Eva Sturm

Tue, 18:00 - 20:00
Room: A08 0-001

The history of art education can still be told today as a side-by-side, after, against and with each other of individual positions and movements that influence, permeate, exclude, take up, complement and in one way or another repeat each other. The series of lectures will attempt to highlight such tendencies through research. To this end, various protagonists will be asked to present their positions and to inscribe their own activities/thinking in contexts in which they participate and have participated. Some of the speakers will be closer, some further removed from mediation, didactics, educational work and/or art. The hope is that over time it will become clear how complex and diverse the creation of an art education map would be, how different the educational and art references are, how many different localisations and theoretical reference systems there are.

20.10.09 Prof. Dr Gert Selle

Reasons and counter-reasons for teaching or studying art education

Gert Selle will express his own scepticism about the sense or nonsense of
art education practice and recall the history of the
Aesthetic Project in Oldenburg.

27.10.09 Prof. Dr Karl-Josef Pazzini !!! Event starts at 19:00!!!

The longing of touch and the aggressiveness of the gaze

Art education and art pedagogy are structurally located between
the aforementioned poles. This cannot be resolved. This is where the function of "mediator" and "teacher" comes into play.

03.11.09 Prof Dr Pierangelo Maset

Art education between adaptation and resistance

Contrary to the current tendency to convert didactic subjects into control instruments within the framework of competence orientation
, the
differentiated role of a version of art education that does not want to follow either the art market or the pedagogical mainstream and forms marginal lines of flight is to be made clear
.

10.11.09 not applicable

17.11.09 Prof. Dr Helmut Hartwig

On the media optimism of visual communication

In the 1970s, visual communication emerged as an educational concept with a general social claim. The conferences and media in which it was articulated show that the discourse that emerged from the context and criticism of "art education" received approval beyond this horizon. I would like to inform you about this situation. At the centre of the VK concept was the claim to "communication". Theorists reacted to the impositions of the mass media with this guiding concept. Television and advertising in every form became the subject of critical reflection and practical criticism (attempts). The reference to art receded into the background in theory and practice, and at times ART in its concrete manifestations and its concept was regarded as an ideological vehicle of the first order.

In the course of the 1990s, new buzzwords emerged with the keywords "participation" and "interaction", under whose claims new (interactive) forms of practice developed within the art sphere. At the same time, there were massive attacks on the concept of communication. Mario Perniola writes "Against Communication" (Merve Berlin 2oo5) and Robert Pfaller writes "Against Participation" in the context of his "Aesthetics of Interpassivity" (Hamburg Philo Fine Arts 2008).

In my lecture, I would like to trace the line of tradition indicated and - to a certain extent also as an affected contemporary witness - examine the enlightening claims of visual communication with the current critical impulses behind me.

24.11.09 Prof. Dr Maria Peters

Competence-orientated existential experiments? Possibilities and limits of competence-orientation in art education

The aim is to critically reflect on new ways of competence orientation in art education, whose self-image is characterised by artistic ways of thinking, procedures and methods. Using the example of the artistic transformations that contemporary artists undertake in relation to the aesthetic existential experiments of the artist Bas Jan Ader, artistic strategies are first presented that can be modelled and transferred to art education processes. Art lessons then become a practice in which learners become artistic agents. Against the background of current educational debates, the resulting complex aesthetic forms of experience and action will be examined with regard to the possibilities and limits of competence-oriented and individualised teaching and learning processes.

01.12.09 Prof. Dr Helga Kämpf-Jansen

Current aspects of the discussion of the concept of aesthetic research

The concept of aesthetic research is an extremely complex concept with the aim of making art and artistic practice, science and everyday experience productive in their mutual networking for aesthetic learning and experience processes. There are many different experiences from both the field of art education training and aesthetic education in schools, from which a current assessment and a look into the future of art education can be given.

08.12.09 Dr Christine Heil

Observe, shift, provoke. Ethnographic and artistic approaches to art education fields.

Ethnographies are descriptions of "small worlds". Research
is carried out into foreign cultures or the own culture to be alienated with
its cultural and social practices. Fields of research in the context
of art education can be art lessons at school, the
art education seminar at university or the guided tour in the museum
.
Ethnographic research methods are characterised by participatory
observation in the field. In doing so, the researcher
must specifically allow the subjective view and make it productive. Here,
contemporary art can reveal new research paths and forms of documentation,
which often come closer to an art education research question
than exclusively conventional methods of qualitative social research.
It could even be that artistic practices only allow access to
certain parts of the observed art education field
. For example, forms of contemporary art, such as mapping,
consciously take up research methods, or performance is required in order to
provoke the creation of connections.

15.12.09 Dr Andrea Sabisch

Image inventions - between text and image

Although text and image represent very different forms of representation and
communication, there is little that separates them
from each other. They rarely appear separately and it is not only in the digital
age that they enter into unexpected coalitions with each other. However, while the
school still prioritises written communication and
literacy, visual communication
is currently booming. A so-called "supporting visual" currently also determines
literary domains from grand narratives to
scientific works and textbooks.
But what different compositions of text and image can
be produced? How does literary material become a
pictorial narrative? How do you illustrate texts and how do you comment on them
visually? What intertextual and intervisual relationships are shown in
picture books? How do text-image structures control our
attention? How do they animate our imagination and how do
they generate meaning?

05.01.09 Prof. Dr Eva Sturm

Surprising images. Working with what shows itself in art education and art mediation contexts. Or: Repetition and difference in art-related educational work

Based on the work of an art educator at a grammar school in Menden and with a view to the approach in a Berlin art school, the thesis is put forward that working with and as a result of surprises has fundamental value and that the emergence of unpredictable events in connection with art is likely. My conviction is that art educators and art mediators should be trained to be prepared for surprises and the unpredictable in order to make them potentially productive. The second thesis is that such work is directed against approaches that are interested in controlling events and are therefore less interested in the difference in repetition than in the repetition of the same thing over and over again. In this way, art-related educational work could not be about proceeding strictly according to plan, but about working with what is specifically revealed.

12.01.09 Bernhard Balkenhol

in art, around art and about art

Art - at least since modernism, insofar as it is not in the service of
politics or commerce - knows no tasks, no
"right" and "wrong" and also no educational goals.
its art usually appears elitist, its reception difficult and not
uniform, its value fictitious.
Furthermore, works of art only have a marginal
social impact compared to images in media culture. So what is art doing in school
? What of it and how can it be used to teach and learn?
Or would it not be better to replace "art" with "media" and the "artist" (pupil) with "media studies"?

The "didactics of visual communication" had already asked itself these questions
in the 1970s and concluded that art
should be cancelled and replaced by the subject "visual communication"
. The aim was the (political) education of pupils,
education about the working methods and effects of visual
communication (and also art), about the power relations in which
it is integrated and which it itself creates. The latter
focus has broken its neck, because this political
self-image has made it forbidden for schools.
Today, under the
proviso of upbringing and education, enlightenment has developed into a (at best) well-animated game for the development
of - now measurable - "competences" that make art lessons and their
subject matter operationalisable.
Can this really be done with "art" or is its inherent
incompatibility an opportunity to break out of the rules of animation?

19.01.09 Prof. Dr Heidrun Richter

Art education in the GDR: a subject specific to women between
ideological conformity, refusal and innovation

The reality of art education in the GDR was - like its art -
more complicated and differentiated than it was later often portrayed in abbreviated form
and in the 40 years of its development
it was not only characterised by defeats and errors.The lecture aims to show how the
subject of art education has developed between "narrowness and diversity"
and how the concept of "art-appropriate teaching"
and thus also art educators with other professional
perspectives, specific artistic and cultural
experiential contexts, with other concepts of images, reality and
values, who have successfully made their way into the "broad field" of the concept of
aesthetic education/training.

26.01.09 Prof. Carmen Mörsch

Art education at documenta 12 between critical practice
and service

The article presents the claim and context as well as the methods, content and results of the research project on art education at documenta 12.
On the basis of the resulting two-volume publication with DVD, the possibilities of modes of presentation in this field of research are illuminated and their limitations problematised. Finally, an initial review of the reception that has taken place to date and conclusions about the effects of this project on the field of art education will be discussed.

02.02.09 Examination