In this article empirical examples are used to connect theories about young people, contemporary art forms and learning. The first part of the article introduces the new forms of consciousness which, according to the youth researchers Birgitte Simonsen and Thomas Ziehe, characterize young people of today. In the second part, the qualities of contemporary art forms experienced by young people are connected to the theories of the French art critic Nicholas Borriaud regarding ‘relational aesthetics’. Finally, the third part of the article discusses four preconditions for learning, which were experienced as positive by the young people included in the empirical material: ‘the hook’, ‘the experience of otherness’, ‘social interaction’, and ‘meta‐reflection’.
How can art educators address questions of environmental sustainability, accepting to be ethically normative but avoiding becoming dogmatic? How can the complex 'pool' of knowledge generated in and through art education research become useful in working with these questions, which many of us find overwhelmingly difficult? AESD -Art Education for Sustainable Developmentis a concept coined for this article with the intention of bringing environmental problems onto the agenda. In an attempt to provoke the necessary discussion about environmental sustainability in art education, the article examines selected texts from recent Nordic research in order to build an 'epistemological platform' that might function as a research-based 'tool' for discussing environmental issues. The article is organized in four sections, which refer to the four 'cornerstones' of the platform, where each cornerstone corresponds to a recent current in art education. These currents, as defined by the author, are: critical art education, poststructuralist strategies, visual culture pedagogy, and community oriented visual practices. Using selected Nordic texts as material for the analysis, the epistemological perspective of each current is briefly presented and its relationship to evironmental questions is discussed. In the final discussion, eight keywords are presented: praxis, change, performance, reflexivity, visuality, event, situatedness and collaboration. When put together, these concepts offer a dynamic picture of the 'pool' of ideas offered by contemporary Nordic and international research, which will be useful for 'performing' AESD both as teaching practices and as research.
Through a process-oriented analysis of the Copenhagen-based art project The Hill, this article explores the pedagogical potentials of the concept performative experimental community. The aim is to propose ideas and strategies for teacher certification courses and university programs that stimulate students to reconsider the role of art education in the current political, economical, and environmental situation. Central questions addressed by the article are: What is the potential for using art and education to explore alternative ways of living and of being? How can art educators challenge individualist self-understandings through new forms of togetherness? How can we create fissures in neo-liberal educational agendas? In the conclusion, six key notions are presented, followed by a brief discussion of performative experimental community as approach, content, and pedagogy for becoming art teachers.
How can art educators begin to inhabit questions of environmental sustainability, accepting to be ethically normative but avoiding becoming dogmatic? This article investigates three interconnected approaches to sustainable art education with the aim of building a platform from where to explore ‘environmental sustainability’ without losing the epistemological and ideological complexities that have been developed within the contemporary research field. The first section, Art, presents two contemporary art projects and discusses their possible contributions to environmental sustainability. The second section, Art Education, introduces four currents in contemporary art education: critical art education, post-structuralist strategies, visual culture pedagogy and community-oriented visual interventions, and ‘interrogates’them about environmental sustainability. Keywords from the interrogations are used as ‘cornerstones’ to create an epistemological ‘platform’. In the third section, Environmental Sustainability, the insights and keywords from the previous sections are used to exemplify how moments of environmental sustainability could be introduced in art education.
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