20. April bis 3. Juni 2018
Ausstellung mit 16 Platten
Nordwand, Museum für Gestaltung Zürich
Organisiert von Robert Ashley, Sarah Lütolf, Irina Werner, Dozent Paolo Bianchi
Künstler Peter Radelfinger
Montag, 16. A pril 2018, 13.15 – ca. 18 Uhr
Treffpunkt: Ebene 3, Stammtisch
Wie erforschen unser kreatives Potenzial und bringen es in einem Happening zum Ausdruck – im Weltformat. Inspirationen holen wir uns vom legendären Black
Mountain College. Der Künstler Peter Radelfingerist unser Reisebegleiter und Coach. Ihr seid eingeladen, an diesem Abenteuer und Experiment teilzunehmen!
Wir freuen uns auf eure Mitwirkung!
DKV, MA Art Education
Der kuratierte Blick auf das Phänomen “Black Mountain College”
Which fundamental question lies behind the phenomena “Black Mountain College”? We have read a little about what drove John Andrew Rice and his compatriots to set up the college in California in the first place. Inspired by John Dewey’s holistic approach to education, they had begun to alter their teaching paradigm at the college where they were working, and evidently were subverting the authority of the administration to an intolerable degree. When they refused to declare their loyalty to the institution, they were dismissed. Apparently, however, there was enough support for their movement for them to be able to instigate their own college and motivate sufficient students and lecturers within a very short space of time. Their approach to their students seems to address a question: what motivates a student to study and what motivates a lecturer to teach. Further questions are raised by the fact that the college is regarded in some measures as highly successful despite the fact that very few students ever received a degree from there. Transferred to our present situation: Black Mountain rejected a consumer approach to education, whereas the institution currently celebrating it, the ZHdK, through it’s political surroundings and the attitudes held by many of it’s students, is very much consumption orientated. The degrees we receive are regarded as having material value, the education leading up to them less so. Whereas the Black Mountain College encouraged design and artistic processes as drivers for the Avant Guard, the processes encouraged at the ZHdK have predetermined outcomes within a rigid aesthetic framework, and are decidedly conservative.
Cover: Peter Radelfinger, 70/29; 70/28, 2005, 268 x 210 mm, Filzstift auf Papier.
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