Michaela Kaiser is Professor of Art Education and Art Mediation at the University of Oldenburg. She conducts research on questions of art education and art mediation in the context of inclusionand exclusion, in particular on relations of difference in art mediating institutions. She is a co-founder of the working group "Building Access in Art Education" and a board member of the scientific association Kunst, Medien, Bildung.

Abstract : In most cases, the history of art education in Germany is told as a succession of art pedagogical movements. However, such a historical outline says more about academic demarcations than about what was actually relevant in art education in schools and what was demanded by students. In this lecture, I will attempt to find an entry point into histories of German art education via the skills that were set as the norm at different times: What did it mean for elementary school students in the German Empire, for example, that they knew next to nothing about art history, but had to train their motor skills all the more? At what point in German history did the skill of creativity first appear - and why did it become important in the first place?

These and other questions will be framed by two perspectives in the lecture. The first is to contextualise the history of art education skill norms in political and economic terms. I therefore assume that all school requirements - including those of art teaching - respond to a political and economic need. On the other hand, it will be a question of who benefits from the norms and who emerges as disadvantaged from such standardisation.

Alexander Henschelis an art educator and art mediator in theory and practice. He studied educational science, art, art education and philosophy in Halle (Saale) and Mannheim and completed his doctorate as part of the Art Education doctoral programme. He has worked as a research assistant and lecturer at the Universities of Bremen and Hildesheim, as a visiting professor at the HFBK in Hamburg and currently as a lecturer and post-doc in the Art Education and Art Mediation department at the Institute of Art and Visual Culture at the University of Oldenburg. His research and teaching focus on the inconclusive complexity of the relationships between art, pedagogy and society.

He is currently researching the continuities of ethnic discourses in art education in the early Federal Republic of Germany and the (re)construction of ability norms in historical school curricula.

Abstract: The article outlines a historiography of art mediation since the early Enlightenment, undertaken from a feminist and postcolonial, hegemony-critical perspective. The geographical focus is on England. What becomes clear is that the discursive production of deficient a_n_d_e_r_e_s, who must be made to resemble the bourgeois, male, white, European subject, is historically inscribed in the field of work. The historical considerations are linked to reflections on perspectives critical of discrimination at the interface of education and art in the present.

Carmen Mörsch is Professor of Art Didactics at the Kunsthochschule Mainz, Johannes Gutenberg University. She is a member of the management team of the research training group "Educational processes in anti-discriminatory university teaching", the network"Another Roadmap for Arts Education" and the collective e-a-r, education and arts research.

Abstract : From 1969 to 1971, a working group of the neue Gesellschaft für bildende Kunst (nGbK) in West Berlin developed a form of play critical of capitalism for and with working-class children. Over the course of several months, artists worked with young residents of the Kulmer neighbourhood in Berlin-Schöneberg to create an alternative to the promises of the toy industry. In the so-called Spielklub , a play city was created in which the mechanisms of capitalist economics were to be experienced and thus made transparent. The aim was to give the so-called working-class children self-confidence in class-specific skills. But which of the children were actually perceived as working-class children by the artists in the play club?

The lecture will first examine the historical contexts of the play club and show how this play principle is informed by the student movement and the children's shop movement. It then examines the possibilities, ambivalences and contradictions that arose for the children, whose social positionings were much more complex than "just" being working-class children", when playing in the play club.

Claudia Hummel is a university lecturer, art educator and curator. In recent years, she has mainly researched the history of artistic-educational practice in West Berlin since the late 1960s. From 2009 to 2024, she worked as a research assistant on the Art in Context degree programme at the Institute for Art in Context at Berlin University of the Arts, focusing on artistic work with social groups. In 2024, she moved to the Zurich University of the Arts to take over the programme management of the MA Art Education specialisation "Major Critical Social Practice in Art Education".

Abstract: In every subject area, it is worth asking by whom and how a hegemony has been established. Consequently, this also applies to images of inclusion and criticism of discrimination - in the concrete sense of pictorial representation as well as in the figurative sense of imaginations. The lecture traces these hegemonic images - in the literal sense: we scribble kitsch images of inclusion. The second step then asks which other possible images and imaginations are suppressed by the dominance of these hegemonised kitsch images. With the help of the theory of trilemmatic inclusion, the dissonance of contradictory imaginations and hopes for inclusion/criticism of discrimination will be shown - with the aim of multiplying them again.

Dr phil. Mai-Anh Boger is a (disability) educator by training. She researches and teaches at the University of Regensburg on inclusion and the critique of discrimination, particularly in the context of philosophies of difference and alterity and a psychoanalysis of (internalised) oppression. She is co-founder of the journal for Disability Studies and the postcolonial publication series 'resistance & desire' of bildungslab*.

Abstract : Like the arts, A.I. is a part of culture and therefore something that people do (see Gaztambide Fenandez 2013). But who makes A.I. art? And for whom? Under what circumstances?

The production of the Obvious collective, for example, which was able to sell the first A.I. painting at Christie's for USD 432,500 in 2018, draws heavily on the history of European portraiture. The criticism of Eurocentrism and colonialism in this art history is ignored and a specific audience is excluded. AI can reinforce colonial patterns that, according to Gayatri Spivak and many others, should be unlearned.

Hate speech and hostility towards minoritised groups of people are also among the things that are reproduced by chatbots, as was the case with the chatbot Tay released by Microsoft in 2016. Instead of the intended harmless communication with peers, Tay was influenced by trolls and mutated into an anti-Semitic and anti-feminist monster that had to be taken offline after 16 hours. When artists Zach Blas and Jemina Wyman made reference to this scandal in 2017, they gave Tay a new video appearance in which she dances, philosophises and complains about the exploitation of female chatbots. The result was a resistant art figure that appeals to a different audience than the original Tay.

Without fuelling the hype for what Hito Steyerl calls artificial stupidity, art educators should prepare themselves for a new, intelligent, artistic media education. Among other things, this will focus on plural re/presentations as well as the intensification of disinformation and social differences and encourage children, young people and adults to design machine-conditioned spaces in a variety of ways and use them responsibly. Equally important will be the preservation of living spaces that enable play, information and exchange independently of digital technology.

Nanna Lüth is an artist, educator and doctor of cultural studies. She works as a BCP guest professor for discrimination-critical didactics in the field of the arts at the Berlin University of the Arts. After holding various positions in art education and research, Lüth was a junior professor for art didactics and gender studies at the Berlin University of the Arts from 2013-21, including a two-year professorship in art education/didactics at the University of Duisburg-Essen. Since 2021 she is 1st Chair of the BdK Berlin - Fachverband für Kunstpädagogik.

Her work focuses on cooperative and interdisciplinary university teaching, especially in the areas of didactics and teacher training, differentially reflective art teaching, art- and theory-based professionalisation, the opening of institutions as well as humour and criticism in (art) education.

www.nannalueth.de

Michaela Kaiser is Professor of Art Education and Art Mediation at the University of Oldenburg. She conducts research on questions of art education and art mediation in the context of inclusionand exclusion, in particular on relations of difference in art mediating institutions. She is a co-founder of the working group "Building Access in Art Education" and a board member of the scientific association Kunst, Medien, Bildung.

Annemarie Hahn is a lecturer in art education and art mediation at the Bern University of the Arts and Bern University of Teacher Education. Research focus: Inclusion in post-digital cultures; subjects since the internet; art education in the field of tension between relational and agential theories.annemariehahn.com

Abstract: At the end of the 19th and beginning of the 20th century, the art education movement led to a new departure in art education, which in turn had an impact on the entire field of education in Germany and continues to have an effect as a discourse, driving force and myth to this day. The very name of a "reform pedagogical movement" refers to a shift with two terms: "reform" and "movement". But as significant as this is, it is also problematic. This is because the ideas and concepts of the reform pedagogical movement are closely linked to progressive and emancipatory, but also to the nationalist currents of their time. In my lecture, I would like to work out the logics of anti-Semitism, racism and colonialism in Manichaean world views - which distinguish action, strength, physicality, health, intimacy, community, longing, honesty, naturalness and purity from counter-images such as spirit, intellectualism, rationality, urbanity, foreignness, sickliness, laziness, mendacity and cosmopolitanism - in order to understand their role in an ethnic education of the nation using the means of art.

Nora Sternfeld is an art educator and curator. She is Professor of Art Education at the HFBK Hamburg. From 2018 to 2020 she was documenta Professor at the Kunsthochschule Kassel. From 2012 to 2018, she was Professor of Curating and Mediating Art at Aalto University in Helsinki. In addition, she is co-director of the /ecm - Study Programme for Exhibition Theory and Practice at the University of Applied Arts Vienna, in the core team of schnittpunkt. ausstellungstheorie & praxis, co-founder and part of trafo.K, Office for Education, Art and Critical Knowledge Production (Vienna), since 2022 she is part of INGLAM - Inglourious Art Mediators - a band for lecture performances and since 2011 part of freethought, platform for research, education and production (London). In this context, she was also one of the artistic directors of the Bergen Assembly 2016 and worked from 2020-2022 on "Spectral Infrastructure" - a research context in co-operation with basis voor actuele kunst (BAK, Utrecht). She publishes on contemporary art, educational theory, exhibitions, historical politics and anti-racism.

Abstract : To date, art education in German-speaking countries has been characterised by different and sometimes contradictory discourse and practice formations. Under megatrends such as inclusion, diversity or participation, a neoliberal appropriation and commercialisation can also be observed alongside a manageable field of transformative mediation practice. This pushes back the professionalisation of the field in favour of economic and symbolically distinctively charged interests. It would be more welcome to undertake a - not least - self-critical reflection on the possibilities of focussing on the core functions of the field and thus to place both art-political and art-educational positions in the foreground.

The lecture brings together various statements on the different discourses and discusses the (im)possibilities of professionalising critical art education. The statements, some of which are made as a juxtaposition, are intended to reveal the problems that manifest themselves in ways of thinking and acting or also dynamise them. In doing so, we want to consider positions whose considerations play a decisive role in the construction of realities in the field of art education.

The starting point of Wiebke Trunk 's work is the combination of theory and practice. The basis for this is her stage design studies at the Art Academy in Stuttgart and her studies in art history and philosophy in Stuttgart and Würzburg. Her research focuses on the field of art education in cultural institutions (with a focus on language and art) and on cultural policy in Nazi Germany. Accordingly, the title of her dissertation is: "Kunstberichte als kultur- und pressepolitisches Herrschaftsinstrument im NS - Untersuchung der Berichterstattung zur "Großen Deutschen Kunstausstellung" in München von 1937 bis 1943 in der "Frankfurter Zeitung und Handelsblatt"".
She has been working at the Carl von Ossietzky University as a research assistant at the Institute of Art and Visual Culture in the field of art education/art pedagogy since 2014. From 2019 to 2023, she worked there on the OLE+ project, which was entitled "Talking about art".
www.wiebketrunk.de

Nina Ahokas studied art history and history at the universities of Münster and Düsseldorf and then completed a Master's degree in Museum and Exhibition at the University of Oldenburg. Since 2023, she has been working as a research assistant in the department of Art Education and Art Mediation at the Institute of Art and Visual Culture at the University of Oldenburg. Oldenburg. She conducts research on discrimination-critical professionalisation processes of art educators, cooperation between schools and museums and art education in the migration society. migration society.

Abstract: School is a power space that is characterised by diverse governmental techniques and interest groups, orders and historical forms and that is hierarchically structured. To this end, a variety of differences are created and dramatised between learners, teachers and other members. At the same time, school is also a protective space for children and young people and for personal development and social community, which often sets itself anti-discriminatory goals and names equal treatment as a basic principle.

The institution of school and the individuals in it are each in a special relationship - individual learning is possible above all in communities and at the same time learning processes in school are linked to special forms of subjectivation through practices of practising and testing. The members of society are to be educated and at the same time school assessments serve to "select the best" and maintain existing societal and social orders.

As an institution, school regulates actions and is a "social expectation structure" (Günther Ortmann). School experiences are thus stored in the individual's own body and biography as well as in self-images, which characterise the individual's view of school and in which practices continue as patterns of action, even unnoticed or as implicit knowledge.

School itself is an abstract concept. School structures and relationships become observable and perhaps therefore negotiable, for example in bodies, orders, practices and spaces. The lecture looks for (art educational) forms of how the tension between the production of difference and its de-dramatisation can become conceivable and how school structures can be imagined differently and perhaps also changed.

Christine Heil, Dr phil., is Professor of Art Didactics and Educational Sciences at the Braunschweig University of Art. She studied at the Hochschule für bildende Künste Hamburg and the University of Hamburg and was an art and maths teacher. She has been working at various universities since 2003. In her art education research, she combines artistic practices with scientific methods of ethnography or mapping. Her work also focuses on space and education as well as research-based learning in collaborative and interdisciplinary contexts and perspectives critical of discrimination.

She has accompanied school development processes based on cooperative structures and research-based learning (Kultur.Forscher! project, DKJS/PwC foundation, 2009-2016) and is involved in the organisational development and change of educational and research institutions, including as Equal Opportunities Officer at the University of Duisburg-Essen (2018-21) and currently as Vice President for Teaching, Studies and Professionalisation at the HBK.

Abstract: The anti-racist articulations that have effectively triggered public debates in Germany in recent years can be understood as an angry demand to tackle the everyday nature of racist systems of differentiation and to overcome a kind of dominance-cultural ignorance. Criticism of racism follows on from this. In the course of this critique, the aim is to empirically recognise the effectiveness of racist ways of acting, feeling and interpreting and to reflect on them from a socio-analytical perspective.

Because the refusal to address racism (for example in the police, in the allocation of housing and jobs, in educational institutions) stabilises racist routines, the critique of racism begins with talking about racism. What this means and what contribution the critique of racism can make to analysing the social present will be put up for discussion in the lecture in such a way that the question of what it would mean to be politically educated in a programmatically post-racist migration society committed to the idea of democracy - also in art education - will be addressed

Dr habil. Paul Mecheril is Professor of Educational Science specialising in migration at the School of Educational Science at Bielefeld University. He was previously a university professor at the University of Oldenburg and the University of Innsbruck. His research interests include the relationship between orders of belonging, power and education.