Doris Arztmann and Eva Egermann
Cyborg Exits in the Classroom
Body-heteroglossia and crip tools for dirty knowledges in art teaching
Choosing the form of an email-conversation, Doris Arztmann and Eva Egermann discuss their workshop Body-Heteroglossia – unruly inscriptions in art classes and questions it raised. They draw on Disability Studies and Crip Theory, they render normativity in educational contexts problematic, and connect art teaching to negotiations of power and knowledge by drawing on Donna Haraway. Their conversation is a reservoir of tools, texts and proposals for practice: How can a change of perspectives on «disability» take place in schools and specifically in art teaching? From a critical crip perspective the paper shows that such a change means getting dirty.
Sabian Baumann and Simon Harder
«By eating an apple, you’re eating the scenery.»
In this interview by Simon Harder, Sabian Baumann discusses how s_he and the collaborating performers tried to conceptually and performatively queer nude drawing and its connected patriarchal understandings of art based on unquestioned dualisms. Their class Body–Spirit/Mind–Scenery. A Body, which is not a body. Queer-Feminist Nude Drawing explicitly focused on gender issues. However, the resulting drawings weren’t as explicit, but rather imaginatively and medially convincing.
(Un)learning Taste in the everyday (at school)
How does my taste influence my teaching? Why, as a teacher, it almost slightly offends me if the sovereignty of my «good» (qua «educated») taste is challenged by the aesthetical preferences of students and colleagues? The paper describes the mechanisms by which certain forms of taste are assimilated and searches for teachers‘ possibilities to both learn and unlearn in and through their practice.
How does school invest in the screen?
InVisibilities and socio-political responsibility of art education
This article argues out of a queer-feminist perspective why an understanding of visibility is to be considered problematic, if it refers to naturalness or immediacy. It further points out why this understanding must be called violent. In addition it describes an approach to art education and substantiates it drawing on the example of the educational project World in between: I am – What am I? The project points to possibilities of negotiating InVisibility at school, as a conclusion the article drafts preconditions for a productive collaboration between the academia and the professional field.
Formation of taste as «doing nation»: observations while taking a break
This text documents thoughts – on the formation of taste as a hegemonial practice of nation building, on taste and distinction and on the author’s own habitus – developed during repeated visits to Sihlfeld cemetery in Zurich. It concludes with considerations on a second-order formation of taste in present times.
Is it Taste that makes the difference?
Formation of jugdements of taste and social inequality in art education
To a large extent and contrary to the common individualistic description of judgements on taste, our perceptions are socially predisposed. Even though confirmed by sociology, this fact is not easy to teach. By discussing works in art history, something can be learned about the complexity of the relation between subjectivity and the social affiliation of taste.
How art schools exclude and normalize
Reflections based on a participative research process
Based on experiences in the participative co-research-process of Art.School.Differences, an ongoing research and development project at Swiss art schools, this article questions if and how marginalizing and normalizing structures of inclusion and exclusion in the field of art schools can be successfully identified and re-worked. By outlining negotiations and by tracing interventions into the co-research-process by different players this article provides an insight into areas of conflict and power relations inscribed in the project.
Elke Smodics und Nora Sternfeld (Büro trafo.K)
The taste of another possibility
We would like to trace the oscillating logic of taste from a perspective of educational practice. How can this logic be understood, between the normalizing production of certainties on the one hand, and the possibility of disturbing these certainties on the other? We are especially interested in those ambivalent moments, in which the naturalness of judgements of taste are deconstructed in educational practice.
The «Cabinet of Bad Taste» by Gustav E. Pazaurek
On the occasion of the special exhibition Evil Things. An Encyclopedia of Bad Taste by the Werkbundarchiv – Museum der Dinge this article portrays The Cabinet of Bad Taste of Gustav Pazaurek. It opened in 1909 in Stuttgart and gathered numerous handcrafted products and industrial goods that Pazaurek labelled as examples of bad taste. Based on his historical complex system to categorize mistakes, this article examines tendencies of taste and design in current product culture.
Teaching the world to the arts
Many cultural institutions today find themselves in a dilemma: On the one hand, programming should, and wants, to reach as many people as possible – especially young people, and particularly those young people that the legitimized art world perceives as «distant» from the arts. On the other hand, cultural institutions have little knowledge of this targeted audience. Neither they do understand why it persistently stays away nor how this is to be changed. That is where the project «Art Affiliators» has its starting point: The current project of the Institute for Art Education works on the «rules of the game» of the art world, in order to identify them systematically, to take young people’s position concerning this game, and to possibly change it. The paper discusses the problems of well-intentioned notions of access and gives insights into the ongoing project and its approaches to inclusive learning programmes.
Beauty in aesthetic capitalism
The importance of physical appearance in job and relation markets increases. What points to this fact is a proliferation of concepts such as beauty work and –capital, aesthetic capital or lookism, the connected discrimination. Likewise, the fields of aesthetic economy are growing. These developments allow to define an aesthetic capitalism.