Experimental Pedagogy

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En provenance du cours de Duke University

ART of the MOOC: Public Art and Pedagogy

24 notes

Duke University

ART of the MOOC: Public Art and Pedagogy

24 notes

Students of this course may try their hand at their own public art interventions, or simply focus on learning from the theory of public practice and its recent history. Designed by artist and Duke professor, Pedro Lasch, and co-taught by Creative Time artistic director, Nato Thompson, this course presents public culture and art in their radically reinenvented contemporary forms. The lectures link major developments of recent decades to wider topics like spatial politics, everyday social structures, and experimental education. Also included are guest presentations from key thinkers and practitioners, like: Tania Bruguera, Claire Doherty, Tom Finkelpearl, Hans Haacke, Shannon Jackson, Suzanne Lacy, Rick Lowe, and many more. As the ‘ART of the MOOC’ title implies, learners and participants are encouraged to treat the MOOC itself as a public art medium. This happens mostly through the course’s practical components, local project productions, global exchanges, and critical feedback. While no prior art making experience is required, projects also offer challenging options for advanced learners. For other course offerings or language versions in this series, just search 'ART of the MOOC' in the Coursera catalog.

À partir de la leçon

Experimental Pedagogy: Lectures, Guest Presentations, and Quiz

Many socially engaged artists are invested in the communication of ideas through education or educational projects. From Freire and Boal to Judy Chicago and Miriam Shapiro’s Womanhouse and the CalArts Feminist Art Program a brief review of experimental or radical pedagogy and its influence on art is hence the focus of this lesson. Using various technologies and social forms, some of these works set out to transform education from within. Others intentionally position themselves as self-organized platforms outside of institutions. Our focus will be on how the production of alternative communities of learning can challenge the hierarchies, professionalization, homogenization, and economy of current education systems. This week’s practical components will invite students to rethink their relationship to education as they chose between small-scale socialization and massive collaboration.

Experimental Pedagogy7:40

Prompt-Overview of Project and Peer Assessment4:42

Rencontrer les enseignants

Pedro Lasch
Visual Artist and Associate Research Professor
Duke Art, Art History & Visual Studies
Nato Thompson
Chief Curator
Creative Time

Welcome to the Art of the MOOC,

Merging Public Art and Experimental Education. My name is Pedro Lasch.

Socially engaged artists can be extraordinary communicators,

educators by training or vocation.

Using verious technologies and social forms.

Some of the works we will study in this module

set out to transform educational institutions from

within while others intentionally place

themselves outside them as self organized platforms.

Whether art is being made or studied is not necessarily relevant.

What matters is the production of alternative communities of

learning often challenging the hierarchies, professionalization,

homogenization and the debt mechanisms of our current education systems.

In his book, An Education for Socially Engaged Art,

artist and educator Pablo Helguera,

addresses the importance of education and the history of

pedagogy for these new forms of cultural production.

From Pablo Freire very influential practice of

the pedagogy of the oppressed to the present day.

He also stresses the role of dialogue in recent pedagogical movements,

something that is echoed in the social art sphere by what one of its main theorists,

Grant Kester has even termed dialogical art,

a new form of art practice that is premised on conversation and exchange.

But how do we move from the top down lecture format or

artist audience relationship to

the more horizontal dialogue formats advocated by both Helguera,

Kester and so many socially engaged artists who care about education?

As head of a country,

the late president of Venezuela,

Hugo Chavez also became the host of his own very long duration weekly TV show.

Called Alo Presidente, it included a book club,

discussions, conversations, entertainment and more.

Much like Oprah show would or the U.S. Hispanic south of Uganda and

its usually successful models show CMP and

Domingo that ran for several decades before it.

Joseph Beuys was famously expelled from his teaching post in Germany when he insisted

that everyone can be an artist and all those who wanted could join his course.

None of these cases are brought up as positive or negative examples.

Simply as clear manifestations of what we will call

a radical opening of the roles and

function that were considered to be exclusive or closed.

In this case the role of the president,

the professor, or the artist.

There could be many other functions but what matters here is

the idea of a radical opening of taking a structure,

a figure, a role and opening it so that others can participate,

people who had previously been excluded.

While some may dismiss these particular efforts as demagogy or paradoxical grandstanding,

it is unquestionable that many experiments in radical education and

socially engaged pedagogy have stressed the importance of

such an opening even if they disagree on the best ways to accomplish it.

On a very different side of the spectrum for example are those who did not want

to rely on massive gatherings held by patriarchal voices such as that of the president.

I am talking about feminist activists,

artists and educators around the world in the 1960s and onwards, student movements, etc.

These often began to focus their attention on masses

of small gatherings and consciousness raising groups.

What some later have called activist or cultural cells.

WomanHouse, a project from 1972 is a great example of this and influential to this day.

It was founded by Judy Chicago and

Miriam Schapiro through the Kheil arts feminist art program in Valencia.

The house was 17 rooms turned into a big installation,

an old Hollywood mansion.

Only women came on the first day and over 100 visitors saw the installation.

Participants included Faith Wilding and Mira Schor and

many other artists who have since become known as key artists of the feminist movement.

Waiting. Waiting for someone to come in.

Waiting for someone to hold me.

Waiting for someone to feed me.

Added to these critical approaches have also come

those by artists and educators who have embraced new technologies

such as this very MOOC to increase access to

education but also to increase access to the production of knowledge.

Whether what is produced is artistic or not doesn't necessarily matter.

This is the first of four programs in which I want to

question some of the assumptions usually made about the traditions of European painting.

That tradition which was born about 1400, died about 1900.

Tonight, it isn't so much the paintings

themselves which I want to consider as the way we now see them.

Now, in the second half of the 20th century,

because we see these paintings as nobody sold them before.

John Berger's foundational Ways of Seeing for example

was actually started as a TV show for the BBC in 1972.

But also some of the earliest online bulletin boards and self organized

social media platforms like Rhizome and Nettime were actually founded and run by artists.

Last but not least,

we have educational theories and experiments that are so radical in nature and

so outside of official institutions

that while they have no direct connection with art and artists,

they end up being embraced or associated with them.

Among major examples of these we can

find Universidad Tierra lead by Gustavo Esteva in Wahaka.

A school committed to reclaiming and

regenerating the conditions in which

indigenous people traditionally have learned in their own ways.

The didactic and political events held by

the Sahmat Collective in India are another great example.

The Collective was founded in 1989 in response to the murder of political activist,

actor, playwright and poet Safdar Hashmi.

Their work has been defined in part by

their great resistance and stands against

the threat of religious fundamentalism and sectarianism.

The Caracoles Zapatistas en Chiapas are another fantastic example.

But there is also of course the influential ideas elaborated by Ivan Ilich

in his book "Deschooling Society" a work from 1971.

Now, our guest presenters have themselves been

key figures in a number of approaches we have covered here.

So we hope you will keep learning from them and also

look near you for what you consider to be examples and

practices of education that are so powerful that we

may consider them a form of social art in their own terms.

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