per issue or by making visible an art mediating position of a person or a collective. The performance will take place in a loose form. Understood as snapshots of art pedagogical practice, the answers can be submitted in images, text and/or other media contexts.
  • Sedimented – When material acts (Tiziana Halbheer)
    The contribution Sedimented – When material acts deals with materials as vibrant and intra-active phenomena. The impact, liveliness and interlinkage of material with the surrounding world is illustrated based on the material dust precipitation, a mixture of anthropogenically and naturally abraded dusts. A dust walk is proposed as an art-educational and performative strategy by way of which to grasp proximity to material and its impact on one's own physicality, sensation, traditional views and cultural traditions. It is an investigative search for dusty legacies of worldly activities that question value systems and traditional notions of phenomena through actions. Dust precipitation serves as an example of using material as the raw stuff of art-pedagogical thinking and interpretation, exploring the manifold possibilities it presents.
  • From The­o­ry in­to Prac­tice – Re­search and Trans­for­ma­tion (Dolores Smith)
    The research project to which this text refers was based on the challenge to provide conditions for equal access to arts education for children and young people placed at a disadvantage - especiall...
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • A kind of punk rock, teaching machine. Queer-feministische Zines im Kunstunterricht. (Elke Zobl)
    Elke Zobel stellt Zines als eine Alternative zu den Mainstream-Medien vor, die die Möglichkeit und das Potential vielfältiger Selbstrepräsentation, des Ausdrucks anderer Seiten des Selbst und der H...
  • Crit­i­cal White­ness in Ped­a­gog­i­cal Prac­tice -​ (Regina Richter, Claude Preetz)
    how to deal with one’s own role as a white teacher in a critical perspective on racism? Background text for a workshop The paper aims to encourage a critical reflection on the privileged position o...
  • Lost in edu­ca­ti­on? Kul­Tür auf! (Ahmed Shah, Nils Erhard)
    «We don’t want inclusion, nor participation, nor integration, what we want is SELF emancipation» (from Schwarzkopf BRD, JugendtheaterBüro Berlin). The paper, based on experiences from the work of ...
  • «In­te­gra­tion as An­ti-​Re­flec­tive Coat­ing» (Judith Rahner, Nicola Lauré al-Samarai)
    Con­sid­er­ing His­tor­i­cal-​Po­lit­i­cal Ed­u­ca­tion and Mem­o­ry Work with Young Peo­ple of Col­or in Ger­many Dominant debates on so-called Holocaust-education in the migration society not onl...
  • AUS MIT RAUS (Eva Lausegger)
    or AM I RACIST? The text deals with an intent to deport a student at our school, the protest movement that mobilized against the deportation, and an art project with students from several courses o...
  • En­gage­ment and vis­i­bil­i­ty. Who ben­e­fits? (Henrike Plegge)
    Work­ing with young mi­grants in gallery ed­u­ca­tion and ex­hi­bi­tions In her paper, Henrike Plegge discusses different forms of participation and visibility of young migrants in a gallery educat...
  • Who hears as I do and to whom do I be­long? (Dorothee Barth)
    About the no­tion of cul­tur­al iden­ti­ty in the con­text of an (in­ter­cul­tur­al) mu­sic ed­u­ca­tion This paper discusses the question, how the «Intercultural Music Education» can contribute to...
  • How does school in­vest in the screen? (Simon Harder)
    In­Vis­i­bil­i­ties and so­cio-​po­lit­i­cal re­spon­si­bil­i­ty of art ed­u­ca­tion This article argues out of a queer-feminist perspective why an understanding of visibility is to be considered p...
  • Micro Pedagogical Leaps in the Context of Aesthetic Education (Silvia Henke, Wiktoria Furrer)
    By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.
  • From The­o­ry in­to Prac­tice – Re­search and Trans­for­ma­tion (Dolores Smith)
    The research project to which this text refers was based on the challenge to provide conditions for equal access to arts education for children and young people placed at a disadvantage - especiall...
  • Ac­ti­vat­ing the Dis­play (Karin Schneider)
    The­ses from the Re­search Project „sci­ence with all sens­es – sci­ence and gen­der in the mak­ing“ The following theses are based on the research project „science with all senses – science and ge...
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • The «work­shop about my­self» (Urs Bachmann, Sandra Lippuner)
    Be­tween af­fir­ma­tion and am­bi­gu­i­ty Who «belongs» and who doesn’t? What do I have to do to belong? What happens if I don’t fit the norm? The «workshop about myself» offers foster children pos...
  • En­ab­ling ques­ti­ons (Ursula Ulrich)
    The text retraces how studying the theatrical design workshop «role kids» with primary school children from Lucerne turned into a challenging expedition. Ulrich shows how team-based action researc...
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • EcoArtLab: Transdisciplinary Approaches to Climate Change (Yvonne Schmidt)
    The EcoArtLab at the Bern University of the Arts is a pilot project that aims to investigate how the interplay between artistic research and human geography or climate science can best contribute to the climate change debate. In this context, a summer school on Climate and the City was held in Bern and Zurich in 2020, organized in collaboration with the Crowther Lab at ETH Zurich, the Institute of Geography at the University of Bern, and the Federal Office for the Environment (FOEN). Drawing on a toolbox of research strategies, thirteen students from various artistic disciplines developed individual project ideas in consultation with scientists during the summer of 2020, which were then exhibited as part of an intervention at Frau Gerolds garden in Zurich. In addition, a series of workshops, panel discussions, and regular meet-ups examined issues of environmental sustainability, such as energy consumption, for a broader audience. The paper at hand offers a glimpse into the Climate & the City summer school. Its focus is on collaboration between artistic processes and climate research, and what approaches to and formats for knowledge generation this can produce. At the same time, it also demonstrates the hurdles and problems that collaborative work brings with it.
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • Or­dered Bod­ies, em­bod­ied Or­ders – about vi­su­al and lin­guis­tic rep­re­sen­ta­tion­al pat­terns of gallery ed­u­ca­tion (Stephan Fürstenberg)
    In his text, Stephan Fürstenberg focuses on dominant representational forms of the figures art mediator and public. In referencing historical image examples, he works out productions of difference...
  • Cy­borg Ex­its in the Class­room (Doris Arztmann, Eva Egermann)
    Body-​het­eroglos­sia and crip tools for dirty knowl­edges in art teach­ing Choosing the form of an email-conversation, Doris Arztmann and Eva Egermann discuss their workshop Body-Heteroglossia – u...
  • Un­writ­ing the Body (Fouad Asfour)
    Based on my lecture at Un_University platform in April 2016, this text is a collection of fragments from an ongoing practice of unwriting the body as deschooling option, drawing on Walter Mignolo’...
  • Crip Ma­te­ri­als as Forms of Un_Uni­ver­si­ty Think­ing (Eva Egermann)
    In 1990, writing about women’s studies, Elizabeth Minnich noted: ‘Invisibility itself teaches something. Students who never hear of a woman philosopher have trouble believing in such a creature.’ ...
  • GERMAN, NATURAL AND NAKED? The Colonial Entanglements of the Life Reform (Saskia Köbschall)
    Taking the author’s personal experiences with the German nudist movement as a starting point, this essay explores the discursive link between colonialism, its ideology of racial hierarchies and th...
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • … um das Ende der Welt aufzuhalten! Ein kollektives Nachdenken zum Klimawandel (Bené Asefa Feireiss , Silke Ballath , Kunigunde Berberich , Raphael Daibert , Lukas Oertel , Katharina Stahlhoven , Wiebke Janzen )
    As a collective of authors made up of artists, students, researchers, cultural agents, and activists, our aim is to find a collaborative approach to the question of what the corona crisis has to do with the climate change crisis. This question serves as the starting point for a shared reflection, considered in relation to our various positions and situations. What sort of questions can collective and artistic considerations raise with regard to climate change? How are marginalized and diverse positions included in these reflections? How and what do we learn (and unlearn) from and with one another? How does art experiment with collective forms of thought and action? Following the “METTRAGE positionen-relationen” artistic method, we will work together to produce new questions. The method was developed by Katharina Stahlhoven and Silke Ballath in their capacity as cultural agents, as a negotiating tool for creative schools. The process makes collective thinking visible and negotiable. It positions a participant’s specific perspective in order that it can be further developed in exchange with another person or group, re-contextualizing and modifying it and setting it in motion. Our contribution will comprises a collective image, seven individual images, a conversation, and a question that will lead our discussion.
  • Learning from Wallmapu (Aldir Polymeris )
    This paper is about a place called Chile and another called Wallmapu, which is either inside, below, or outside the former, depending on your point of view. Wallmapu is a place where complex histories are inscribed – overlapping, boundary-crossing, and globally entangled. These are narratives of composition and assemblage; of hybridity, difference, and multiple perspectives. The Wallmapu has another name: Araucanía. This is the name given by the Chilean state to the region south of the Bío Bío River, where the Mapuche – Chile’s largest indigenous group – originally lived, and where some of them still do today. Wallmapu, on the other hand, is the term used by the Mapuche themselves. It is therefore political, since it represents a different perspective on the territory. Wallmapu ex situ is a complex and multi-layered work that includes a series of online conferences; these were first streamed on a dedicated website and are now archived on it. Nina Willimann and I (working under the group name Trop cher to share) were responsible for the conception and artistic direction of the project, which we developed in collaboration with an interdisciplinary team of experts. A large part of our work involved making contacts and building a network of people who have some sort of relationship (whether biographical, academic, emotional, or artistic) to Wallmapu. This historiographical practice is on the one hand based on the ideas and arguments of the French sociologist and philosopher Bruno Latour, and on the other on the Mapuche worldview, which sees humans as a part of nature and credits natural entities with agency and voices. This text is an attempt to beat a narrow path that allows me to name the territorial and historical conditions that have shaped the relationship between Chile, Wallmapu, and Switzerland. In talking about how we developed Wallmapu ex situ from my own perspective, my aim is not least to relate stories of traveling (and not being able to travel), and of virtual interspaces.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • EcoArtLab: Transdisciplinary Approaches to Climate Change (Yvonne Schmidt)
    The EcoArtLab at the Bern University of the Arts is a pilot project that aims to investigate how the interplay between artistic research and human geography or climate science can best contribute to the climate change debate. In this context, a summer school on Climate and the City was held in Bern and Zurich in 2020, organized in collaboration with the Crowther Lab at ETH Zurich, the Institute of Geography at the University of Bern, and the Federal Office for the Environment (FOEN). Drawing on a toolbox of research strategies, thirteen students from various artistic disciplines developed individual project ideas in consultation with scientists during the summer of 2020, which were then exhibited as part of an intervention at Frau Gerolds garden in Zurich. In addition, a series of workshops, panel discussions, and regular meet-ups examined issues of environmental sustainability, such as energy consumption, for a broader audience. The paper at hand offers a glimpse into the Climate & the City summer school. Its focus is on collaboration between artistic processes and climate research, and what approaches to and formats for knowledge generation this can produce. At the same time, it also demonstrates the hurdles and problems that collaborative work brings with it.
  • Read across and talk back (Sabine Gebhardt Fink, Nora Landkammer, Anna Schürch)
    A di­a­logue on per­fo­mance the­o­ry and gallery ed­u­ca­tion Based on Judith Butler's definition of the performative act as an action that has to be constantly repeated and socially legitimized, ...
  • The Liv­ing School (Brandon LaBElle)
    The Living School was held in London from February to June 2016 in collaboration with the South London Gallery and taking place at a range of venues in the city. Focusing on the issues of social ho...
  • Mu­se­um of Burn­ing Ques­tions (Nora Sternfeld)
    Negotiating with reality at the Bergen Assembly 2016 Are exhibition contexts places of refuge for critical teaching and learning, precursors of their total economization, or both? And what does thi...
  • A Gen­tle Raw­ness (Jianan Qu)
    Before any kind of exchange, I think about being, seeing and feeling. In this sense, to feel something is more real than to study something. A comfortable way of being next to each other, with no ...
  • Questions of Inside and Outside – resolved in the utopia of communal,[1] anti-hegemonic knowledge production (Die „Universität der Ignorant_innen“)
    Everyone is ‘ignorant’ as long as marginalized knowledge is ignored, as long as knowledge is produced without critical reflection on its dimension of power. Knowledge production is linked to viole...
  • Acting Together: rethinking existing approaches to collective action (Yen Noh)
    This text investigates collective action as an artistic practice. Such practice is often collaborative and curatorial, both working within artist groups and by involving the audience and other art...
  • … um das Ende der Welt aufzuhalten! Ein kollektives Nachdenken zum Klimawandel (Bené Asefa Feireiss , Silke Ballath , Kunigunde Berberich , Raphael Daibert , Lukas Oertel , Katharina Stahlhoven , Wiebke Janzen )
    As a collective of authors made up of artists, students, researchers, cultural agents, and activists, our aim is to find a collaborative approach to the question of what the corona crisis has to do with the climate change crisis. This question serves as the starting point for a shared reflection, considered in relation to our various positions and situations. What sort of questions can collective and artistic considerations raise with regard to climate change? How are marginalized and diverse positions included in these reflections? How and what do we learn (and unlearn) from and with one another? How does art experiment with collective forms of thought and action? Following the “METTRAGE positionen-relationen” artistic method, we will work together to produce new questions. The method was developed by Katharina Stahlhoven and Silke Ballath in their capacity as cultural agents, as a negotiating tool for creative schools. The process makes collective thinking visible and negotiable. It positions a participant’s specific perspective in order that it can be further developed in exchange with another person or group, re-contextualizing and modifying it and setting it in motion. Our contribution will comprises a collective image, seven individual images, a conversation, and a question that will lead our discussion.
  • Things, Moods, Actions - The Walk as a Constellation (Markus Schwander)
    Both in artistic research projects and in teaching, walks are used to investigate the perception of space. Walking together is regarded as a constellation in order to recognize and influence the factors that determine the action, i.e. to shape collective action. Artistic examples will be used to show how space and perception are interrelated and how their relationship is constantly re-constructed.
  • IT'S ABOUT TIME. Critical Art Education in Digital Times (Sophie Lingg, Helena Schmidt)
    Editorial The 18th edition of the Art Education Research e Journal was created in the first half of the year 2020. In addition to the steadily worsening climate crisis, the extent of which is alrea...
  • IT'S ABOUT TIME. Critical Art Education in Digital Times (Sophie Lingg, Helena Schmidt)
    Editorial The 18th edition of the Art Education Research e Journal was created in the first half of the year 2020. In addition to the steadily worsening climate crisis, the extent of which is alrea...
  • Von/durch/mit Pilze/n lernen (Lara Caluori)
    What role can mushrooms play in helping us rethink the relationships and communities that exist both among and beyond humans? This paper explores interactions between fungi and humans in order to gain a different perspective on such connections in times of crisis. I see a metaphor for social structures and collaborations in the mycelium (the total rhizomorphic network of a fungus) and the mychorriza (the symbiosis between the mycelium and the roots of a plant). My bachelor’s thesis “Mycelium – Pleurotus Ostreatus, Ganoderma Lucidum” (2019) looks at fungal cultures from an artistic and research-based perspective, and this paper draws upon that earlier work in order to explore my own encounters with mycelium. Since the pandemic has so far made it virtually impossible to test the project on an educational and dialogic level, my interest is in the potential encounters it might produce, and in the question of whether attempting to adopt other perspectives can foster curiosity and preparedness, or response-ability. In Learning from Mushrooms, I thematize the symbiotic relationships and network structures of the mycelium and mychorriza, with a focus on processes and explorative tendencies. In Learning through Mushrooms, I describe physical encounters between fungi and humans, based on my research on mycelium. By growing mycelium in DIY laboratory facilities, a tangible touch-point is established that allows processes of growth to be observed and scrutinized. Learning with mushrooms examines how the co-existence between people and mushrooms is conceived and perceived, based on the mycelium exhibition I developed for my bachelor’s degree.
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • Things, Moods, Actions - The Walk as a Constellation (Markus Schwander)
    Both in artistic research projects and in teaching, walks are used to investigate the perception of space. Walking together is regarded as a constellation in order to recognize and influence the factors that determine the action, i.e. to shape collective action. Artistic examples will be used to show how space and perception are interrelated and how their relationship is constantly re-constructed.
  • On Current Research in Swiss Art Education. An interview with Ruth Kunz in October 2019 (Ruth Kunz, Gila Kolb)
    The symposium Der professionalisierte Blick (The Professionalized Gaze) took place in 2019, shortly before the volume of the same name was published. For the first issue of the SFKP e Journal Art Education Research, which focuses on current art education research in Switzerland, the interview with Ruth Kunz elaborates on her many years of research practice, her teaching of research in teaching and the research landscape of art education in German-speaking Switzerland. In addition, the interview alludes to the specific potential of art education in research. The interview was conducted by Gila Kolb.
  • Learning Lab Arts and Design (Dorothée King)
    In this article, I look at changes in art and design education from the point of view of changing methodological and cultural practices. I compare historical learning processes with modern practices in art and design to identify diverse research and teaching methods for the Learning Lab Arts and Design (LLAD). In the first Western art academies, learning was understood as imitating aesthetic guidelines, while in the early guilds, learning design skills was always related to knowledge transfer and the development of new products. In the later art and design schools, education moved away from predetermined patterns and media to individual creativity and transformation, and often became an expression of creative protest. The learning of art became a practice in which the focus is not on the result but on the process. Today, I propose that design and artistic creation be taught in LLAD as diverse learning practices in digital and virtual space. Learning should take place through a variety of activities. This includes: express, exchange, liberate, observe, deconstruct, think, digitize, turn, emancipate, experience, remember, educate, experiment, flow, form, research, continue, design, imitate, interact, intervene, map, combine, construct, copy, create, criticize, live, learn, materialize, measure, open, participate, perform, politicize, produce, protest, recycle, reflect, reform, reconstruct, pretend, mirror, play, standardize, theorize, transform, transcend, process, connect, forget, try, repeat, draw.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • Approaching parameters for an informal, artistic education (Zoé Hall)
    In many places, art as a paradigm acquires the role of a political avant-garde. The motivation for this text was found in the need to expand art and bring the political back into the interpersonal. A proposal is formulated on how artistic education could trigger sustainable politicizing processes before contemporary discourses can begin to determine the framework of the enterprise. Art can be found in the interpersonal. On the way to a "better world," the first thing to be determined is what stands in its way. On an individual level, this can be achieved through an awareness of one's own position in the social fabric. On a communal level, criticism should be exercised at eye level. These two demands find their beginnings in the playful discovery of the world: listening to each other, having conversations, exchanging roles, bringing body and experience into a relationship with each other. According to adrienne maree brown, mushrooms, ants, starlings, wave-particle dualism, and dandelions and fern offer useful allegories for the playful rethinking of art and its associated relationships. Communal ventures do not focus on concrete goals, final conclusions are avoided and absolute truths rejected. But there is one thing that remains at the heart of all this: decisions are made on a basis of consensus, and those who benefit from the enterprise are one and the same with those who want to participate in and reflect upon it. What we do does not belong to any institution, either state or private. What we do is not based on a contract and is never linked to wage labor. Only the interest of the participants is relevant and the result remains open. This understanding of artistic education should be abstract and remain informal, because it fundamentally rejects any form of domination.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • 3 QUESTIONS FOR ... die Tiefe Kümmernis* (Die Tiefe Kümmernis)
    Die Tiefe Kümmernis, a drag queen and museum art educator, answers three questions about her work in Vienna. She first explains the origin of her name and describes the beginnings of her work as an art educator. In the second answer, she explains how user-generated content on the internet makes the heteronormative, patriarchal canon of European art history more inclusive. In the last part she discusses the potentials and difficulties of online videos about queer art history.
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • Sedimented – When material acts (Tiziana Halbheer)
    The contribution Sedimented – When material acts deals with materials as vibrant and intra-active phenomena. The impact, liveliness and interlinkage of material with the surrounding world is illustrated based on the material dust precipitation, a mixture of anthropogenically and naturally abraded dusts. A dust walk is proposed as an art-educational and performative strategy by way of which to grasp proximity to material and its impact on one's own physicality, sensation, traditional views and cultural traditions. It is an investigative search for dusty legacies of worldly activities that question value systems and traditional notions of phenomena through actions. Dust precipitation serves as an example of using material as the raw stuff of art-pedagogical thinking and interpretation, exploring the manifold possibilities it presents.
  • Sketch­es on Re­flex­iv­i­ty (Rubia Salgado)
    Learn­ing the hege­mo­ni­al lan­guage in mu­se­ums Based on brief sketches on topics such as dialogue, difference, recognition, knowledge, reciprocity and reflexivity in pedagogical settings, this ...
  • Be­tween In­struc­tion and Self-​ed­u­ca­tion (Nanna Lüth)
    Didactic Pattern Analysis Starting From Art What role is played by the artworks in the representation of gallery education? From the spatial composition and the reactions of persons to the art in t...
  • Crip Ma­te­ri­als as Forms of Un_Uni­ver­si­ty Think­ing (Eva Egermann)
    In 1990, writing about women’s studies, Elizabeth Minnich noted: ‘Invisibility itself teaches something. Students who never hear of a woman philosopher have trouble believing in such a creature.’ ...
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • Montage as a narrative and emancipatory mediation strategy (Julia Marti)
    I propose that the montage, as a media-independent narrative principle that can work with omissions and contradictions, cancel authorship and originality, and reflect on the medium itself, contains a specific potential for an emancipatory politics of mediation; this was my thesis, which I have pursued in a practical and theoretical discussion. In autumn 2017, I presented the exhibition La visite dessinée (The Drawn Visit) at Pavillon Blanc in Colomiers (F). The curator chose eight positions from a collection of contemporary French art and commissioned me to re-stage and narrate the works in an exhibition. I wanted to fulfill this mediation task without assuming the role of the omniscient schoolmaster, trying instead to conceive an exhibition for emancipated spectators. Afterwards, I set myself the task of translating the exhibition into a publication, with the aim of conveying both the exhibition's contents and its mode of mediating. Finally, in the publication series Die gezeichnete Führung (The Drawn Visit), I generated a productive friction out of the pedagogical dilemma by way of postulations that negotiate didactics through didactics itself. In the theoretical discussion I placed Jacques Rancière's The Emancipated Spectator and The Ignorant Schoolmaster in relation to theories of narrative and montage as well as my publication series The Drawn Guide. I also tried to sharpen Rancière's concept of the third thing and to draw general conclusions about an emancipatory politics of mediation by means of montage and narration.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • Von/durch/mit Pilze/n lernen (Lara Caluori)
    What role can mushrooms play in helping us rethink the relationships and communities that exist both among and beyond humans? This paper explores interactions between fungi and humans in order to gain a different perspective on such connections in times of crisis. I see a metaphor for social structures and collaborations in the mycelium (the total rhizomorphic network of a fungus) and the mychorriza (the symbiosis between the mycelium and the roots of a plant). My bachelor’s thesis “Mycelium – Pleurotus Ostreatus, Ganoderma Lucidum” (2019) looks at fungal cultures from an artistic and research-based perspective, and this paper draws upon that earlier work in order to explore my own encounters with mycelium. Since the pandemic has so far made it virtually impossible to test the project on an educational and dialogic level, my interest is in the potential encounters it might produce, and in the question of whether attempting to adopt other perspectives can foster curiosity and preparedness, or response-ability. In Learning from Mushrooms, I thematize the symbiotic relationships and network structures of the mycelium and mychorriza, with a focus on processes and explorative tendencies. In Learning through Mushrooms, I describe physical encounters between fungi and humans, based on my research on mycelium. By growing mycelium in DIY laboratory facilities, a tangible touch-point is established that allows processes of growth to be observed and scrutinized. Learning with mushrooms examines how the co-existence between people and mushrooms is conceived and perceived, based on the mycelium exhibition I developed for my bachelor’s degree.
  • Micro Pedagogical Leaps in the Context of Aesthetic Education (Silvia Henke, Wiktoria Furrer)
    By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.
  • … um das Ende der Welt aufzuhalten! Ein kollektives Nachdenken zum Klimawandel (Bené Asefa Feireiss , Silke Ballath , Kunigunde Berberich , Raphael Daibert , Lukas Oertel , Katharina Stahlhoven , Wiebke Janzen )
    As a collective of authors made up of artists, students, researchers, cultural agents, and activists, our aim is to find a collaborative approach to the question of what the corona crisis has to do with the climate change crisis. This question serves as the starting point for a shared reflection, considered in relation to our various positions and situations. What sort of questions can collective and artistic considerations raise with regard to climate change? How are marginalized and diverse positions included in these reflections? How and what do we learn (and unlearn) from and with one another? How does art experiment with collective forms of thought and action? Following the “METTRAGE positionen-relationen” artistic method, we will work together to produce new questions. The method was developed by Katharina Stahlhoven and Silke Ballath in their capacity as cultural agents, as a negotiating tool for creative schools. The process makes collective thinking visible and negotiable. It positions a participant’s specific perspective in order that it can be further developed in exchange with another person or group, re-contextualizing and modifying it and setting it in motion. Our contribution will comprises a collective image, seven individual images, a conversation, and a question that will lead our discussion.
  • Gestalt and well-formedness: Children’s spatial drawings (Stefanie Stadler Elmer, Lea Weniger)
    This text outlines the theoretical framework of our study on spatial drawing in the context of primary school. We investigate how children graphically represent a single spatial body. This is one of three conceptual aspects of children’s spatial drawing, the others concern spatial relationships between objects and the overall spatial organization of the image. The planar depiction of a cuboid in the form of a box is a general representational problem for which various solutions are taught and practiced in our culture. From the position of a structure-genetic epistemology, we are interested in children’s process of problem solving, as it emerges in individual and video-recorded case studies - adaptively and intuitively accompanied by the teacher. We reconstruct these processes in detail by using a micro-genetic methodology. With an exemplar we show empirically, how we apply the concept of "well-formedness" to describe the structural orientation towards a “Gestalt” as well as the implicit use of generative systems of spatial representation.
  • Micro Pedagogical Leaps in the Context of Aesthetic Education (Silvia Henke, Wiktoria Furrer)
    By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.
  • Micro Pedagogical Leaps in the Context of Aesthetic Education (Silvia Henke, Wiktoria Furrer)
    By way of micro pedagogical leaps, this article aims to explore the current state of the major civilizational, educational and political project which is aesthetic education. The concept of micro education has yet to be outlined in terms of art education. In the educational discourse it can refer to the pedagogical improvisation of the educator in the form of transitions and punctuations between pedagogical figures, as introduced by Stefan Danner (Danner 2001: 11). Why write ‘pedagogics’ lowercase and in the plural? First, to put the focus on the fundamental concept of education; to ask in a micrological sense how, in concrete situations, aesthetic, didactic and artistic practices contribute to education taking place. According to the thesis, education takes place through openings. This means that something happens, voluntarily or involuntarily, planned or unplanned. Because it is not clear when education takes place, nor exactly how and where openings arise, the ‘leap’ takes on a highly specific role in that it leads educational processes into other times and spaces, and because it happens without a clear intention (cf. Pazzini 2015: 16). The article illuminates such leaps in two different art pedagogical situations from a micro pedagogical perspective. In an institutional setting, in art teaching at university level (Master Fine Arts/Art Education), and in extracurricular situations, in certain procedural moments of workshops with artists. By way of directing attention to the figure of the leap, in its triple connotation as a vital movement, a sudden decision or transition and a space to be traversed, the event-like character and singularity of an educational situation are to be made accessible. The art-pedagogical research query into "jumpy" cognitive practice as an instance of aesthetic education (cf. Mersch 2018: 26ff. and Kunz 2019: 24) will be pursued from three perspectives: once from that of the lecturer, once from that of the workshop participants, and finally from a joint perspective that combines concrete practices with art-theoretical questions.
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • Ac­ti­vat­ing the Dis­play (Karin Schneider)
    The­ses from the Re­search Project „sci­ence with all sens­es – sci­ence and gen­der in the mak­ing“ The following theses are based on the research project „science with all senses – science and ge...
  • Art School with mi­gra­tion back­ground (Catrin Seefranz)
    Pre­lim­i­nary thoughts based on a study of in­equal­i­ty in the field of the art school Based on the results of the project making differences which deals with social injustice in the field of Swi...
  • A post­colo­nial per­spec­tive on il­le­gal­ized im­mi­gra­tion in Switzer­land: (Francesca Falk)
    On de­por­ta­tions, the «ex­change with Africa» and the fear of re­verse col­o­niza­tion In her text, Francesca Falk connects contemporary illegalized immigration and the postcolonial constellation...
  • Refugees as «ma­te­r­i­al» for art projects? (Das AntikultiAtelier)
    An­ti­kul­ti­Ate­lier We are a group of people living in Switzerland and working on asylum and migration policies, racism and representation: many of us as refugees, others as migrants or Swiss. In...
  • Aes­thet­ic ed­u­ca­tion and art teach­ing (Paul Mecheril)
    Notes from the per­spec­tive of mi­gra­tion ped­a­gogy Rather than asking about the culture of specific migrant groups, how these cultures can be described and what enables the understanding betwee...
  • Sketch­es on Re­flex­iv­i­ty (Rubia Salgado)
    Learn­ing the hege­mo­ni­al lan­guage in mu­se­ums Based on brief sketches on topics such as dialogue, difference, recognition, knowledge, reciprocity and reflexivity in pedagogical settings, this ...
  • «In­te­gra­tion as An­ti-​Re­flec­tive Coat­ing» (Judith Rahner, Nicola Lauré al-Samarai)
    Con­sid­er­ing His­tor­i­cal-​Po­lit­i­cal Ed­u­ca­tion and Mem­o­ry Work with Young Peo­ple of Col­or in Ger­many Dominant debates on so-called Holocaust-education in the migration society not onl...
  • The com­plex task of self-​chang­ing (Büro trafo. K)
    Prac­tices and ques­tions in ed­u­ca­tion­al projects in mi­gra­tion so­ci­ety Nine years ago we called one of our ambitious educational programs a «guide to self-emancipation». The title had an ir...
  • «Sich Verze­ich­nen» – with and through dif­fer­ences (Mikki Muhr)
    Build­ing re­la­tions and leav­ing rests in car­togra­phies What enables reflective processes, that can help to view one’s own thoughts and actions in their conditioning frameworks and to criticall...
  • En­gage­ment and vis­i­bil­i­ty. Who ben­e­fits? (Henrike Plegge)
    Work­ing with young mi­grants in gallery ed­u­ca­tion and ex­hi­bi­tions In her paper, Henrike Plegge discusses different forms of participation and visibility of young migrants in a gallery educat...
  • Who hears as I do and to whom do I be­long? (Dorothee Barth)
    About the no­tion of cul­tur­al iden­ti­ty in the con­text of an (in­ter­cul­tur­al) mu­sic ed­u­ca­tion This paper discusses the question, how the «Intercultural Music Education» can contribute to...
  • Mem­o­ry, Archive and Me­di­a­tion (Felipe Polanía)
    Ap­proach­es for me­di­a­tion prac­tice with refugees Is it possible to speak of a collective memory of people who have fled their places of home? Can mediation contribute to contruct a collective ...
  • «Ma­te­r­i­al Mem­o­ry» and Post­mi­grant So­ci­ety (Jonas Bürgi)
    Pro­pos­als for col­lec­tion de­vel­op­ment and in­ter­pre­ta­tion at the Swiss Na­tion­al Mu­se­um National Museums claim authority in defining ‚cultural heritage’. Migration histories, as relativ...
  • Learning Processes about Non-Discriminatory Practices in the Field of Cultural Education  (Aïcha Diallo, Danja Erni)
    Since summer 2016, we have been leading the KontextSchule, a platform for the continuing education of teachers and artists in Berlin. Adopting the viewpoint of those who stand inside and outside o...
  • Nanna Lüth ()
    Art | A Crit­i­cal Per­spec­tive on Racism | Art Ed­u­ca­tion On Fragili­ty and Re­sis­tance to edit this issue of Art Education Research that focuses on the challenges related to work in art and a...
  • Ped­a­gogy for Democ­ra­cy. Art/Ed­u­ca­tion against Racism (Nanna Lüth)
    In her editorial, Nanna Lüth connects the issue of partiality within the field of critical art education to discussions about the notion of controversy in political pedagogy. Art education, she po...
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • Mem­o­ry, Archive and Me­di­a­tion (Felipe Polanía)
    Ap­proach­es for me­di­a­tion prac­tice with refugees Is it possible to speak of a collective memory of people who have fled their places of home? Can mediation contribute to contruct a collective ...
  • «Ma­te­r­i­al Mem­o­ry» and Post­mi­grant So­ci­ety (Jonas Bürgi)
    Pro­pos­als for col­lec­tion de­vel­op­ment and in­ter­pre­ta­tion at the Swiss Na­tion­al Mu­se­um National Museums claim authority in defining ‚cultural heritage’. Migration histories, as relativ...
  • Mu­se­um of Burn­ing Ques­tions (Nora Sternfeld)
    Negotiating with reality at the Bergen Assembly 2016 Are exhibition contexts places of refuge for critical teaching and learning, precursors of their total economization, or both? And what does thi...
  • GERMAN, NATURAL AND NAKED? The Colonial Entanglements of the Life Reform (Saskia Köbschall)
    Taking the author’s personal experiences with the German nudist movement as a starting point, this essay explores the discursive link between colonialism, its ideology of racial hierarchies and th...
  • Ac­ti­vat­ing the Dis­play (Karin Schneider)
    The­ses from the Re­search Project „sci­ence with all sens­es – sci­ence and gen­der in the mak­ing“ The following theses are based on the research project „science with all senses – science and ge...
  • The vis­i­tors are miss­ing. Which vis­i­tors? (Nora Landkammer)
    A re­flex­ion on the Sym­po­sium KUN­ST [auf] FÜHREN The text parts from critique expressed by participants of the symposium KUNST[auf] FÜHREN in Kassel in June 2009: We had been talking about gall...
  • Per­form­ing the ed­u­ca­tor (Bernadett Settele)
    What if we think of mediation not as a tool for the frictionless transportation of information but as a vehicle of transformation? How can art educators obtain a certain (different) kind of facult...
  • Per­for­ma­tive in­ter­ven­tions (Sandra Ortmann)
    A performance script for the exhibitions Fomuška, by Micol Assaël, and Frühling, by Pawel Althamer and children living in Kassel, at Kunsthalle Fridericianum Performtive interventions, as a format,...
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • Gallery ed­u­ca­tion – per­for­mance – the dif­fer­end (Carmen Mörsch, Eva Sturm)
    The paper is based on an introductory talk given at the conference Perfoming the Museum as a Public Sphere at Kunstmuseum Lentos, Linz, in April 2008. It parts from Charles Garoian’s thesis that a...
  • Au­ton­o­my with­in the in­sti­tu­tion (Microsilions – Olivier Desvoignes/Marianne Guarino-Huet)
    To­wards a crit­i­cal art ed­u­ca­tion The performative production of the institution is at the center of the contribution by the artists/art educators collective microsillons. They discuss their r...
  • Lear­ning from Kas­sel (Wanda Wieczorek, Ayşe Güleç, Carmen Mörsch)
    The fifth issue of Art Education Research, entitled «Von Kassel lernen» (Learning from Kassel) reflects on the intersection between cultural and political education, and is based on the example of ...
  • Sketch­es on Re­flex­iv­i­ty (Rubia Salgado)
    Learn­ing the hege­mo­ni­al lan­guage in mu­se­ums Based on brief sketches on topics such as dialogue, difference, recognition, knowledge, reciprocity and reflexivity in pedagogical settings, this ...
  • Be­tween In­struc­tion and Self-​ed­u­ca­tion (Nanna Lüth)
    Didactic Pattern Analysis Starting From Art What role is played by the artworks in the representation of gallery education? From the spatial composition and the reactions of persons to the art in t...
  • In­hab­it­ed, fa­mil­iar, dis­rupt­ed. (Microsilions – Olivier Desvoignes/Marianne Guarino-Huet)
    An «oth­er» in­sti­tu­tion of con­tem­po­rary art in rep­re­sen­ta­tions of gallery ed­u­ca­tion? This article develops a description of two regimes of representation at the center of communication...
  • Mediation of Realities: The Society of Friends of Halit (Ayşe Güleç)
    Carried out as part of documenta 14 in Kassel, The Society Friends of Halit focused on the crimes of the National Socialist Underground (NSU) and its belated prosecution. Though it received overwh...
  • Flight of Riddles – Thinking Through the Difficult Legacy of Progressive Art Education in Austria (Karin Schneider, Andrea Hubin)
    Andrea Hubin and Karin Schneider’s contribution gives an insight into their explorations of Austrian art education’s difficult legacy. Reflecting on the boundaries, aversions, distortions, interru...
  • Ephemeral practices. The research project "The Art Educator's Walk "– Agency and Attitude of Art Mediators by Example of the documenta 14 exhibition in Kassel" (2017-18) (Gila Kolb)
    How exactly do art mediators create a situation in which a mediation of contemporary art can take place? What kind of attitude must they adopt toward their art mediating activities? Which strategies do they develop thereby? In answer to these questions, at the documenta 14 exhibition (2017) twenty “walks” were accompanied and interviewed by ten “members of the chorus” (documenta 14 art mediators) as part of the research project "The Art Educator's Walk - Agency and Attitude of Contemporary Art Mediators by Example of the documenta 14 exhibition in Kassel". The research project explored the per se ephemeral practice of art mediation in art exhibitions with the thesis that art mediation as a practice is rooted in an attitude that makes agency possible. This contribution discusses the historical development of art mediation at the documenta. Concepts and backgrounds of art mediation, particularly ‘un-learning’, set the stage for the actions of the “members of the chorus” interviewed and accompanied. Participant observations and semi-structured, leitmotif-oriented interviews, generated as part of a preliminary project at the Institute for Practices and Theories of the Arts at the Berne University of the Arts (BUA), reflect the qualitative-empirical setting of this research project. The situation of data acquisition is also discussed. Over the course of three "Streifzüge" (excursions), which analyze the initial movements of a so called walk over documenta 14, the dilemma of knowledge and art mediation as work, presents and discusses the material collected exemplarily.
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • Three questions for... (Hannah Horst)
    There are articles in art magazines about current exhibitions. The SFKP e Journal Art Education Research would like to transfer this format to the field of art mediation through current practice by presenting one art pedagogical project per issue or by making visible an art mediating position of a person or a collective. The performance will take place in a loose form. Understood as snapshots of art pedagogical practice, the answers can be submitted in images, text and/or other media contexts.
  • Approaching parameters for an informal, artistic education (Zoé Hall)
    In many places, art as a paradigm acquires the role of a political avant-garde. The motivation for this text was found in the need to expand art and bring the political back into the interpersonal. A proposal is formulated on how artistic education could trigger sustainable politicizing processes before contemporary discourses can begin to determine the framework of the enterprise. Art can be found in the interpersonal. On the way to a "better world," the first thing to be determined is what stands in its way. On an individual level, this can be achieved through an awareness of one's own position in the social fabric. On a communal level, criticism should be exercised at eye level. These two demands find their beginnings in the playful discovery of the world: listening to each other, having conversations, exchanging roles, bringing body and experience into a relationship with each other. According to adrienne maree brown, mushrooms, ants, starlings, wave-particle dualism, and dandelions and fern offer useful allegories for the playful rethinking of art and its associated relationships. Communal ventures do not focus on concrete goals, final conclusions are avoided and absolute truths rejected. But there is one thing that remains at the heart of all this: decisions are made on a basis of consensus, and those who benefit from the enterprise are one and the same with those who want to participate in and reflect upon it. What we do does not belong to any institution, either state or private. What we do is not based on a contract and is never linked to wage labor. Only the interest of the participants is relevant and the result remains open. This understanding of artistic education should be abstract and remain informal, because it fundamentally rejects any form of domination.
  • Von/durch/mit Pilze/n lernen (Lara Caluori)
    What role can mushrooms play in helping us rethink the relationships and communities that exist both among and beyond humans? This paper explores interactions between fungi and humans in order to gain a different perspective on such connections in times of crisis. I see a metaphor for social structures and collaborations in the mycelium (the total rhizomorphic network of a fungus) and the mychorriza (the symbiosis between the mycelium and the roots of a plant). My bachelor’s thesis “Mycelium – Pleurotus Ostreatus, Ganoderma Lucidum” (2019) looks at fungal cultures from an artistic and research-based perspective, and this paper draws upon that earlier work in order to explore my own encounters with mycelium. Since the pandemic has so far made it virtually impossible to test the project on an educational and dialogic level, my interest is in the potential encounters it might produce, and in the question of whether attempting to adopt other perspectives can foster curiosity and preparedness, or response-ability. In Learning from Mushrooms, I thematize the symbiotic relationships and network structures of the mycelium and mychorriza, with a focus on processes and explorative tendencies. In Learning through Mushrooms, I describe physical encounters between fungi and humans, based on my research on mycelium. By growing mycelium in DIY laboratory facilities, a tangible touch-point is established that allows processes of growth to be observed and scrutinized. Learning with mushrooms examines how the co-existence between people and mushrooms is conceived and perceived, based on the mycelium exhibition I developed for my bachelor’s degree.
  • «Mu­sic has a mean­ing to me» (Martina Krause-Benz)
    Mean­ing con­struc­tion in mu­sic class­es as a di­men­sion of mu­sic re­lat­ed ed­u­ca­tion This paper discusses the educational potential of music classes in which music-related meaning is constr...
  • Aes­thet­ic ar­gu­ments as a medi­um of mu­sic class­es (Christian Rolle)
    About the sig­nif­i­cance of the ar­gu­ment-​based speech about mu­sic for aes­thet­ic ed­u­ca­tion This paper discusses the educational potential of aesthetic arguments in music classes. The descr...
  • Mu­sic ed­u­ca­tion as crit­i­cal cul­tur­al sci­ences – re­vis­it­ed (Jürgen Vogt)
    This paper contains meta-theoretical considerations about the status of the research in music education. The author states, that music education – at least in Germany – concentrates on «Empirical ...
  • In­di­vid­ual con­cepts of mu­sic teach­ers (Anne Niessen)
    An em­pir­i­cal study as a con­tri­bu­tion to ba­sic re­search in mu­sic ed­u­ca­tion This paper gives an insight into an empirical study about individual concepts of music teachers. Interviews abo...
  • Be­tween canon an so­cio-​cul­ture (Olivier Blanchard, Jürg Huber)
    Ex­plo­rations on the field of school mu­sic in the Ger­man speak­ing part of Switzer­land This paper presents an explorative study about music classes in «Sekundarschulen» and «Gymnasien» in the G...
  • Who hears as I do and to whom do I be­long? (Dorothee Barth)
    About the no­tion of cul­tur­al iden­ti­ty in the con­text of an (in­ter­cul­tur­al) mu­sic ed­u­ca­tion This paper discusses the question, how the «Intercultural Music Education» can contribute to...
  • Learned dur­ing leisure time, processed in school (Christoph Marty)
    The aim of the praxis-based research project in music pedagogy presented in this contribution involves in-class processing of musical competence and knowledge that music students have acquired out...
  • Von/durch/mit Pilze/n lernen (Lara Caluori)
    What role can mushrooms play in helping us rethink the relationships and communities that exist both among and beyond humans? This paper explores interactions between fungi and humans in order to gain a different perspective on such connections in times of crisis. I see a metaphor for social structures and collaborations in the mycelium (the total rhizomorphic network of a fungus) and the mychorriza (the symbiosis between the mycelium and the roots of a plant). My bachelor’s thesis “Mycelium – Pleurotus Ostreatus, Ganoderma Lucidum” (2019) looks at fungal cultures from an artistic and research-based perspective, and this paper draws upon that earlier work in order to explore my own encounters with mycelium. Since the pandemic has so far made it virtually impossible to test the project on an educational and dialogic level, my interest is in the potential encounters it might produce, and in the question of whether attempting to adopt other perspectives can foster curiosity and preparedness, or response-ability. In Learning from Mushrooms, I thematize the symbiotic relationships and network structures of the mycelium and mychorriza, with a focus on processes and explorative tendencies. In Learning through Mushrooms, I describe physical encounters between fungi and humans, based on my research on mycelium. By growing mycelium in DIY laboratory facilities, a tangible touch-point is established that allows processes of growth to be observed and scrutinized. Learning with mushrooms examines how the co-existence between people and mushrooms is conceived and perceived, based on the mycelium exhibition I developed for my bachelor’s degree.
  • Von/durch/mit Pilze/n lernen (Lara Caluori)
    What role can mushrooms play in helping us rethink the relationships and communities that exist both among and beyond humans? This paper explores interactions between fungi and humans in order to gain a different perspective on such connections in times of crisis. I see a metaphor for social structures and collaborations in the mycelium (the total rhizomorphic network of a fungus) and the mychorriza (the symbiosis between the mycelium and the roots of a plant). My bachelor’s thesis “Mycelium – Pleurotus Ostreatus, Ganoderma Lucidum” (2019) looks at fungal cultures from an artistic and research-based perspective, and this paper draws upon that earlier work in order to explore my own encounters with mycelium. Since the pandemic has so far made it virtually impossible to test the project on an educational and dialogic level, my interest is in the potential encounters it might produce, and in the question of whether attempting to adopt other perspectives can foster curiosity and preparedness, or response-ability. In Learning from Mushrooms, I thematize the symbiotic relationships and network structures of the mycelium and mychorriza, with a focus on processes and explorative tendencies. In Learning through Mushrooms, I describe physical encounters between fungi and humans, based on my research on mycelium. By growing mycelium in DIY laboratory facilities, a tangible touch-point is established that allows processes of growth to be observed and scrutinized. Learning with mushrooms examines how the co-existence between people and mushrooms is conceived and perceived, based on the mycelium exhibition I developed for my bachelor’s degree.
  • Montage as a narrative and emancipatory mediation strategy (Julia Marti)
    I propose that the montage, as a media-independent narrative principle that can work with omissions and contradictions, cancel authorship and originality, and reflect on the medium itself, contains a specific potential for an emancipatory politics of mediation; this was my thesis, which I have pursued in a practical and theoretical discussion. In autumn 2017, I presented the exhibition La visite dessinée (The Drawn Visit) at Pavillon Blanc in Colomiers (F). The curator chose eight positions from a collection of contemporary French art and commissioned me to re-stage and narrate the works in an exhibition. I wanted to fulfill this mediation task without assuming the role of the omniscient schoolmaster, trying instead to conceive an exhibition for emancipated spectators. Afterwards, I set myself the task of translating the exhibition into a publication, with the aim of conveying both the exhibition's contents and its mode of mediating. Finally, in the publication series Die gezeichnete Führung (The Drawn Visit), I generated a productive friction out of the pedagogical dilemma by way of postulations that negotiate didactics through didactics itself. In the theoretical discussion I placed Jacques Rancière's The Emancipated Spectator and The Ignorant Schoolmaster in relation to theories of narrative and montage as well as my publication series The Drawn Guide. I also tried to sharpen Rancière's concept of the third thing and to draw general conclusions about an emancipatory politics of mediation by means of montage and narration.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • Von/durch/mit Pilze/n lernen (Lara Caluori)
    What role can mushrooms play in helping us rethink the relationships and communities that exist both among and beyond humans? This paper explores interactions between fungi and humans in order to gain a different perspective on such connections in times of crisis. I see a metaphor for social structures and collaborations in the mycelium (the total rhizomorphic network of a fungus) and the mychorriza (the symbiosis between the mycelium and the roots of a plant). My bachelor’s thesis “Mycelium – Pleurotus Ostreatus, Ganoderma Lucidum” (2019) looks at fungal cultures from an artistic and research-based perspective, and this paper draws upon that earlier work in order to explore my own encounters with mycelium. Since the pandemic has so far made it virtually impossible to test the project on an educational and dialogic level, my interest is in the potential encounters it might produce, and in the question of whether attempting to adopt other perspectives can foster curiosity and preparedness, or response-ability. In Learning from Mushrooms, I thematize the symbiotic relationships and network structures of the mycelium and mychorriza, with a focus on processes and explorative tendencies. In Learning through Mushrooms, I describe physical encounters between fungi and humans, based on my research on mycelium. By growing mycelium in DIY laboratory facilities, a tangible touch-point is established that allows processes of growth to be observed and scrutinized. Learning with mushrooms examines how the co-existence between people and mushrooms is conceived and perceived, based on the mycelium exhibition I developed for my bachelor’s degree.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • Sedimented – When material acts (Tiziana Halbheer)
    The contribution Sedimented – When material acts deals with materials as vibrant and intra-active phenomena. The impact, liveliness and interlinkage of material with the surrounding world is illustrated based on the material dust precipitation, a mixture of anthropogenically and naturally abraded dusts. A dust walk is proposed as an art-educational and performative strategy by way of which to grasp proximity to material and its impact on one's own physicality, sensation, traditional views and cultural traditions. It is an investigative search for dusty legacies of worldly activities that question value systems and traditional notions of phenomena through actions. Dust precipitation serves as an example of using material as the raw stuff of art-pedagogical thinking and interpretation, exploring the manifold possibilities it presents.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • Learning from Wallmapu (Aldir Polymeris )
    This paper is about a place called Chile and another called Wallmapu, which is either inside, below, or outside the former, depending on your point of view. Wallmapu is a place where complex histories are inscribed – overlapping, boundary-crossing, and globally entangled. These are narratives of composition and assemblage; of hybridity, difference, and multiple perspectives. The Wallmapu has another name: Araucanía. This is the name given by the Chilean state to the region south of the Bío Bío River, where the Mapuche – Chile’s largest indigenous group – originally lived, and where some of them still do today. Wallmapu, on the other hand, is the term used by the Mapuche themselves. It is therefore political, since it represents a different perspective on the territory. Wallmapu ex situ is a complex and multi-layered work that includes a series of online conferences; these were first streamed on a dedicated website and are now archived on it. Nina Willimann and I (working under the group name Trop cher to share) were responsible for the conception and artistic direction of the project, which we developed in collaboration with an interdisciplinary team of experts. A large part of our work involved making contacts and building a network of people who have some sort of relationship (whether biographical, academic, emotional, or artistic) to Wallmapu. This historiographical practice is on the one hand based on the ideas and arguments of the French sociologist and philosopher Bruno Latour, and on the other on the Mapuche worldview, which sees humans as a part of nature and credits natural entities with agency and voices. This text is an attempt to beat a narrow path that allows me to name the territorial and historical conditions that have shaped the relationship between Chile, Wallmapu, and Switzerland. In talking about how we developed Wallmapu ex situ from my own perspective, my aim is not least to relate stories of traveling (and not being able to travel), and of virtual interspaces.
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • Sketch­es on Re­flex­iv­i­ty (Rubia Salgado)
    Learn­ing the hege­mo­ni­al lan­guage in mu­se­ums Based on brief sketches on topics such as dialogue, difference, recognition, knowledge, reciprocity and reflexivity in pedagogical settings, this ...
  • What are we do­ing here? (Claus Melter)
    Re­flec­tions on bar­ri­ers and dis­crim­i­na­tion in ed­u­ca­tion­al in­sti­tu­tions This text is concerned with self-reflexivity in institutions regarding the critique of barriers and discriminat...
  • Para­dox and dis­sent (Groupe l’Aventin)
    re­flex­ions on the­atre ed­u­ca­tion in mi­gra­tion so­ci­ety The paper reflects on a theatre education project the Groupe l’Aventin developed with migrant women attending at the association Camar...
  • Cy­borg Ex­its in the Class­room (Doris Arztmann, Eva Egermann)
    Body-​het­eroglos­sia and crip tools for dirty knowl­edges in art teach­ing Choosing the form of an email-conversation, Doris Arztmann and Eva Egermann discuss their workshop Body-Heteroglossia – u...
  • Un­learn­ing to Re­late (Annette Krauss)
    How to approach processes of unlearning physically, intellectually, and collaboratively? This question has been at the core of my study and practice of unlearning in different constellations at the...
  • Counter/Act­ing: Per­for­ma­tive Poros­i­ty (Elke Krasny)
    Based on Counter/Acting, a symposium at the Institute for Education in the Arts at Vienna’s Academy of Fine Arts in cooperation with Kunsthalle Wien, this text opens up links between possible acti...
  • Crip Ma­te­ri­als as Forms of Un_Uni­ver­si­ty Think­ing (Eva Egermann)
    In 1990, writing about women’s studies, Elizabeth Minnich noted: ‘Invisibility itself teaches something. Students who never hear of a woman philosopher have trouble believing in such a creature.’ ...
  • Questions of Inside and Outside – resolved in the utopia of communal,[1] anti-hegemonic knowledge production (Die „Universität der Ignorant_innen“)
    Everyone is ‘ignorant’ as long as marginalized knowledge is ignored, as long as knowledge is produced without critical reflection on its dimension of power. Knowledge production is linked to viole...
  • Everyday photo actions, observations, and questions - an introduction (Flurina Stuppan)
    My article presents exemplary observations of everyday photo actions in groups of adolescents and adults. The observations are written on the basis of inner images. Questions that take a critical position towards the medium of photography and society are formulated based on these observations. The final part of the text presents the different photo actions for discussion and incorporates findings from the master's thesis. An art-educational contextualization forms the conclusion of the text, thus putting the emphasis on everyday actions from a mediating perspective.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • BIGLERWEIBEL. The fifth Column of Bodies (BIGLERWEIBEL)
    Social media and advertising produce and convey images of female bodies that, in keeping with current values and beauty ideals, are considered normal and desirable. The GIF series of the artist duo BIGLERWEIBEL reduces the artists' own female bodies to form and materiality. In active opposition to existing norms, the artists make use of a gramable aesthetic. The female body serves as a starting point, from which its own optical potential is continuously expanded and renegotiated.
  • 3 QUESTIONS FOR ... die Tiefe Kümmernis* (Die Tiefe Kümmernis)
    Die Tiefe Kümmernis, a drag queen and museum art educator, answers three questions about her work in Vienna. She first explains the origin of her name and describes the beginnings of her work as an art educator. In the second answer, she explains how user-generated content on the internet makes the heteronormative, patriarchal canon of European art history more inclusive. In the last part she discusses the potentials and difficulties of online videos about queer art history.
  • Daring to paint images: experiencing colours - creating with colours. How do developments in competence in teaching art and design become visible? (Ursula Aebersold, Susanne Junger)
    Curriculum 21 marks a new orientation for teaching art and design in Switzerland, in cantons with German-speaking schools. The importance of professional and interdisciplinary competence development in connection with the artistic process is emphasized more strongly than in the previous, product-oriented understanding of the subject. Via encounters with images from art and everyday life, pupils are sensitized to different forms of artistic expression in three competence areas: perception and communication, processes and products and contexts and orientation. They should be able to express their ideas and intentions in pictures and engage with visual forms of communication in a productive and receptive way. The visual competence thus developed enables the pupils to orient themselves in an environment shaped by images. The dense and challenging desideratum of the new syllabus for the teaching of visual design requires new theory-based impulses and learning support for the training and continuing education of teachers. This research and development project aims to use exemplary lessons to develop cumulative, cognitively-activating instruction for the 2nd and 3rd cycles. The development of pupils' competences is to be made visible by means of pre- and post surveys. The lessons will be tested, documented, analyzed and evaluated in three school classes. The learning situations will be anchored in the subject, in the areas of color and painting; they will focus on surveying learning status, on the teacher’s awareness of the pupils’ abilities, experiences and previous knowledge, and on means of support and guidance in the development of individual competences. The provision of instruments for learning status assessment and the assessment of competence development as well as inspirational materials and learning support aids for promoting competence development are included in these considerations.
  • 3 Questions for: Barnaby Drabble (Barnaby Drabble)
    For his latest book, Along Ecological Lines: Contemporary Art and Climate Crisis (2019), Barnaby Drabble traveled across Europe by bicycle, in order to investigate various projects and initiatives by artists that engage with ecological issues in different ways. Here, the author, curator, and researcher answers three questions that each offers insights into his journey, reflecting on the potential of art education and artistic research to play an important role in the debate around the climate crisis. Beyond this, the focus is also on the potential for cultural institutions to support transformative art practices by opening themselves up to collective, activist, or “grassroots” approaches.
  • Participatory spaces of aesthetic education Transferring a museum-pedagogical program with theater methods (Bettina Gassmann)
    The basis of this contribution is formed by my master thesis at the FHNW School of Education (PH), which centers on aesthetic education. The aim of this work was to activate students to participate in the educational field of the school with a workshop using the theatrical methods of Augusto Boal. Boal's theater considers itself a school of participation. The focus of this article is on the researching teacher's discomfort and understanding of their role. The art exhibition "Action" at the Kunsthaus Zürich provided an important reference for the workshop. During the workshop, a forced protest action went differently than planned. The actions of the students unsettled the researching teacher, who, confronted with irritation and incalculability, reflected upon these topics theoretically. A central theme of the thesis was how students can act cooperatively in art lessons. Observations made during the workshop formed the focus of the study. Autoethnographic methods were employed: A research diary with photos of all participants was created, among other things. Concrete experiments on dealing with contradictions were carried out and reflected upon. In this article, the research teacher describes one of these situations. The students did not abide by the agreement and acted on their own authority. Assuming an "artistic" perspective, such irritations should be welcomed. Less so from the point of view of the teacher, who desires reliability. In the conflict of the teaching/learning process, a distinction is made as to the type of discomfort: whether and how the unfamiliar or unknown is alien to the content or the method (cf. Sack 2011). The impossibility of a punctual demand for student participation becomes evident. A productive solution lies in the acceptance of the conflict. The imperative of participation is problematic, because participation should indeed be voluntary. The possibility of refusal is regarded as a formative option for action in the interplay between the potential for hope and the possibility of participation in the educational field of the school.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • Re­vis­it­ing Eval­u­a­tion (Emily Pringle)
    This text examines the important and potentially creative role that evaluation plays in participatory arts projects taking place in education contexts. A brief overview of evaluation is given befo...
  • Things, Moods, Actions - The Walk as a Constellation (Markus Schwander)
    Both in artistic research projects and in teaching, walks are used to investigate the perception of space. Walking together is regarded as a constellation in order to recognize and influence the factors that determine the action, i.e. to shape collective action. Artistic examples will be used to show how space and perception are interrelated and how their relationship is constantly re-constructed.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • Sedimented – When material acts (Tiziana Halbheer)
    The contribution Sedimented – When material acts deals with materials as vibrant and intra-active phenomena. The impact, liveliness and interlinkage of material with the surrounding world is illustrated based on the material dust precipitation, a mixture of anthropogenically and naturally abraded dusts. A dust walk is proposed as an art-educational and performative strategy by way of which to grasp proximity to material and its impact on one's own physicality, sensation, traditional views and cultural traditions. It is an investigative search for dusty legacies of worldly activities that question value systems and traditional notions of phenomena through actions. Dust precipitation serves as an example of using material as the raw stuff of art-pedagogical thinking and interpretation, exploring the manifold possibilities it presents.
  • Read across and talk back (Sabine Gebhardt Fink, Nora Landkammer, Anna Schürch)
    A di­a­logue on per­fo­mance the­o­ry and gallery ed­u­ca­tion Based on Judith Butler's definition of the performative act as an action that has to be constantly repeated and socially legitimized, ...
  • Agency at the mar­gins of pow­er (Andrea Hubin)
    Lo­cat­ing a gallery ed­u­ca­tion that op­er­ates with con­cepts of per­for­ma­tiv­i­ty Why is gallery education interested in performativity? Between fights for recognition, reflection on one’s ow...
  • Per­form­ing the ed­u­ca­tor (Bernadett Settele)
    What if we think of mediation not as a tool for the frictionless transportation of information but as a vehicle of transformation? How can art educators obtain a certain (different) kind of facult...
  • Per­for­ma­tive in­ter­ven­tions (Sandra Ortmann)
    A performance script for the exhibitions Fomuška, by Micol Assaël, and Frühling, by Pawel Althamer and children living in Kassel, at Kunsthalle Fridericianum Performtive interventions, as a format,...
  • How speech­less­ness can lead to ac­tion (Julia Draxler)
    The article asks the question, if not only «talking about art» but also «acting to art» is possible and usefull in art education. Artworks should not only be discussed in a rational way, but also ...
  • Gallery ed­u­ca­tion – per­for­mance – the dif­fer­end (Carmen Mörsch, Eva Sturm)
    The paper is based on an introductory talk given at the conference Perfoming the Museum as a Public Sphere at Kunstmuseum Lentos, Linz, in April 2008. It parts from Charles Garoian’s thesis that a...
  • Materialien zum Selbststudium (Danja Erni, Nora Landkammer, Anna Schürch, Bernadett Settele)
    Die Materialien zum Selbststudium sind mit dem Ziel konzipiert, eine Diskussions- und Wissensbasis zu den Themen «queer» und «Do it yourself» im Kunstunterricht zur Verfügung zu stellen. Sie beschä...
  • Mu­sic ed­u­ca­tion as crit­i­cal cul­tur­al sci­ences – re­vis­it­ed (Jürgen Vogt)
    This paper contains meta-theoretical considerations about the status of the research in music education. The author states, that music education – at least in Germany – concentrates on «Empirical ...
  • «By eat­ing an ap­ple, you’re eat­ing the scenery.» (Sabian Baumann, Simon Harder)
    In this interview by Simon Harder, Sabian Baumann discusses how s_he and the collaborating performers tried to conceptually and performatively queer nude drawing and its connected patriarchal unde...
  • Counter/Act­ing: Per­for­ma­tive Poros­i­ty (Elke Krasny)
    Based on Counter/Acting, a symposium at the Institute for Education in the Arts at Vienna’s Academy of Fine Arts in cooperation with Kunsthalle Wien, this text opens up links between possible acti...
  • Stimm­los 2 – Re­hearsal (Simon Harder)
    Stimmlos (voiceless/unvoiced/voting ticket), a series of experimental sound pieces and a work-in-progress, is based on and centred around artworks, giving rise to compact images in space and langua...
  • Participatory spaces of aesthetic education Transferring a museum-pedagogical program with theater methods (Bettina Gassmann)
    The basis of this contribution is formed by my master thesis at the FHNW School of Education (PH), which centers on aesthetic education. The aim of this work was to activate students to participate in the educational field of the school with a workshop using the theatrical methods of Augusto Boal. Boal's theater considers itself a school of participation. The focus of this article is on the researching teacher's discomfort and understanding of their role. The art exhibition "Action" at the Kunsthaus Zürich provided an important reference for the workshop. During the workshop, a forced protest action went differently than planned. The actions of the students unsettled the researching teacher, who, confronted with irritation and incalculability, reflected upon these topics theoretically. A central theme of the thesis was how students can act cooperatively in art lessons. Observations made during the workshop formed the focus of the study. Autoethnographic methods were employed: A research diary with photos of all participants was created, among other things. Concrete experiments on dealing with contradictions were carried out and reflected upon. In this article, the research teacher describes one of these situations. The students did not abide by the agreement and acted on their own authority. Assuming an "artistic" perspective, such irritations should be welcomed. Less so from the point of view of the teacher, who desires reliability. In the conflict of the teaching/learning process, a distinction is made as to the type of discomfort: whether and how the unfamiliar or unknown is alien to the content or the method (cf. Sack 2011). The impossibility of a punctual demand for student participation becomes evident. A productive solution lies in the acceptance of the conflict. The imperative of participation is problematic, because participation should indeed be voluntary. The possibility of refusal is regarded as a formative option for action in the interplay between the potential for hope and the possibility of participation in the educational field of the school.
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • Learning from Wallmapu (Aldir Polymeris )
    This paper is about a place called Chile and another called Wallmapu, which is either inside, below, or outside the former, depending on your point of view. Wallmapu is a place where complex histories are inscribed – overlapping, boundary-crossing, and globally entangled. These are narratives of composition and assemblage; of hybridity, difference, and multiple perspectives. The Wallmapu has another name: Araucanía. This is the name given by the Chilean state to the region south of the Bío Bío River, where the Mapuche – Chile’s largest indigenous group – originally lived, and where some of them still do today. Wallmapu, on the other hand, is the term used by the Mapuche themselves. It is therefore political, since it represents a different perspective on the territory. Wallmapu ex situ is a complex and multi-layered work that includes a series of online conferences; these were first streamed on a dedicated website and are now archived on it. Nina Willimann and I (working under the group name Trop cher to share) were responsible for the conception and artistic direction of the project, which we developed in collaboration with an interdisciplinary team of experts. A large part of our work involved making contacts and building a network of people who have some sort of relationship (whether biographical, academic, emotional, or artistic) to Wallmapu. This historiographical practice is on the one hand based on the ideas and arguments of the French sociologist and philosopher Bruno Latour, and on the other on the Mapuche worldview, which sees humans as a part of nature and credits natural entities with agency and voices. This text is an attempt to beat a narrow path that allows me to name the territorial and historical conditions that have shaped the relationship between Chile, Wallmapu, and Switzerland. In talking about how we developed Wallmapu ex situ from my own perspective, my aim is not least to relate stories of traveling (and not being able to travel), and of virtual interspaces.
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • Everyday photo actions, observations, and questions - an introduction (Flurina Stuppan)
    My article presents exemplary observations of everyday photo actions in groups of adolescents and adults. The observations are written on the basis of inner images. Questions that take a critical position towards the medium of photography and society are formulated based on these observations. The final part of the text presents the different photo actions for discussion and incorporates findings from the master's thesis. An art-educational contextualization forms the conclusion of the text, thus putting the emphasis on everyday actions from a mediating perspective.
  • Are You Sure? Zoom in (Charlotte Friedli)
    The following text is a revised part of my master thesis, Are you sure? Zoom in. Approaching the unapproachable computer. A strategy of empowerment. The question is explored on the basis of the interplay between artistic and art analytical work. The thesis at the outset was that the computer is unapproachable because of its being a complex and mystified dispositive. This condition is examined from different positions. Users do not know what they are really dealing with and are forced to comply with web developers' decisions. Based on Olia Lialina's concept of digital folklore, the aim is to empower simple users and the ephemeral traces they leave on the web. The artistic strategy zoom in was developed based on work with multiple theories. Zoom in stands for approaching an unapproachable Computer. In the act of zooming in, users arrive at unimagined places via pointless detours. The strategy describes four aspects that are examined more closely: infrastructure, sub-actions, the individual and pixels. Artistic artifacts that try to dissolve the distance to the myth that is the computer can be found on the blog www.areyousure.blog.
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • poor images - About copies in motion and where to find them (Helena Schmidt)
    The contribution "poor images - About copies in motion and where to find them" deals with the concept of so-called "poor images", after Hito Steyerl (2009), and locates it in a contemporary art mediation practice that critically examines the Internet and the resulting new pictorial phenomena and practices. The potential of the concept of poor image for our pictorial activity in the post-digital era will be negotiated.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • THE LIVING PIXEL. A feminist-materialist examination of the emergence of AI-vision (Ariana Dongus )
    The essay deals with the development of machine vision which today has resulted in the automation of face and object recognition. The notion of automation suggests that no human input is needed and that the machine works on its own, in this case to execute the labour of perception. Complicating this popular notion, this text employs the concept of operative images by Harun Farocki as a point of departure. Farocki's trilogy Eye/Machine I-III reflects the evolution of this new type of image: images from the factory, from research laboratories, surveillance cameras and images from the Iraq war. For Farocki, they are operative, i.e. directly effective: images that are actively embedded in processes as mathematical-technical operations. Importantly, the emergence of operative images points to new relations between machine and worker that will be discussed in this essay. Farocki's precise observations on this new image type are the starting point to confront techno-determinist and popular dystopian narratives of all-seeing surveillance scenarios with a differentiated materialist-feminist analysis, one that also takes economic changes into account. Several examples are used to show that artificial intelligence is in fact animated by global production networks of click workers. The manifold contributions of these workers remain invisible. Their platform work, from filtering out pornographic or violent content to annotating images for object recognition, is ghost work; precarious yet essential work that makes today's software systems seem smart. The automation of perception, too often taken for machine autonomy, is revealed to be the result of a complex social relationship involving a planetary division of labor and collective intelligence of many workers. Farocki described operative images at the beginning of the millennium as “bringing the work of recognition to the fore”. Today, almost two decades later, it means putting both the perceptional labor invested in teaching machines how to recognize and the network of workers who carry it out in the foreground. Artificial intelligence is intrinsically linked to this work. AI is not intelligent and does not function automatically, as through a magician's slight of hand. Rather, making AI work lays in the hands of gig economy workers. The magician is a collective of workers and the pixels of the pictures are alive.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • (Un-)Learning Ecologies – An exploration of two research-based artistic teaching formats as experimental platforms for ecologically sustainable ways of being and becoming (Janina Krepart, Chantal Küng, Judith Tonner)
    To what extent and by which new and urgent challenges are art educators confronted through current and future effects of the climate crisis? And how can artistic teaching practices contribute to a sense of responsibility, and ultimately to ecologically sustainable practices, in “kulturelle Bildung” and arts education? Motivated by these questions, the authors designed and realized two teaching modules for the Bachelor and Master Art Education (ZHdK) in the academic year 2020–21. The article stages a critical dialogue to discuss the courses’ underlying postulations and to consider potential implications for art education research. The conceptual frameworks of the two teaching formats and their respective implementation expose not only diverging underlying accounts of the “subject”; they also present different perspectives, associations and conceptions of ecology and sustainability.
  • The idea comes while drawing (Malin Widén)
    Progressive digitalization is changing our perception, our thinking and our actions. It also changes our relationship to the image. Yet at the same time, the relevance of visual education must constantly be defended. Instead of thinking through drawing about the power and effects of images–thinking in images and placing them in new contexts–school tends to treat image-making according to a certain scheme oriented towards homogeneous, easily assessable visual products. In my view, new approaches and examples are needed, especially in didactics; those that do not portray drawing as an imitation of existing image categories, but as a thought process; a visual thought process that is individual and can take place across disciplines. What it means to connect drawing with thinking and what challenges and possibilities a reflexive drawing practice could bring for primary schools, are questions I have investigated experimentally and scientifically within the framework of the master thesis The idea comes while drawing. In my work, drawing is both the object and method of research – visual and linguistic thought processes mutually inspire and reflect each other.
  • Drawing – Talking – Showing (Nadia Bader)
    The starting point of the study Drawing - Talking - Showing is the question of how communicative exchange in art teaching influences visual thinking and practice. The aim is an empirically founded and (practice-) theoretically contextualized conception of which influences and interactions arise between communicative and creative events and which conditions underlie them – both in the classroom in general and specifically in the school subject art/visual design. The contingency and complexity of teaching practices is taken seriously and considered systematically. The study thus builds on positions that focus on the unpredictable, unavailable, phatic and crisis dimension of teaching and learning (Meyer-Drawe, Pazzini, Sabisch, Schürch/Willenbacher, Wimmer, among others). On the basis of video data from a lesson of observational drawing at Gymnasium, teaching-learning conversations and drawing processes are qualitatively and empirically examined. Visualized research and presentation methods play a central role in the examination. In four case studies, exemplary teaching-learning situations are analyzed from multiple perspectives, revealing the diverse, overlapping and sometimes contradictory influences that shape the situational development of teaching-learning processes. Cross-case and comparative findings are discussed on the basis of practice-theoretical concepts (e.g. Reckwitz, Schmidt, Polanyi, Neuweg) and linked to art and theater pedagogical positions that address the performativity, eventfulness, corporeality and materiality of teaching (e.g. Lange, Hentschel). This article is devoted to two special features of the study: on the one hand, the connection with the pilot study Drawing - Speeches (BUA, 2012/13) and, on the other hand, the further development of video-based research methods with a special focus on the visual dimension.
  • Three questions for... (Hannah Horst)
    There are articles in art magazines about current exhibitions. The SFKP e Journal Art Education Research would like to transfer this format to the field of art mediation through current practice by presenting one art pedagogical project per issue or by making visible an art mediating position of a person or a collective. The performance will take place in a loose form. Understood as snapshots of art pedagogical practice, the answers can be submitted in images, text and/or other media contexts.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • Extracurricular support for art: Dare to expand! (Nicole Heri)
    The master's thesis is a comparison of extra-curricular artistic promotion in the Lucerne area with the K'werk in Basel-Stadt and an examination of the concept of creativity. It was written in the frame of the fine arts program with a major in art in public spheres. In research, creativity is often defined as "the process of creating something new and useful."Problem-solving behavior is seen as an occasion for creativity, which various neuroscientists have proven can be promoted. Yet creative promotion in schools is limited. My thesis, which forms the basis of this contribution, presents ideas for the implementation of a promotion plan for schools and at a politicallevel. An empirical comparison of access, financial expenditure, creativity promotion and the gender impacts of the offers of extra-curricular art education in Lucerne with the K'werk in Basel are central to the undertaking. My evaluation shows that enabling financing is essential to ensuring barrier-free access for young people. Suitable spaces, generous time management and the open discussion of problems are indispensable in the promotion of creativity. Results are divergent in regards to gender and course contents are crucial. The foundingof the BildWerkLuzernis validatedinthe conclusion of the research. A subsequent PhD thesis is intended to elaborate inter-cantonal comparisons of offers, political financial factors and the history of extra-curricular support for art.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • Editorial Ausgabe 16 (Gila Kolb, Beate Florenz)
    No translation available at the moment.
  • Gestalt and well-formedness: Children’s spatial drawings (Stefanie Stadler Elmer, Lea Weniger)
    This text outlines the theoretical framework of our study on spatial drawing in the context of primary school. We investigate how children graphically represent a single spatial body. This is one of three conceptual aspects of children’s spatial drawing, the others concern spatial relationships between objects and the overall spatial organization of the image. The planar depiction of a cuboid in the form of a box is a general representational problem for which various solutions are taught and practiced in our culture. From the position of a structure-genetic epistemology, we are interested in children’s process of problem solving, as it emerges in individual and video-recorded case studies - adaptively and intuitively accompanied by the teacher. We reconstruct these processes in detail by using a micro-genetic methodology. With an exemplar we show empirically, how we apply the concept of "well-formedness" to describe the structural orientation towards a “Gestalt” as well as the implicit use of generative systems of spatial representation.
  • On Current Research in Swiss Art Education. An interview with Ruth Kunz in October 2019 (Ruth Kunz, Gila Kolb)
    The symposium Der professionalisierte Blick (The Professionalized Gaze) took place in 2019, shortly before the volume of the same name was published. For the first issue of the SFKP e Journal Art Education Research, which focuses on current art education research in Switzerland, the interview with Ruth Kunz elaborates on her many years of research practice, her teaching of research in teaching and the research landscape of art education in German-speaking Switzerland. In addition, the interview alludes to the specific potential of art education in research. The interview was conducted by Gila Kolb.
  • Things, Moods, Actions - The Walk as a Constellation (Markus Schwander)
    Both in artistic research projects and in teaching, walks are used to investigate the perception of space. Walking together is regarded as a constellation in order to recognize and influence the factors that determine the action, i.e. to shape collective action. Artistic examples will be used to show how space and perception are interrelated and how their relationship is constantly re-constructed.
  • Participatory spaces of aesthetic education Transferring a museum-pedagogical program with theater methods (Bettina Gassmann)
    The basis of this contribution is formed by my master thesis at the FHNW School of Education (PH), which centers on aesthetic education. The aim of this work was to activate students to participate in the educational field of the school with a workshop using the theatrical methods of Augusto Boal. Boal's theater considers itself a school of participation. The focus of this article is on the researching teacher's discomfort and understanding of their role. The art exhibition "Action" at the Kunsthaus Zürich provided an important reference for the workshop. During the workshop, a forced protest action went differently than planned. The actions of the students unsettled the researching teacher, who, confronted with irritation and incalculability, reflected upon these topics theoretically. A central theme of the thesis was how students can act cooperatively in art lessons. Observations made during the workshop formed the focus of the study. Autoethnographic methods were employed: A research diary with photos of all participants was created, among other things. Concrete experiments on dealing with contradictions were carried out and reflected upon. In this article, the research teacher describes one of these situations. The students did not abide by the agreement and acted on their own authority. Assuming an "artistic" perspective, such irritations should be welcomed. Less so from the point of view of the teacher, who desires reliability. In the conflict of the teaching/learning process, a distinction is made as to the type of discomfort: whether and how the unfamiliar or unknown is alien to the content or the method (cf. Sack 2011). The impossibility of a punctual demand for student participation becomes evident. A productive solution lies in the acceptance of the conflict. The imperative of participation is problematic, because participation should indeed be voluntary. The possibility of refusal is regarded as a formative option for action in the interplay between the potential for hope and the possibility of participation in the educational field of the school.
  • Emergency Remote Art Education? Reflections on a study with students on art- and aesthetic-cultural educational practices in a state of emergency (Miriam Schmidt-Wetzel, Laura Zachmann)
    The article provides an overview of a study being considered an investigation of and with actors in art education and orients itself methodically/methodologically on characteristics of phenomenological case research. Subject of the qualitative-empirical study is the experience of various actors involved in teaching in the field of art education, or in the subject of Bildnerisches Gestalten, in the midst of the global state of emergency triggered by the Covid-19 pandemic in spring 2020. The investigation is based on two assumptions: first, that under the pressure of the first pandemic wave, educational formats developed ad hoc and without sound knowledge of e-didactics in the mode of Emergency Remote Teaching (ERT) (Hodges et al. 2020); secondly, that the understandings and approaches that are evident in the art educational activities of the ERT are important for developing a well-founded Remote Art Education. In-depth insights into the study are provided by excerpts from the first of three sub-studies. It is focused on a group discussion with three bachelor students about their first professional internships in aesthetic-educational and socio-cultural fields under lockdown conditions. Drawing on observations from the sub-study, the article sketches initial findings on forms of ERT specific to art education and sheds light on their potential for teaching concepts expanding into the digital and into the distance. Via critical reflection on the methodological approach in the context of this first sub-study, it further examines the selected approaches in terms of how they deal with the specific challenges of research at a distance and under exceptional circumstances – in the mode, so to speak, of Emergency Remote Art Education Research.
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • 3 QUESTIONS FOR ... die Tiefe Kümmernis* (Die Tiefe Kümmernis)
    Die Tiefe Kümmernis, a drag queen and museum art educator, answers three questions about her work in Vienna. She first explains the origin of her name and describes the beginnings of her work as an art educator. In the second answer, she explains how user-generated content on the internet makes the heteronormative, patriarchal canon of European art history more inclusive. In the last part she discusses the potentials and difficulties of online videos about queer art history.
  • Queer und DIY im Kunstunterricht. Eine Einführung (Bernadett Settele)
    In der Einführung werden die Ziele aufgezeigt, die Art Education Research Nr. 3 verfolgt: als „Schulbuch“ Anregungen aus der queer theory und den Kulturwissenschaften für den Kunstunterricht zu ver...
  • Materialien zum Selbststudium (Danja Erni, Nora Landkammer, Anna Schürch, Bernadett Settele)
    Die Materialien zum Selbststudium sind mit dem Ziel konzipiert, eine Diskussions- und Wissensbasis zu den Themen «queer» und «Do it yourself» im Kunstunterricht zur Verfügung zu stellen. Sie beschä...
  • «By eat­ing an ap­ple, you’re eat­ing the scenery.» (Sabian Baumann, Simon Harder)
    In this interview by Simon Harder, Sabian Baumann discusses how s_he and the collaborating performers tried to conceptually and performatively queer nude drawing and its connected patriarchal unde...
  • Stimm­los 2 – Re­hearsal (Simon Harder)
    Stimmlos (voiceless/unvoiced/voting ticket), a series of experimental sound pieces and a work-in-progress, is based on and centred around artworks, giving rise to compact images in space and langua...
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • Things, Moods, Actions - The Walk as a Constellation (Markus Schwander)
    Both in artistic research projects and in teaching, walks are used to investigate the perception of space. Walking together is regarded as a constellation in order to recognize and influence the factors that determine the action, i.e. to shape collective action. Artistic examples will be used to show how space and perception are interrelated and how their relationship is constantly re-constructed.
  • Extracurricular support for art: Dare to expand! (Nicole Heri)
    The master's thesis is a comparison of extra-curricular artistic promotion in the Lucerne area with the K'werk in Basel-Stadt and an examination of the concept of creativity. It was written in the frame of the fine arts program with a major in art in public spheres. In research, creativity is often defined as "the process of creating something new and useful."Problem-solving behavior is seen as an occasion for creativity, which various neuroscientists have proven can be promoted. Yet creative promotion in schools is limited. My thesis, which forms the basis of this contribution, presents ideas for the implementation of a promotion plan for schools and at a politicallevel. An empirical comparison of access, financial expenditure, creativity promotion and the gender impacts of the offers of extra-curricular art education in Lucerne with the K'werk in Basel are central to the undertaking. My evaluation shows that enabling financing is essential to ensuring barrier-free access for young people. Suitable spaces, generous time management and the open discussion of problems are indispensable in the promotion of creativity. Results are divergent in regards to gender and course contents are crucial. The foundingof the BildWerkLuzernis validatedinthe conclusion of the research. A subsequent PhD thesis is intended to elaborate inter-cantonal comparisons of offers, political financial factors and the history of extra-curricular support for art.
  • Schwierige Themen im Bildnerischen Gestaltung-Unterricht (Danja Erni)
    Danja Erni wirft in der Perspektive der Netzwerkveranstaltung Persönlichkeitsverwicklung # 1: Queer und Do-it-Yourself im Kunstunterricht einen Blick auf ihren eigenen Unterricht sowie auf das Beru...
  • The taste of an­oth­er pos­si­bil­i­ty (Elke Smodics-Kuscher, Nora Sternfeld, Büro trafo. K)
    We would like to trace the oscillating logic of taste from a perspective of educational practice. How can this logic be understood, between the normalizing production of certainties on the one han...
  • The An­ti-​Lec­ture Mul­ti_Verse (Jamika Ajalon)
    (un­re­hearsed) I aim to explore the ways in which artistic practice, academic research, and the blending of multilayered narratives destabilizes traditional, hegemonic sagacity, and static structu...
  • Margaret Trowell’s School of Art A Case Study in Colonial Subject Formation (Emma Wolukau-Wanambwa)
    Margaret Trowell (1904–1985) founded one of the first schools of ‘fine art’ for Africans in the Uganda Protectorate in the 1930s. This essay argues that both Trowell’s arguments for introducing fin...
  • Learning Between the Real and the Possible - The Interdisciplinary Development Project AMAMuG (Lukas Bardill, Sabine Bietenhader)
    AMAMuG – an acronym for Archäologische Mustergrabung and Archäologisches Museum für Gegenwart (archeological sample excavation and archeological museum for the present) - was an interdisciplinary and cross-institutional development project that took place from April 1st, 2018 to August 1st, 2019. The authors of this essay, a specialist in didactics in the field of nature, man, society (NMG) and a specialist in didactics of art and design (BG), both lecturers at the Pädagogische Hochschule Graubünden (PHGR), led the project. Together they developed and implemented a project-like teaching sequence for Cycle 2 (5th Primary School Class) in cooperation with the Archaeological Service of the Canton of Graubünden (ADGR), the Department of Education at the Rhaetian Museum and two primary school classes. The students, aided by an excavation box, learn about the instruments of archaeological practice in order to understand how the history of the surrounding area can be reconstructed and deconstructed. The objects on display in the Archaeological Museum for Contemporary Art (AMuG) relate to the world in which children live. Creative interventions, intended to accelerate the aging, or rather fossilization, of the collected objects, form the starting point for the historicization and museumization of objects from the everyday lives of children. With this interdisciplinary research project, the authors investigate whether and to what extent primary school children, by reconstructing historical contexts (facts) and reconstructing plausible scenarios (fakes), are able to achieve a critical and thus emancipated power of judgement towards established or alternative information, in the sense of gaining the capacity for deconstruction. Finally the contribution investigates, in the form of a dispute between the historian and the art pedagogue, what kind of increase in competence the interdisciplinary approach of the AMAMuG project can generate for the school subjects being considered.
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • Emergency Remote Art Education? Reflections on a study with students on art- and aesthetic-cultural educational practices in a state of emergency (Miriam Schmidt-Wetzel, Laura Zachmann)
    The article provides an overview of a study being considered an investigation of and with actors in art education and orients itself methodically/methodologically on characteristics of phenomenological case research. Subject of the qualitative-empirical study is the experience of various actors involved in teaching in the field of art education, or in the subject of Bildnerisches Gestalten, in the midst of the global state of emergency triggered by the Covid-19 pandemic in spring 2020. The investigation is based on two assumptions: first, that under the pressure of the first pandemic wave, educational formats developed ad hoc and without sound knowledge of e-didactics in the mode of Emergency Remote Teaching (ERT) (Hodges et al. 2020); secondly, that the understandings and approaches that are evident in the art educational activities of the ERT are important for developing a well-founded Remote Art Education. In-depth insights into the study are provided by excerpts from the first of three sub-studies. It is focused on a group discussion with three bachelor students about their first professional internships in aesthetic-educational and socio-cultural fields under lockdown conditions. Drawing on observations from the sub-study, the article sketches initial findings on forms of ERT specific to art education and sheds light on their potential for teaching concepts expanding into the digital and into the distance. Via critical reflection on the methodological approach in the context of this first sub-study, it further examines the selected approaches in terms of how they deal with the specific challenges of research at a distance and under exceptional circumstances – in the mode, so to speak, of Emergency Remote Art Education Research.
  • An ontology of the present. On the transformation of art educational knowledge (Anna Schürch)
    Curriculum revision projects, such as the current revision of the secondary school (Gymnasium) basis curriculum 2020-22 in Switzerland, call for a review of the content and objectives of the individual subjects and provide an opportunity to reflect on the knowledge within a subject, and the way it changes. How can such change be conceived and how can it be oriented if intended to go beyond the pragmatic framework of an educational policy-motivated revision project, which is characterized by scarce time resources and acute pressure to act? The article builds on Michel Foucault’s ontology of the present and seeks, via according educational-philosophical considerations, a perspective on change that positions itself both critically and self-reflexively; that is not oriented to what are diagnosed to be the great challenges of the future, but engages with what is already present and appears in everyday life. A possibility to grasp and reflect on existing art education knowledge is created. A footnote by Margot Zanni and a questionnaire by Michèle Novak expand the text, rooting the gesture of (self-)critical reflection in the act reading.
  • Being exposed as a lecturer. Proposal for a reflexive positioning of university teaching on the exemplary basis of art pedagogy (Bernadett Settele)
    To reflect on teaching art education "from art" (see Sturm 2011), I select being exposed as a starting point. Being exposed marks a place on the threshold between the critical appreciation of action and its conditions and a perspective that makes it possible to consider its passive aspects (see Settele 2019). In pursuit of the feeling of being exposed, I develop a perspective for feminist art education at master level. Taking interest in powerful addresses, roles and norms as well as in emancipatory pedagogy, I observe, from a theory-driven perspective, how individual and collective subjects of teaching interact with each other from their respective positions in teaching situations, and also what acts on them. To this end, I employ Judith Butler’s feminist concept of the post-sovereign, bound subject, making it the starting point for a reflexive positioning of teaching. This necessitates differentiating how I apply a political-philosophical concept in a non-existential, aesthetic field. As a reflexive concept, being exposed is not to be equated with the stronger concepts of feminist theoretical approaches, such as precariousness or vulnerability (see Butler 2016), or impressionability and susceptibility (see Butler 2014: 177). Situating an exercise on the reception of art in the context of art-pedagogical teacher education provides occasion for reflection on the conditionality of the subjects of teaching. The result is a textual contribution, which asks how art pedagogy educates and what takes effect within it.
  • Participatory spaces of aesthetic education Transferring a museum-pedagogical program with theater methods (Bettina Gassmann)
    The basis of this contribution is formed by my master thesis at the FHNW School of Education (PH), which centers on aesthetic education. The aim of this work was to activate students to participate in the educational field of the school with a workshop using the theatrical methods of Augusto Boal. Boal's theater considers itself a school of participation. The focus of this article is on the researching teacher's discomfort and understanding of their role. The art exhibition "Action" at the Kunsthaus Zürich provided an important reference for the workshop. During the workshop, a forced protest action went differently than planned. The actions of the students unsettled the researching teacher, who, confronted with irritation and incalculability, reflected upon these topics theoretically. A central theme of the thesis was how students can act cooperatively in art lessons. Observations made during the workshop formed the focus of the study. Autoethnographic methods were employed: A research diary with photos of all participants was created, among other things. Concrete experiments on dealing with contradictions were carried out and reflected upon. In this article, the research teacher describes one of these situations. The students did not abide by the agreement and acted on their own authority. Assuming an "artistic" perspective, such irritations should be welcomed. Less so from the point of view of the teacher, who desires reliability. In the conflict of the teaching/learning process, a distinction is made as to the type of discomfort: whether and how the unfamiliar or unknown is alien to the content or the method (cf. Sack 2011). The impossibility of a punctual demand for student participation becomes evident. A productive solution lies in the acceptance of the conflict. The imperative of participation is problematic, because participation should indeed be voluntary. The possibility of refusal is regarded as a formative option for action in the interplay between the potential for hope and the possibility of participation in the educational field of the school.
  • KlimaKontor Basel: Artistic Spaces of Negotiation for Shaping the Future (Barbara Ellenberger, Luzia Schelling)
    KlimaKontor Basel initiates interdisciplinary and participatory art projects that connect Basel institutions with actors from the fields of art, science, and civil society, with the aim of developing sustainable, solidaric, and innovative responses to the climate crisis. Here, its co-leader and founder Barbara Ellenberger reports on the history of the network’s development, examples of its current projects, and her previous experiences of building the network. How can the cultural sector help give the climate movement a louder voice among politicians and the public? How can it convey to us as citizens that the threat we face is to our own survival and that of our children? How can concerns about climate change be amplified and better communicated through art? How might art help politicians find the courage to prioritize fact-based politics above struggles for power? What can we do to make all of us aware of the incredible urgency of the current situation? How can we as a society move into an inspired “crisis mode” of curious experimentation? How can we make or welcome decisions with regard to the climate crisis that are as radical as the threat itself? What must we have understood in order to do what is obvious and necessary? It is these and other questions that drive us in continually developing KlimaKontor.
  • Rehearsing Researching: Re-enactment of a script through collaborative writing (Janina Krepart, Heinrich Lüber , Jules Sturm)
    This article is based on a critical engagement with the practical conditions of teaching and doing research, which are significantly influenced by the respective artistic and theoretical backgrounds of the three authors involved in this project, by the media through which they communicate and (inter)act, and by the artistic, educational and scientific strategies and practices implemented in the work itself. Together the writers try out the experimental practice of re-scription as a mode of research. They bring to bear their individual writing experiences on the situation of co-writing this e-journal article by engaging with concepts from artistic-educational theories, such as becoming research, working from conditions, turning education and chronopolitics. It is an experimental approach to methodological processes, developed by way of pedagogical, artistic, and radical publishing strategies. The making of this article thus becomes part of a time-permitting and probing research process, which aims to infuse future artistic ways of teaching and learning.
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • … um das Ende der Welt aufzuhalten! Ein kollektives Nachdenken zum Klimawandel (Bené Asefa Feireiss , Silke Ballath , Kunigunde Berberich , Raphael Daibert , Lukas Oertel , Katharina Stahlhoven , Wiebke Janzen )
    As a collective of authors made up of artists, students, researchers, cultural agents, and activists, our aim is to find a collaborative approach to the question of what the corona crisis has to do with the climate change crisis. This question serves as the starting point for a shared reflection, considered in relation to our various positions and situations. What sort of questions can collective and artistic considerations raise with regard to climate change? How are marginalized and diverse positions included in these reflections? How and what do we learn (and unlearn) from and with one another? How does art experiment with collective forms of thought and action? Following the “METTRAGE positionen-relationen” artistic method, we will work together to produce new questions. The method was developed by Katharina Stahlhoven and Silke Ballath in their capacity as cultural agents, as a negotiating tool for creative schools. The process makes collective thinking visible and negotiable. It positions a participant’s specific perspective in order that it can be further developed in exchange with another person or group, re-contextualizing and modifying it and setting it in motion. Our contribution will comprises a collective image, seven individual images, a conversation, and a question that will lead our discussion.
  • Three questions for... (Hannah Horst)
    There are articles in art magazines about current exhibitions. The SFKP e Journal Art Education Research would like to transfer this format to the field of art mediation through current practice by presenting one art pedagogical project per issue or by making visible an art mediating position of a person or a collective. The performance will take place in a loose form. Understood as snapshots of art pedagogical practice, the answers can be submitted in images, text and/or other media contexts.
  • On Current Research in Swiss Art Education. An interview with Ruth Kunz in October 2019 (Ruth Kunz, Gila Kolb)
    The symposium Der professionalisierte Blick (The Professionalized Gaze) took place in 2019, shortly before the volume of the same name was published. For the first issue of the SFKP e Journal Art Education Research, which focuses on current art education research in Switzerland, the interview with Ruth Kunz elaborates on her many years of research practice, her teaching of research in teaching and the research landscape of art education in German-speaking Switzerland. In addition, the interview alludes to the specific potential of art education in research. The interview was conducted by Gila Kolb.
  • Editorial Ausgabe 16 (Gila Kolb, Beate Florenz)
    No translation available at the moment.
  • On Current Research in Swiss Art Education. An interview with Ruth Kunz in October 2019 (Ruth Kunz, Gila Kolb)
    The symposium Der professionalisierte Blick (The Professionalized Gaze) took place in 2019, shortly before the volume of the same name was published. For the first issue of the SFKP e Journal Art Education Research, which focuses on current art education research in Switzerland, the interview with Ruth Kunz elaborates on her many years of research practice, her teaching of research in teaching and the research landscape of art education in German-speaking Switzerland. In addition, the interview alludes to the specific potential of art education in research. The interview was conducted by Gila Kolb.
  • Drawing – Talking – Showing (Nadia Bader)
    The starting point of the study Drawing - Talking - Showing is the question of how communicative exchange in art teaching influences visual thinking and practice. The aim is an empirically founded and (practice-) theoretically contextualized conception of which influences and interactions arise between communicative and creative events and which conditions underlie them – both in the classroom in general and specifically in the school subject art/visual design. The contingency and complexity of teaching practices is taken seriously and considered systematically. The study thus builds on positions that focus on the unpredictable, unavailable, phatic and crisis dimension of teaching and learning (Meyer-Drawe, Pazzini, Sabisch, Schürch/Willenbacher, Wimmer, among others). On the basis of video data from a lesson of observational drawing at Gymnasium, teaching-learning conversations and drawing processes are qualitatively and empirically examined. Visualized research and presentation methods play a central role in the examination. In four case studies, exemplary teaching-learning situations are analyzed from multiple perspectives, revealing the diverse, overlapping and sometimes contradictory influences that shape the situational development of teaching-learning processes. Cross-case and comparative findings are discussed on the basis of practice-theoretical concepts (e.g. Reckwitz, Schmidt, Polanyi, Neuweg) and linked to art and theater pedagogical positions that address the performativity, eventfulness, corporeality and materiality of teaching (e.g. Lange, Hentschel). This article is devoted to two special features of the study: on the one hand, the connection with the pilot study Drawing - Speeches (BUA, 2012/13) and, on the other hand, the further development of video-based research methods with a special focus on the visual dimension.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • Emergency Remote Art Education? Reflections on a study with students on art- and aesthetic-cultural educational practices in a state of emergency (Miriam Schmidt-Wetzel, Laura Zachmann)
    The article provides an overview of a study being considered an investigation of and with actors in art education and orients itself methodically/methodologically on characteristics of phenomenological case research. Subject of the qualitative-empirical study is the experience of various actors involved in teaching in the field of art education, or in the subject of Bildnerisches Gestalten, in the midst of the global state of emergency triggered by the Covid-19 pandemic in spring 2020. The investigation is based on two assumptions: first, that under the pressure of the first pandemic wave, educational formats developed ad hoc and without sound knowledge of e-didactics in the mode of Emergency Remote Teaching (ERT) (Hodges et al. 2020); secondly, that the understandings and approaches that are evident in the art educational activities of the ERT are important for developing a well-founded Remote Art Education. In-depth insights into the study are provided by excerpts from the first of three sub-studies. It is focused on a group discussion with three bachelor students about their first professional internships in aesthetic-educational and socio-cultural fields under lockdown conditions. Drawing on observations from the sub-study, the article sketches initial findings on forms of ERT specific to art education and sheds light on their potential for teaching concepts expanding into the digital and into the distance. Via critical reflection on the methodological approach in the context of this first sub-study, it further examines the selected approaches in terms of how they deal with the specific challenges of research at a distance and under exceptional circumstances – in the mode, so to speak, of Emergency Remote Art Education Research.
  • Review (Gitta Bertram)
    No translation available at the moment.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • Von/durch/mit Pilze/n lernen (Lara Caluori)
    What role can mushrooms play in helping us rethink the relationships and communities that exist both among and beyond humans? This paper explores interactions between fungi and humans in order to gain a different perspective on such connections in times of crisis. I see a metaphor for social structures and collaborations in the mycelium (the total rhizomorphic network of a fungus) and the mychorriza (the symbiosis between the mycelium and the roots of a plant). My bachelor’s thesis “Mycelium – Pleurotus Ostreatus, Ganoderma Lucidum” (2019) looks at fungal cultures from an artistic and research-based perspective, and this paper draws upon that earlier work in order to explore my own encounters with mycelium. Since the pandemic has so far made it virtually impossible to test the project on an educational and dialogic level, my interest is in the potential encounters it might produce, and in the question of whether attempting to adopt other perspectives can foster curiosity and preparedness, or response-ability. In Learning from Mushrooms, I thematize the symbiotic relationships and network structures of the mycelium and mychorriza, with a focus on processes and explorative tendencies. In Learning through Mushrooms, I describe physical encounters between fungi and humans, based on my research on mycelium. By growing mycelium in DIY laboratory facilities, a tangible touch-point is established that allows processes of growth to be observed and scrutinized. Learning with mushrooms examines how the co-existence between people and mushrooms is conceived and perceived, based on the mycelium exhibition I developed for my bachelor’s degree.
  • Review (Gitta Bertram)
    No translation available at the moment.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • Everyday photo actions, observations, and questions - an introduction (Flurina Stuppan)
    My article presents exemplary observations of everyday photo actions in groups of adolescents and adults. The observations are written on the basis of inner images. Questions that take a critical position towards the medium of photography and society are formulated based on these observations. The final part of the text presents the different photo actions for discussion and incorporates findings from the master's thesis. An art-educational contextualization forms the conclusion of the text, thus putting the emphasis on everyday actions from a mediating perspective.
  • Assembling sustainable futures – Anticipatory practices and imaginations in art education (Michel Massmünster)
    The future does not just exist. We refer to it through diverse practices, assembling it as an experience in the now. The way we conceive of the future, experience it in the present, and thus also generate it socially, is the result of complex processes of production. However, historical meanings are involved in these processes as well. Based on contemporary practices in art education, I explore powerful configurations of the future in the present: knowledge, material, person and future determine each other interdependently in these processes. Imaginations of future in art education are characterized by the emphasis on their explorative and opening character. Occasionally, especially as regards a universal understanding of sustainability, they also predefine and fixate futures. This eventually leads to a restriction of ways of life in future. Thus, I argue, it is necessary for research and practice, to analyze one’s own involvement in these assembling processes and in the historical meanings associated. In consequence, I propose an understanding of sustainability that is more appropriate to the open, explorative future practices of art education; one which reckons uncertainty and multiplicity, and thereby continuously reinvents itself, reinvents resources, and current as well as future ways of life.
  • COMING BACK FROM IBIZA (Helena Schmidt, Sophie Lingg)
    Coming back from Ibiza analyses the potential of the meme as a political-activist tool, in terms of its use in contemporary, critical art education. The article focuses on the Austrian Instagram meme account Ibiza Austrian Memes (@ibiza_austrian_memes), which was founded in 2019 in response to the so-called Ibiza scandal. Ibiza Austrian Memes is still an important voice in the media-independent criticism of right-wing politics in Austria today and deliberately conveys content from an intersectional feminist and anti-racist perspective. The article is based on a conversation between the authors and Anahita Neghabat, founder of Ibiza Austrian Memes.
  • Shifts in Space - Displacements in Schools as a Critical Gesture (Margot Zanni)
    How could the implicit effect of school spaces be made more accessible to reflection and at the same time participate in the experience of the constitution of another space? The focus of the explanations is on spatial practices of shifting, varying or displacing. Displacement, in particular, is questioned as a strategy for making the effects of school space visible. Heterogeneously selected case studies will be used. The study of Christiane Brohl and her concept of displacement as an art-pedagogical strategy is prominent. With regard to the question at hand, an extension of her approaches is proposed. The theoretical reference point of heterotopia introduced with it will be discussed in the context of further receptions and a methodology will be found which will then be illustrated using the example of the seminar "Learning in/as/through Space". The analysis of everyday rule breaks (tricks) also plays a role in the development of these methodological considerations. As heterotopic break-ins into school orders, they served as models for the development of the seminar's approaches. This was aimed at students of art pedagogy and took place as a temporary use in the empty rooms of the former Villa Bellerive. The starting point for the planned process of the empty spaces was artistic research on school buildings of different construction periods. The situational translation of the results of this research into the context of the villa spaces - in the sense of an analogy or a contrast - was intended to make certain aspects of school spatial conditions even more prominent and reflectable. With a view to the future teaching activities of the students, this was intended to make possible the experience of a creative scope that wanted to counteract to a certain extent the effect of normative school settings.
  • Response-Ability in künstlerischer Praxis, Forschung und Lehre (Jacqueline Baum)
    The debate around climate change has become a mainstream issue in society. Students and schoolchildren are increasingly politically engaged, and this also requires an agility on the part of institutions, which now find themselves called upon to consider how sustainability can be taught, and how they can move their teaching programs toward an ecologically oriented pedagogy. Jacqueline Baum, a lecturer at the HFK’s Art Education program, has developed a training course on art and climate change that draws upon her own practice of artistic research, aimed at art educators working in the canton of Bern. A series of three events used experimental strategies and formats to explore how the topic can be introduced at upper secondary level, combing a theoretical approach with practical workshops and group exercises based on an example scenarios, with a focus on ecological art pedagogy and sustainable educational practices. Each of the three events explored a different theme: 1) Whose Nature – Who Is Nature; 2) Connected and Isolated; and 3) Dialog and Symbiosis. New forms of sustainable art pedagogy were tested and discussed throughout, while accompanying presentations described strategies from within artistic research. The aim was to develop ideas and concepts for how knowledge and skills that arise at the interface of science, art, and art education can be utilized in teaching. The field of art education and pedagogy offers the possibility of establishing new ways of dealing with other forms of life and creating new communities, and it should aim to make this practice of care visible within committees and spatial conditions. The notion of “response-ability” as the capacity to find answers can lead the way here, both within educational settings and in developing management strategies. In the best case, artistic practice, research, and education is capable of addressing urgent contemporary issues and opening them up to action – and maybe even empowerment.
  • From The­o­ry in­to Prac­tice – Re­search and Trans­for­ma­tion (Dolores Smith)
    The research project to which this text refers was based on the challenge to provide conditions for equal access to arts education for children and young people placed at a disadvantage - especiall...
  • What are we do­ing here? (Claus Melter)
    Re­flec­tions on bar­ri­ers and dis­crim­i­na­tion in ed­u­ca­tion­al in­sti­tu­tions This text is concerned with self-reflexivity in institutions regarding the critique of barriers and discriminat...
  • The com­plex task of self-​chang­ing (Büro trafo. K)
    Prac­tices and ques­tions in ed­u­ca­tion­al projects in mi­gra­tion so­ci­ety Nine years ago we called one of our ambitious educational programs a «guide to self-emancipation». The title had an ir...
  • AUS MIT RAUS (Eva Lausegger)
    or AM I RACIST? The text deals with an intent to deport a student at our school, the protest movement that mobilized against the deportation, and an art project with students from several courses o...
  • «Sich Verze­ich­nen» – with and through dif­fer­ences (Mikki Muhr)
    Build­ing re­la­tions and leav­ing rests in car­togra­phies What enables reflective processes, that can help to view one’s own thoughts and actions in their conditioning frameworks and to criticall...
  • Be­tween canon an so­cio-​cul­ture (Olivier Blanchard, Jürg Huber)
    Ex­plo­rations on the field of school mu­sic in the Ger­man speak­ing part of Switzer­land This paper presents an explorative study about music classes in «Sekundarschulen» and «Gymnasien» in the G...
  • The taste of an­oth­er pos­si­bil­i­ty (Elke Smodics-Kuscher, Nora Sternfeld, Büro trafo. K)
    We would like to trace the oscillating logic of taste from a perspective of educational practice. How can this logic be understood, between the normalizing production of certainties on the one han...
  • How does school in­vest in the screen? (Simon Harder)
    In­Vis­i­bil­i­ties and so­cio-​po­lit­i­cal re­spon­si­bil­i­ty of art ed­u­ca­tion This article argues out of a queer-feminist perspective why an understanding of visibility is to be considered p...
  • (Un)learn­ing Taste in the every­day (at school) (Danja Erni)
    How does my taste influence my teaching? Why, as a teacher, it almost slightly offends me if the sovereignty of my «good» (qua «educated») taste is challenged by the aesthetical preferences of stu...
  • «At­tached, please find my im­age archive» (Anne Gruber)
    Based on the assignment 'image archive', Anne Gruber shows how an attentiveness she developed during her studies to questions from art theory, cultural studies and art can be integrated in her prac...
  • Learned dur­ing leisure time, processed in school (Christoph Marty)
    The aim of the praxis-based research project in music pedagogy presented in this contribution involves in-class processing of musical competence and knowledge that music students have acquired out...
  • En­ab­ling ques­ti­ons (Ursula Ulrich)
    The text retraces how studying the theatrical design workshop «role kids» with primary school children from Lucerne turned into a challenging expedition. Ulrich shows how team-based action researc...
  • Af­ter re­flec­tion is be­fore re­flec­tion: (Andreas Bürgisser)
    think­ing about the con­di­tion­al­i­ty of col­lab­o­ra­tive the­atre ped­a­gogy in schools In his text, Andreas Bürgisser, as a former FLAKS collaborator, considers the significance of FLAKS towar...
  • The Liv­ing School (Brandon LaBElle)
    The Living School was held in London from February to June 2016 in collaboration with the South London Gallery and taking place at a range of venues in the city. Focusing on the issues of social ho...
  • Learning Processes about Non-Discriminatory Practices in the Field of Cultural Education  (Aïcha Diallo, Danja Erni)
    Since summer 2016, we have been leading the KontextSchule, a platform for the continuing education of teachers and artists in Berlin. Adopting the viewpoint of those who stand inside and outside o...
  • Challenges of a Disciplinary Anchorage – Questions Addressed at Art Education (Anna Schürch, Sophie Vögele)
    The article investigates the contradictions associated with the formation and institutionalization of academic disciplines, and explores the anchoring of art education as a discipline in tertiary education. The text thus pursues an attempt to provide a conceptual framework for the further development of art education and its disciplining in Switzerland. From their different institutional and research positions, the authors negotiate disciplinary and institutional relationships in the writing process itself. Thereby, interdisciplinarity as a characteristic of art education is essential to the undertaking and raises a number of questions: to what extent is a distinction from reference disciplines possible by disciplining art education as interdisciplinary? And how can the dichotomy that to a great extent characterizes the understanding of art education be overcome? What does an inquiring self-understanding entail and how can the lack of a disciplines tradition in this subject be dealt with? How big of a part do institutional structures play and what is the role of self-reflection in the process of stabilization?
  • anthology of flowers (Jacqueline Baum, Ursula Jakob)
    The focus of our long-standing project Connected in Isolation was initially on the different descriptions of processes and ways of representing objects of nature from art and science - their detach...
  • A kind of punk rock, teaching machine. Queer-feministische Zines im Kunstunterricht. (Elke Zobl)
    Elke Zobel stellt Zines als eine Alternative zu den Mainstream-Medien vor, die die Möglichkeit und das Potential vielfältiger Selbstrepräsentation, des Ausdrucks anderer Seiten des Selbst und der H...
  • Queer und DIY im Kunstunterricht. Eine Einführung (Bernadett Settele)
    In der Einführung werden die Ziele aufgezeigt, die Art Education Research Nr. 3 verfolgt: als „Schulbuch“ Anregungen aus der queer theory und den Kulturwissenschaften für den Kunstunterricht zu ver...
  • The com­plex task of self-​chang­ing (Büro trafo. K)
    Prac­tices and ques­tions in ed­u­ca­tion­al projects in mi­gra­tion so­ci­ety Nine years ago we called one of our ambitious educational programs a «guide to self-emancipation». The title had an ir...
  • «By eat­ing an ap­ple, you’re eat­ing the scenery.» (Sabian Baumann, Simon Harder)
    In this interview by Simon Harder, Sabian Baumann discusses how s_he and the collaborating performers tried to conceptually and performatively queer nude drawing and its connected patriarchal unde...
  • How does school in­vest in the screen? (Simon Harder)
    In­Vis­i­bil­i­ties and so­cio-​po­lit­i­cal re­spon­si­bil­i­ty of art ed­u­ca­tion This article argues out of a queer-feminist perspective why an understanding of visibility is to be considered p...
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • Shifts in Space - Displacements in Schools as a Critical Gesture (Margot Zanni)
    How could the implicit effect of school spaces be made more accessible to reflection and at the same time participate in the experience of the constitution of another space? The focus of the explanations is on spatial practices of shifting, varying or displacing. Displacement, in particular, is questioned as a strategy for making the effects of school space visible. Heterogeneously selected case studies will be used. The study of Christiane Brohl and her concept of displacement as an art-pedagogical strategy is prominent. With regard to the question at hand, an extension of her approaches is proposed. The theoretical reference point of heterotopia introduced with it will be discussed in the context of further receptions and a methodology will be found which will then be illustrated using the example of the seminar "Learning in/as/through Space". The analysis of everyday rule breaks (tricks) also plays a role in the development of these methodological considerations. As heterotopic break-ins into school orders, they served as models for the development of the seminar's approaches. This was aimed at students of art pedagogy and took place as a temporary use in the empty rooms of the former Villa Bellerive. The starting point for the planned process of the empty spaces was artistic research on school buildings of different construction periods. The situational translation of the results of this research into the context of the villa spaces - in the sense of an analogy or a contrast - was intended to make certain aspects of school spatial conditions even more prominent and reflectable. With a view to the future teaching activities of the students, this was intended to make possible the experience of a creative scope that wanted to counteract to a certain extent the effect of normative school settings.
  • SOMEWHERE OFF THE REAL. Voice-controlled interfaces and their media-critical mediation (Malin Kuht)
    SOMEWHERE OFF THE REAL considers interfaces as conjunctions of possiblilities, histories and underlying factors of digital media. Interfaces enable and shape interaction with digital information and communication technologies. The predominantly female-coded design of voice control, which is increasingly found in smart devices, derives from the history of a gendered division of labor and traditional social roles in society. The paper argues that our interactions with digital technologies determine our relationship to them. These processes are illuminated by the artistic practices of Melanie Hoff and Joy Buolamwini. With Draw What You Think Alexa Looks Like (2019), Melanie Hoff demonstrates that the design of interfaces of voice controlled technologies greatly influences how they are perceived. Joy Buolamwini's works substantiate the culturally programmed view of algorithms on humans. The paper summarizes a multi-level interrogation of digital technologies and illustrates the political (power) relations inscribed in them. Artistic strategies can aid in making these relationships visible and negotiable. Affective human connections are contrasted here with the implied assumptions of machines. The concepts presented are deepened in the author's own artistic work OFFREAL. The focus is on visual aspects of service provider simulations. In addition to the female-coded voice, many avatars are designed according to pop-cultural ideals of beauty, which raises political and representational questions. The categories race and gender remain contested in the discourse on virtual bodies. Overall, SOMEWHERE OFF THE REAL argues for a critical consideration of the increasing female-coded embodiment of interfaces, factoring in structural contexts.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • Designing Spaces of Perception, Experience and Adventure: Art-Pedagogical Approaches in Dance for Young Audiences (Lea Moro , Mona De Weerdt)
    As a field of cultural-pedagogical practice, mediation establishes relationships between artistic events and their audiences that give rise to aesthetic, sensual, or even physical experiences. Within dance particularly, there is a need for programs aimed at children and young people to give stronger consideration to the sensual and physical aspects of the experience. Dance enables a diverse range of perceptual-aesthetic experiences of the world; dance performances can therefore also serve as complimentary format for opening up different spaces of perception and experience. Taking this premise as their starting point, authors Lea Moro and Mona De Weerdt present the educational format they developed together with Leonie Graf and others involved in their children’s dance production Alle Augen Staunen (2020) (6+). They demonstrate how this format serves as an integral part of the piece by opening up the space of the stage toward the end, with the performers directly addressing the young audience members. This produces a shared moment of play and reflection that retells what they have seen on stage, and revisits what they experienced while watching the piece. In addition, the authors discuss how themes and imagery from the production were transferred to a digital medium in the form of an Instagram account, and the possibilities this opens up for reception and participation. The paper also clarifies the project’s twofold educational concept: On the one hand, the different formats used – such as posters, a participatory element immediately after the performance, and an Instagram account – are intended to enable a variety of points of access to the events on the stage. On the other hand, the opportunities this opens up for participation enable knowledge to be transfered beyond the theater, and for audience members to be sensitized to the natural, environmental, and ecological topics explored in the performance.
  • Humus (Christiane Hamacher)
    Humus is generally found in the uppermost layer of the earth – from around ten to thirty centimeters in depth – and is a vulnerable and fragile substance. This part of the soil is a key habitat for various living creatures and is currently in an extremely bad state across the globe. Humus is lost through intensive farming practices such as meat production, which causes erosion of the soil. A further factor is the use of concrete to seal off natural ground. Our experiment focuses on humus as a living and performative substance and plays with an element of surprise. A ton of humus, piled up into a heap, awaits students in a room sealed off with large sections of plastic sheeting, which is staged almost like a scientific laboratory. Microscopes, laboratory glasses, various storage containers, gloves, pipettes, magnifying glasses, tweezers, mortars, and other objects lay ready arranged on tables. Each student then receives their own research kit and some humus. The pile of material is thus made to a reservoir and catalyst for artistic research, allowing aesthetic processes to be both created and observed. I see this creative engagement with humus as a form of individual reflection and thought that generates new forms of knowledge. Familiar approaches are abandoned, and students are able to produce, rediscover, and gather their own material experiences and perceptions. In this way, humus is used as an invitation to experiment, and to try out different artistic approaches to shared global issues.
  • SOMEWHERE OFF THE REAL. Voice-controlled interfaces and their media-critical mediation (Malin Kuht)
    SOMEWHERE OFF THE REAL considers interfaces as conjunctions of possiblilities, histories and underlying factors of digital media. Interfaces enable and shape interaction with digital information and communication technologies. The predominantly female-coded design of voice control, which is increasingly found in smart devices, derives from the history of a gendered division of labor and traditional social roles in society. The paper argues that our interactions with digital technologies determine our relationship to them. These processes are illuminated by the artistic practices of Melanie Hoff and Joy Buolamwini. With Draw What You Think Alexa Looks Like (2019), Melanie Hoff demonstrates that the design of interfaces of voice controlled technologies greatly influences how they are perceived. Joy Buolamwini's works substantiate the culturally programmed view of algorithms on humans. The paper summarizes a multi-level interrogation of digital technologies and illustrates the political (power) relations inscribed in them. Artistic strategies can aid in making these relationships visible and negotiable. Affective human connections are contrasted here with the implied assumptions of machines. The concepts presented are deepened in the author's own artistic work OFFREAL. The focus is on visual aspects of service provider simulations. In addition to the female-coded voice, many avatars are designed according to pop-cultural ideals of beauty, which raises political and representational questions. The categories race and gender remain contested in the discourse on virtual bodies. Overall, SOMEWHERE OFF THE REAL argues for a critical consideration of the increasing female-coded embodiment of interfaces, factoring in structural contexts.
  • Everyday photo actions, observations, and questions - an introduction (Flurina Stuppan)
    My article presents exemplary observations of everyday photo actions in groups of adolescents and adults. The observations are written on the basis of inner images. Questions that take a critical position towards the medium of photography and society are formulated based on these observations. The final part of the text presents the different photo actions for discussion and incorporates findings from the master's thesis. An art-educational contextualization forms the conclusion of the text, thus putting the emphasis on everyday actions from a mediating perspective.
  • On the Orientation of Didactic Research in Kindergarten Art Pedagogy. An investigation of the field of tension between specialist science, questions of teaching and social science research methodology (Dr. des. Anja Morawietz)
    This article deals with the area of tension between scientific discipline, questions of teaching and social science research methodology in art education and didactical research at a kindergarten level. Initially, the text shows which questions arise for the didactics of art and design at a kindergarten level. Grounds for employing scientific research methods and aesthetic or art-based research in art education are explored and presented as inherent to the field. The study serves as an example for the beneficial application of qualitative-empirical sociological research methods in art pedagogical contexts. The method of videography, which is adapted for questions and aesthetic themes of art education, is introduced. With the study, sketched extremely briefly, a question is posed as to the extent to which young children are even interested in engaging in processes of representational drawing in teaching settings. How children act within the didactic framing of the tasks is examined, as well as which educational opportunities result therefrom. The example shows that videography is well-suited to observing, describing and analyzing the practice of teaching arts and design, with its lesson arrangements, learning processes and teaching methods. At teacher training colleges in Switzerland, a great deal of know-how in systematic scientific research methods can be found in the educational and social sciences. There is a desideratum to examine and implement synergies between educational and social sciences and didactics. The introduction of the Joint Master in Specialist Didactics, Arts, at the PH Zurich has provided the opportunity to address, in keeping with current research methods, ongoing questions about teaching design (In Switzerland, "design" or "visual" (gestalterisch) is used not with an anachronistic connotation, but synonymously with “aesthetic” or “creative-artistic”. This use of the term- the emphasis on design - owes to its implication of a respectful distance to fine art.) at all school levels in master's theses.
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and/or other medial forms.
  • IT'S ABOUT TIME. Critical Art Education in Digital Times (Sophie Lingg, Helena Schmidt)
    Editorial The 18th edition of the Art Education Research e Journal was created in the first half of the year 2020. In addition to the steadily worsening climate crisis, the extent of which is alrea...
  • "OH, SUCK IT!" WAS JUST TOO MUCH FOR THEM. A conversation about algorithms, money and sexual education on the Internet. (Collective Feige )
    In 2018 the collective Feige, founded by Ebru Düzgün, Franziska Kabisch, Magdalena Fischer, Malu Blume and Sophie Utikal, produced the video series Love, Sex & Real Talk.
 In the 14-part web series on sexual self-determination, 11 girls and young women between the ages of 15 and 19 examine myths about sexuality and body norms. The videos are intended to contribute to making the diversity of sexuality and gender visible and to set a counterpoint to the heteronormative discourses of the mainstream. The makers drew on their own histories of sexual learning in considering which stigmas, myths and normative constructions make it difficult–by, for example, creating shame and insecurity–to achieve a self-determined sexual practice. The Videos were part of a campaign on the sexual self-determination of girls and were created on behalf of the Department of women's health of the MA24 of the city of Vienna and in cooperation with the Museum of Contraception and Abortion and The Flash Mädchencafé. In the following, Feige members Malu, Magda and Franzis talk about the process behind the video series, about experiential sexual knowledge, misogynous trolls and the connection between (sexual) self-determination and queer feminism.
  • journey through :) (Helen Stefanie)
    The microblogging platform tumblr is known for a culture of image-collecting and curating that has been primarily influenced by (female, queer/trans*, PoC) teenagers and twentysomethings. When browsing the site, works by feminist artists, paparazzi pictures of Britney Spears, snippets from works of theory, shitposts, or another user’s selfies are all equally likely to pop up next to each other in an eclectic mix. In December 2018, a revision of the site’s policies on adult content lead to a much stricter treatment of what was considered ‘pornographic material’, and tumblr lost more than a million active users. Despite cases of cyber-bullying, the pervasiveness of spambots and networks of nationalist users on the site, prior thereto tumblr was widely considered a safe space for queer-feminist and anti-racist politics, fandom activities, and the personal narratives and self-promotion of sex workers. Building on the argument Heather Warren-Crow puts forth in her book Girlhood and the Plastic Image, digital images on the Internet can be thought of as girlish: These plastic images are malleable, fluid, and can easily be enlarged or shrunk down as they circulate in the network. The tumblr-specific mode of archiving and curating digital images is exemplary of this relationship: Images are decontextualized, flattened, removed from their material conditions of production, while at the same time being assigned value as purely aesthetic image-objects in a collection. The meta-comic journey through :) stages an attempt at making contact with the image-collecting tumblr users and the images circulating through the network.
  • 3 QUESTIONS FOR ... Konstanze Schütze (Konstanze Schütze)
    Art magazines publish articles about current exhibitions. The SFKP e Journal Art Education Research aims to transpose this format to current practice in the field of art education by presenting one art pedagogical project per issue or by casting light on an–in a broad sense–art educational position of a person or a collective. The introduction will take on a loose form: Responses are to be understood as snapshots of art pedagogical practice and can be submitted as images, text and