This article incorporates research involving artivist and pedagogical curatorships (200717) that were developed by contemporary artists, university professors, students from the Faculty of Education, practising teachers and students from nursery, elementary and secondary school. It intends to showcase a series of artistic research projects financed by public institutions, facing the challenge of transforming teacher training. These contemporary artivismbased projects have been able to break academic barriers and obsolete routines in teacher training. One of the results of this experimentation has been materialised in exhibitions at renowned museums and contemporary art centres. They have managed to expand teaching models beyond the classroom space, as the emergence of the collective and the educational interest in the commons. A/r/tography was used as a research methodology that unveils the three interconnected identities of the 'artist, researcher and teacher' as the person who, in his or her teaching practice, is capable of developing a creative practice with students through experimental processes in artistic research. A/r/tography generates a learning space where educational meanings can be broken. It is in this intermediate zone of intellectual incitement that curators propose artivist projects capable of generating tactics of proximity between two apparently separate fields: art and education. Este artículo consiste en una investigación sobre comisariados de carácter artivista y pedagógico (200717) que ha sido desarrollada por artistas contemporáneos, profesores universitarios y estudiantes de la facultad de educación, docentes en activo y alumnado de infantil, primaria y secundaria. Pretende visibilizar una serie de proyectos de investigación artística financiados por instituciones públicas, con el reto de modificar la formación del profesorado. Uno de los resultados de esta experimentación se ha plasmado en exposiciones en museos y centros de arte contemporáneo de reconocido prestigio. Estos proyectos, basados en el artivismo contemporáneo, han conseguido romper las barreras académicas y las rutinas obsoletas en la formación del profesorado. Han conseguido expandir los modelos docentes más allá del espacio del aula, como emergencia de lo colectivo y del interés educativo en lo procomún. Se empleó la artografía como una metodología de investigación que desvela las tres identidades interconectadas del «artista, investigador y profesor», como aquella persona que, en su acción docente, es capaz de desarrollar una práctica creadora con su alumnado a través de procesos experimentales en la investigación artística. La artografía genera un espacio de aprendizaje para el quiebre de significados educativos. Es en esta zona intermedia de provocación intelectual, en donde los comisarios plantean proyectos artivistas capaces de generar tácticas de proximidad entre dos campos aparentemente separados, el del arte y la educación.
Within the space of this collective image/text article, 18 photographic imagemakers and 4 respondents consider deeply and dialogically a quote from William Ayers' 2016 book Teaching with Conscience in an Imperfect World: An Invitation. The resulting constellation of images and words (1) realizes a space within which works of art, specifically photographs, operate as centers of meaning to generate educational implications, and (2) theorizes a pedagogy that resists unilateral prescriptions and is instead anchored around openness, expansion, and individualization. The paper begins with a few short pieces from Sarah Pfohl, including an overview of Ayers' book and ideas from writings on progressive education, object-based teaching and learning, and close/slow looking to position works of art as sites of rich meaning. While contemporary schooling often drives toward monolithic, numerical representations of the learners in its care, the article employs postdigital gestures to argue that learners have more in common with works of art than numbers, and thus, attention to artworks can open valuable implications for teaching and learning. The diverse group of images that follow offer an emerging portrait of teaching practice as a set of constantly shifting constellations moving across deep time and space from the intensely specific to the wide. Four texts think more about schools, education, and art. Finally, there is a postscript from Bill Ayers himself.
Este artículo analiza el uso de la fotografía como artefacto y documentación pedagógica de la investigación educativa basada en las artes. Su puesta en práctica se materializa a través del proyecto colaborativo “Maneras de hacer mundos”, entre dos universidades españolas. Este ahonda en los discursos docentes, sus metodologías y su pensamiento a través de acciones performativas mediante el uso de la fotografía. Dichas acciones constituyen una manera de subvertir el aula y reflexionar sobre ella, sobre todo, al centrarnos en la formación inicial del profesorado en artes visuales. Los resultados de las acciones permiten visualizar los espacios de reflexión y análisis que los participantes desarrollan con su propio cuerpo, adquirir una nueva forma de pensar y ofrecer un instrumento de acción artística para actuar educativamente en sus aulas en el futuro.
This photo essay is part of a performance entitled ‘The Topsy-Turvey Classroom’. It involves students participating in a Master’s programme for visual arts teachers and was staged by surprise on their first day of class. These photographs help the spectator to relive and interpret the experiences that these students had when the door opened on our peculiar ‘Art Basement’. We can see their unexpected reactions, preconceived expectations turned upside down, expressions of uncertainty, unpredictable movements, a performance build-up and their creative interventions. The interconnection between the text and the photographs presents the practical application of teaching strategies involving an art-based educational research for the teacher’s professional development.
Resumen: El presente artículo plantea una investigación artística acerca de la identidad en educación infantil a través de espacios que permitan vivenciar experiencias estéticas. Se parte de provocaciones relacionales entre los niños y el arte contemporáneo, experiencias lumínicas y corporales para la experimentación sensible en infantil. Se parte de la idea de cómo la luz ofrece posibilidades artísticas para la exploración del propio cuerpo, el vínculo con el espacio y la sinestesia del color. Todas las acciones desarrolladas se plasman a través de narrativas visuales. Estas poseen una doble finalidad: por una parte, documentar el proceso creativo y, por otro lado, interpretarlo desde la perspectiva del self-study en la investigación docente dentro del aula. Palabras clave: Experiencia estética relacional, Educación Artística Sensible, Narrativa visual, Micro-acciones performativas, Educación Infantil. Abstract: This paper develops an arts-based educational research about the identity within the early years of life through workshops that allow to live aesthetic experiences. The starting point is the intencional relationships between children and contemporary art, lighting and body experiences in order to experience sensitiveness. It focuses on the idea of how light can be artistically used to explore the own body, the relation with space and the color’s synaesthesia. Each one of the actions has been developed trough visual narratives whith a dual aim: on the one hand, to generate documentacion about the creative process and, on the other hand, to interpret it from a self-study perspective in teaching research within the classroom. Key words: Relational Aesthetic Experience, Sensitive Art Education, Visual Narrative, Micro-performative Actions, Early Childhood Education. http://dx.doi.org/10.7203/eari.9.10927
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