{"id":3502,"date":"2017-10-30T21:52:50","date_gmt":"2017-10-30T20:52:50","guid":{"rendered":"https:\/\/blog.zhdk.ch\/artschooldifferences\/?page_id=3502"},"modified":"2017-11-01T00:01:25","modified_gmt":"2017-10-31T23:01:25","slug":"parcours-art-school-differences","status":"publish","type":"page","link":"https:\/\/blog.zhdk.ch\/artschooldifferences\/parcours-art-school-differences\/","title":{"rendered":"Parcours Art.School.Differences"},"content":{"rendered":"

By Art.School.Differences co-researchers<\/a> and guests
\nThe Parcours Art.School.Differences presented reflections, findings, analysis, inquiries, questions, and work in progress by the Art.School.Differences co-research teams and guests in a brief format to facilitate involvement and exchange. Core to the Parcours was engaging deeply and personally with anti-discriminatory considerations, practices, and methods around art schools and higher art education.<\/strong><\/p>\n

How to Survive in the Swiss Art School Jungle?<\/strong>
\nThe daily micro-practices of discrimination of international students at art schools
\nby Coko Nuts Collective (represented by Daniel Zea & Andrea Nucamendi)<\/p>\n

Inspired by several activist artists and collectives, as well as other art projects, the Coko Nuts collective uses real-life testimonies and a lot of humour to address inequities within art institutions and society in general. Coko Nuts questions, what are successful strategies by non-European students to deal with inequities encountered at their schools? How can these strategies be depicted in art projects? And how can a more equitable treatment of non-European students lead to a more successful internationalisation of Swiss art schools? They present a series of video interviews with foreign students who have faced exclusion, in one way or another, during their student life in Geneva\u2019s Art Schools (HEAD \u2013 Gen\u00e8ve & HEM Gen\u00e8ve \u2013 Neuch\u00e2tel) in order to provide some answers and raise new questions.
\n(See also SWISS ART SCHOOL JUNGLE<\/a>)<\/p>\n

**
\nAre You Good Enough?<\/strong>
\nThe notion of good design and its role in design education
\nby Sarah Owens<\/p>\n

This installation allows the viewer to stroll through the field of graphic design in search of those who are considered \u2018good designers\u2019. Along the way, the viewer encounters statements, images, and descriptions that aim to grasp and define who or how such a designer should be. The intent of the installation is for attendees to find themselves with more questions than answers. Who determines what good design is? Do good designers always produce good design? Is it true that good designers don\u2019t read? And what is meant by the term \u2018good\u2019? A further step involves bringing into play the viewer\u2019s notions and placing questions of education at centre including: at what point is the good designer introduced and established in design education? Are changes possible?
\n(For further reflection see ARE YOU GOOD ENOUGH? THE NOTION OF \u00abGOOD DESIGN\u00bb<\/a>)
\n**
\nWhere in the World Do They Teach That?
\n\u2013 A Reflective Exercise on a Way to Create Global Connections in a New Curriculum<\/strong>
\nReflections on decolonising the curricula at art schools
\nby Nana Adusei-Poku & NIC Kay<\/p>\n

Curricula are scripts which create hierarchies of knowledge that decide what is culturally important and what can be left out as particular and specific knowledge. Although the desire for \u2018diversity\u2019 is a common denominator in contemporary art education and institutional practices, the question remains whether these practices and desires are continuities of a form of whitewashing artists and creative practices of colour, or if these attempts are interested in creating space for knowledge production that allows an understanding of our shared colonial histories, global aesthetic, philosophical, and sonic movements. This performative parcours is therefore an exercise identifying a web of interconnectivity while journeying through a decolonised pedagogy.
\n**
\nLe solf\u00e8ge, un langage universel?<\/strong>
\nHow solf\u00e8ge \u2018makes differences\u2019 in the access to higher music education
\nby Micha Seidenberg & Victor Cordero-Charles<\/p>\n

Sous le terme \u00ab solf\u00e8ge \u00bb se regroupent une s\u00e9rie de comp\u00e9tences acquises par un_e musician_ne lui permettant, d\u2019une part, de chanter un texte musical, en reproduisant correctement les hauteurs et les rythmes, et d\u2019autre part, de r\u00e9\u00e9crire une partition \u00e0 partir de l\u2019\u00e9coute d\u2019un fragment donn\u00e9. Fortement ancr\u00e9 dans la tradition fran\u00e7aise, le solf\u00e8ge repr\u00e9sente une discipline \u00e9liminatoire dans le processus d\u2019admission aux hautes \u00e9coles de musique suisses et fran\u00e7aises. Cela signifie donc un fort potentiel d\u2019inclusion et d\u2019exclusion. En effet, d\u2019autres traditions p\u00e9dagogiques ont d\u00e9velopp\u00e9 des approches diff\u00e9rentes du solf\u00e8ge qui demandent parfois des capacit\u00e9s cognitives dont l\u2019\u00e9chelle de perception est bien plus fine que celle de la tradition r\u00e9gionale et occidentale. Etant donn\u00e9e que ces \u00e9coles suisses et fran\u00e7aises souhaitent int\u00e9grer des \u00e9tudiant_e_s de provenance internationale et donc aux connaissances bien diff\u00e9rentes de celles construites par l\u2019\u00e9cole de solf\u00e8ge occidentale, un conflit d\u2019int\u00e9r\u00eat \u00e9merge. Lors de la pr\u00e9sentation cette tension contradictoire est saisie par la discussion de passages d\u2019entretiens avec des \u00e9tudiant_e_s internationaux_ales.
\n**
\nDouble-quoted World
\n\u2013 How Designers with Working-Class Background Deconstruct Universal Categories of Aesthetics \u2013<\/strong>
\nHow aesthetics is situated and proves to be limited to very specific contexts
\nby Paola De Martin<\/p>\n

\u201cWho can afford to \u2018improvise\u2019 at these prices?\u201d (James Baldwin)<\/p>\n

Designers with working class background are rare exceptions in the highly middle and upper class dominated work field, but they do exist. In interviews about their upward mobility, De Martin asked them how they viewed mobility in relation to taste and style. Interviewees expressed a rupture in their perception of life and emotionally dense moments of irritation. The whole world became, as one designer described it, a \u201cdouble-quoted\u201d one. Some examples of these ruptures will be presented here and attendees are invited to consider the following questions: is it true that even the most universal categories of aesthetics (i.e. \u201cpostmodern irony,\u201d \u201cmodernist reductionism,\u201d \u201ctrash,\u201d \u201csophistication,\u201d \u201cauthenticity,\u201d \u201ciconoclasm,\u201d etc.) are implicitly related to, and situated within, class adherence? Does this then imply a cost that cannot be afforded by everybody?
\n(For a publication of further reflections and results see A DOUBLE-QUOTED WORLD<\/a>)
\n**
\nMentoring and Practices of Collective Supervision<\/strong>
\nThe dislocation of teaching formats and mentoring
\nby Romy R\u00fcegger<\/p>\n

Insights from our inquiries into mentoring and practices of collective supervision will be presented collectively and guided by the following questions: how has mentoring become such an important teaching format in the field of visual arts? Is it a safe space? Or is it a setting that fosters exclusive knowledge? Does mentoring represent a dialogic intimacy that produces vulnerability? If so, how can these be addressed? And if not, what kinds of authority are favoured? How can mentoring be practiced as a teaching format that acknowledges its embeddedness in a broader social field \u2013 thus based on canons and power structures connected to them \u2013 despite their personal and intimate tone? How can the practice of mentoring be questioned, researched, negotiated, and changed towards collective forms of artistic knowledge production in order to reveal its situatedness within specific references and modes of speaking?
\n(For further reflection, see WAS STELLT MENTORING IM KUNSTUNTERRICHT HER?<\/a>)
\n**
\nVage Vorstellung vom eigenen Audruck in Kunst und Unterricht<\/strong>
\nThe determining and at the simoultaneously fuzzy conception of \u201cthe proper and own expression\u201d while teaching arts
\nby Lorenz Bachofner, Laura Ferrara, Julia Kuster & Nora Schiedt<\/p>\n

Welche Vorstellungen vom \u201eeigenen Ausdruck\u201c haben Lehrpersonen und Verfasser_innen von Lehrpl\u00e4nen des Fachs Bildnerisches Gestalten auf Gymnasialstufe? Inwiefern wirken diese Vorstellungen ausgrenzend? In der Tat ist der \u201eeigene Ausdruck\u201c ein Schl\u00fcsselbegriff in den Lehrpl\u00e4nen auf Gymnasialstufe. Lehrpl\u00e4ne sind Richtlinien f\u00fcr Lernziele und Kompetenzen, an denen sich Lehrer_innen f\u00fcr ihren Unterricht orientieren. Bachofner, Ferrara, Kuster & Schiedt analysieren Bilder, auf welche sie in ihrer t\u00e4glichen Arbeit als Lehrpersonen f\u00fcr Bildnerisches Gestalten stossen, und werten sie nach dem Kriterium des eigenen Ausdrucks aus. Dabei werden Fragen nach impliziten Wertvorstellungen ergr\u00fcndet und hinterfragt.
\n(For further reflection see EIGENER AUSDRUCK IN KUNST UND UNTERRICHT<\/a>)<\/p>\n

**
\nArt-Related Feminist Practices
\n\u2013 Artists at Work, from Talk to Action. How to Deviate from Normativities?<\/strong>
\nPracticing feminist art research and activism
\nby Ma\u00eblle Cornut with Marie-Antoinette Chiarenza<\/p>\n

\u201cSometimes, when I hear a conference and it is mostly interesting, my brain starts to drift off in another room (dreaming or reviewing the list of things done, not done), [and] I\u2019m more or less pissed off because I have not really listened to this fascinating lecture.\u201d \u2013 from an article on the brain<\/p>\n

Cornut and Chiarenza are re-staging a work situation in a fictional studio. Inspired by the studios of existing artists, the set features materials of significance like books, posters, drawings, and other visuals. If requested by the participants, some of the elements can be put into practice, such as drawing or filming. A fifteen-minute document will be played twice; the first time, it will be played as an audio file and the second time as a video file to enable a multi-layered understanding of a specific topic. Using this approach, Cornut and Chiarenza hope to share their research practices and collectively address questions: what are the references that we are using? How do artists research a specific issue? And what do we bring from the brain to the hands and vice versa?
\n(For the Zine \u00abColouring Sheets\u00bb resulting from the workshop see ZINE ART RELATED FEMINIST PRACTICES<\/a>)
\n**
\nWalk or Die<\/strong>
\nExperiencing the student curriculum at a design school through resistance, assimilation, dissimulation, confrontation and autonomy
\nby Patricio Andr\u00e9, Claire Bonnet, Fabio Fernandez da Cruz & Ivan Gulizia<\/p>\n

The acceptance of students with different cultural, ethnic and social backgrounds into art schools is based on the assumption that they will be able to assimilate to the school once admitted. However, in the absence of a common language, it is very difficult for these students to participate fully within the offered programme without incorporating a specific criteria of assessment through teaching techniques. You are asked to engage with the full complexity of the experiences of these students by navigating and questioning institutional structures and power relations from their perspective. Some guiding questions include: what do I do if my chosen artistic references do not meet the school\u2019s priorities or taste? And what if my professor disregards them? What do I do if the dialogue between the school and me affects my work or practice? What tools are available to include students of different cultural and social backgrounds? And how do I criticise structures that remain unquestioned and are the promising fundament for a thriving professional future?
\nBy tackling these questions the attempt is made to bring a specific kind of learning to the fore that validates alterity.
\n**********************************<\/p>","protected":false},"excerpt":{"rendered":"

By Art.School.Differences co-researchers and guests The Parcours Art.School.Differences presented reflections, findings, analysis, inquiries, questions, and work in progress by the Art.School.Differences co-research teams and guests in a brief format to facilitate involvement and exchange. Core to the Parcours was engaging deeply and personally with anti-discriminatory considerations, practices, and methods around art schools and higher art … Parcours Art.School.Differences<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":2485,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3502","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/pages\/3502","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/users\/2485"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/comments?post=3502"}],"version-history":[{"count":7,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/pages\/3502\/revisions"}],"predecessor-version":[{"id":3952,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/pages\/3502\/revisions\/3952"}],"wp:attachment":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/wp-json\/wp\/v2\/media?parent=3502"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}