"At ane very unfortunate moment in history some philistine or group of philistines in a position of ability decided to isolate art from instruction and relegate it from its position in the metadiscipline of cognition to the field of study and arts and crafts where it is today." i

Luis Camnitzer

The door of the bus opens and a group of twenty children and their teacher get off. They cross the big courtyard and arroyo Transport 16 , which is located in the back to the left. The instructor knocks on the door and a short and very blonde woman wearing a bluish, virtually black, coat invites them in. The children feel the urge to run considering of the magnitude of the clear space, merely splashed by the residents' work cubicles, and, when they achieve the end, they sit down down forming a circle around the woman in the blue coat, considering they have already recognized her: Essi Kaussalainen, the Finnish creative person who had come to the school a week earlier and had asked them to work with her on Interior Landscape .
On the second day, to get back to our story about Hall xvi, after explaining the rules of the game (practise non touch the work of other residents with whom we shared infinite and do not damage one another), Essi asked the children to sign their artists' contracts. Afterward this, she disappears for a moment and comes back with a large container filled with flowers that she hands out to each participant. They each choose the flowers they like the most and connect them with themselves, transforming hereby the utilise of the plants likewise as of their bodies and extending the latter in a vegetal form. By using the flowers, they shape part of their new corporal landscape. Afterward this community collective activity, Essi asks the children to sit down down in a circle and to reflect on what had happened and what knowledge the community had created. Here, every participant explains the -elements that conform their Interior Landscape. Subsequently the activity, the children start running again, get through the door, cross the large courtyard and get on the bus empowered as cultural producers and with many questions with no answers.
The sequence that I simply described: is it art or educational activity? Is it Art Didactics or is information technology precisely the direction nosotros have to go, an experience full of cognition, process and creativity, an amazing and empowering pace, a pleasant experience that connects us to reality, gives us knowledge and helps u.s. critically reflect on what is happening in the world from the visual arts perspective?

Spending the imaginary: from Art Education to -artEducation
I have a very clear stance on what has to come adjacent in art education , and that is exactly what I am going to write about in this text. Merely I want to work from a indicate of possibilities, from the fact that in this moment there are professionals working towards change. I exercise not want to work only on the NOs, on what Art Education is Non 2 , I desire to work on the YES and empower teachers of visual arts to deport out the image shift that visual arts education needs.
Outside our field of work, the prototype shift, the -educational revolution or how I call it, the #rEDUvolution, is already a common identify. As of now, there are many voices, led by Ken Robinson, claiming for the modify and it is absolutely evident that the change in methods in the earth nosotros live in is urgent and necessary. three Merely, what happens in our field, in the instruction of visual arts? Art is a process inherent to the human being; therefore, this can be said about its teaching too. Throughout the history of mankind, new generations have been taught the forms and theories of artistic creation, mainly in oral form, and in each time and space adapted to their own contexts. In the present time, Art Education is anchored within a image in which it does non belong. It is deeply rooted in school and dissociated from the world where contemporary art is created, and for various reasons information technology is bound to an obsolete model whose backbone is the production of then-called crafts. Today is the day when we have to reclaim the necessity of change in our field's theories and practices and motion from Art Education (I will use this term in this text in guild to depict the well-nigh traditional practices that I consider need to exist changed) to artEducation, a discipline founded on a series of main concepts.
The commencement key notion of this discipline is the thought of -removing the boundaries betwixt Art and Education, bringing Bauman'due south concept of liquidity into our field of work. In the perception of the most traditional Art Teaching, there is a tacit separation between that which is Art and what is Education, a notion which is definitely abased in artEducation. The second key idea is that Art Pedagogy does not hateful KIDS painting. Our discipline is non intended to be exclusively for children; it is an expanse of cognition whose practices are meant for individuals of any age and that, just as the rest of educational practices, has to exist oriented towards intergenerationality.
The next main idea is to link two very concrete physical contexts: the school and the artist's atelier. artEducation proposes that the learning related to arts and visual culture takes identify anytime and anywhere, resulting in what nosotros may call expanded artEducation, a concept that comes from the ideas of Dewey 4 (Fine art as Experience) and Kaprow 5 (The Didactics of the Un-Artist).
Likewise, Art Education is not a subject field based on producing beautiful objects and pretty things. If nosotros analyze the visual complexity in which societies will have to develop in the future, we are going to have to repossess the work related to visual elements as one of the bones competences of every citizen.

Emancipatory knowledge
The previous ideas tin be summarized in one statement: artEducation works on the footing of emancipatory cognition, developed through a complex process and whose primary way of working volition be the artistic remix. Permit us analyze this argument in a more detailed manner.
Beginning of all, one of the chief differences between Art Education and artEducation is that the latter accepts that whatsoever visual product surrounding united states of america is an intellectual exercise whose true importance resides in the meanings that it generates; meanings that the spectators produce based on the body of knowledge they possess, their power to acquaintance and the context. The knowledge created from visual products is non trivial, information technology is cognition that profoundly affects united states of america; information technology is political and inclusive. ArtEducation not only addresses the colour combination, but it addresses the question if a color combination is necessary. It asks who decides to carry out the color combination. vi It has to do with the reaction provoked past how my motivation for buying something unnecessary is influenced past the colors. In artEducation, manual and technical skills are function of the possibilities and very important competences, but they are not the axis of a earth saturated by images.
In order to consider this intellectual implication of the visual worlds that surround united states, artEducation works with macro-narratives also equally with micro-narratives on the same level. It incorporates the macro-narratives as basic knowledge in art class and emphasizes the importance of the assay, and not simply the structure of images. In both cases (assay and production) nosotros have to incorporate two essential elements: visual culture and gimmicky fine art, both understood as visual macro- and micro-narratives. Visual language is the system mostly used in western societies today, because of its outstanding advice capabilities. ArtEducation promotes the incorporation of that group of images which are not considered artistic; contemporary visual culture understood as the channel that delivers the macro-narratives to united states of america. This notion is function of the art curricula described in the 1996 book Postmodern Fine art Education: An Approach to Curriculum and is one of the strongest tendencies in our subject area, particularly within the The states of America, where professionals similar Kerry Freedman vii or Paul Duncum 8 have adult a line of piece of work called Art Education for Visual Culture.
But, let the states non forget the micro-narratives. In spite of everything (and this is a reality that I face up in every land I visit), when teachers cartel to introduce art in the classroom, the artists and pieces selected very rarely would qualify every bit contemporary. Rubens or Picasso are probably the most commonly used artists, despite the fact that there are extraordinary visual representations made in our present time that we make up one's mind non to incor-porate into our practices. This leads to a complete ignorance on contemporary art within our societies, to its lack of appreciation and often to the near absolute disdain. In artEducation, just as nosotros are using publicity in existent time (the campaign that is being shown all effectually the urban center and during every commercial break), nosotros have to incorporate contemporary artists, whose languages and techniques, even though nosotros resist to accept it, perfectly fit with the aesthetics and the world envisioned past our students. Students who are educated through videos and who have no problems in understanding video art, students who instantly comprehend the bulletin of Dignatario , Nadín Ospina's pre-Colombian style sculpture made with terracotta that depicts Bart Simpson. Contemporary artists alive immersed in social reality, so their piece of work deals with current subjects: from pedophilia to maternity, from the destruction of nature to any sort of terrorism, from quantum physics to football game. Contemporary fine art can therefore be linked to whatsoever topic and we can use it equally an ideal way of beginning whatsoever content discussion in class. In short, contemporary art needs to be established as content in our daily work as educators, without eliminating the teaching of art from other periods.
It is easy to create hegemonic models of visual re-presentation. Considering they are highly available, information technology is much easier to reproduce macro-narratives (images that were created by those in power, for example advertizement, commercial cinema, many informative images and certain types of fine art) than to search for micro-narratives (images created by those not in power, for instance counter-advert and gimmicky fine art, besides as craftwork or the visual products created by the students themselves, etc.). I still remember with astonishment a example repeated in several books dedicated to visual didactics: in these books, as an example to explain how a cantankerous limerick works, virtually all authors chose a mythical piece, Rubens'south The Rape of the Sabine Women . In this painting, a grouping of terrified women, about to be raped, try to escape the torture and abuse, but, despite this incredible topic, teachers are withal using information technology -(either on the book or past projecting it on the wall) to -explain how a specific course of composition works. Past using it as didactic cloth, we are not only showing the students what a cross limerick is, merely we are teaching them to witness a future rape, we are telling them something like "this image is so perfect and its author is so of import that its topic, sexual corruption on a group of women, is secondary". This is what happens to images when we exercise non think of them in didactics, this is how they work when we are non able to reach the depths and only stay on the surface: we turn into transmitters of other'due south ideas, which very often go against our own.
In society to make Art Teaching more contemporary, we have to start using symmetric images, that is to say we have to recall about what we choose and project the same corporeality of macro-narratives as of micro-narratives. As professionals representing artEducation, we have to rethink the images that we work with and reorganize our choice based on the criterion of disquisitional symmetry. The goal is to comprise globalized likewise as local images into our activities, created by men too as by women, from the Westward and from other cultures, images that vest to high culture (museums, -scientific journals, renowned documentaries and official maps, etc.) and images from low culture (music videos, celebrity magazines, video games, etc.). We take to choose images from the past and the nowadays, the ones that we like or we think are interesting, but also the ones that the students like and are interested in.
Finally, I would like to mention a process that we as 21 st century art educators have to refuse to participate in, and that is to decorate the institution where we work when our superiors want to look good in front of (mainly) the parents (when you take to organize "something pretty" to put on the wall, etc.). In dramatic contrast to the figure of the traditional fine art teacher, nosotros take to create the effigy of the artEducator, an intellectual who works on the interesting crossroads of art and education, where both fields meet and their borders dissolve. This is an expert who promotes art as a pedago-gical process and teaching equally an artistic process, a professional person with a hybrid profile who tears down the bipolarity of professional stereotypes that identify artists and educators in opposite spheres, a professional person whose work is genuinely intellectual, political and transfor-mative, forth the same line as the Disquisitional Pedagogy theorists who write nigh "teachers as transformative intellectuals" 9 The next step is to visualize the intellectual value of the artEducator'southward piece of work and incorporate noesis equally the backbone of our practices.

Circuitous Process
The second important issue regards time, because traditional methods in art class inevitably teach the thought that artistic products are produced as if by magic: it is neither necessary to think virtually it nor to program it and there are no different production stages. Everything is done spontaneously, in the moment, and this is why many people who visit museums think "I can practise this likewise", because no one has shown them the amount of effort, planning, time and energy that hide behind an apparently simple piece of art.
For this reason, the second key notion that we need in fine art education is the value of the process; the idea that any product requires planning and a lot of time from the moment it is designed to its exhibition. We urgently need the people involved in visual art related projects to empathise the importance of transmitting exactly that, that all cultural producers work on projects and that a project is a temporal construct divided into different phases. In artEducation, just as it happens in the liquid world we live in, the true objective is to experience an object; an feel which is based on an intention and whose purpose is related to a socially relevant topic, committed to reality, adult with long term planning and produced in different phases. A piece of work that is to exist undertaken with passion and subject area and is created in a community, in a collaborative manner, the style todays artists work, in connection with other agents and combining the community's different sources of knowledge in a rhizomic way, without privileging one knowledge over the other. This piece of work comes into contact with the real professional earth and therefore with its mechanisms of legitimization, which in the present twenty-four hour period translates into the piece of work's exhibition in prestigious cultural institutions.
The process not only involves the production phase, but too analysis. While in traditional art teaching the emphasis is admittedly put on production, on the necessity to build an object that we can take home in guild to temporally decorate our refrigerator, in art-Education, the analysis process is as important. We support the notion that to clarify is an act of -cultural production, just as Spanish artist Joan Font-cuberta -proposes: "The most genuine and coherent -creative act of our time does not consist in producing new images, but in assigning meaning to the existing ones." 10 In -artEducation, nosotros take to design at to the lowest degree l% of activities related to analysis, considering the processes of analyzing, deconstructing and reflecting are absolutely on the same level as producing. Moreover, it has to get a habit, it should become the recount that my daughters practice when they sentinel a movie and guess how many girls are shown and if they play secondary or leading roles.

Creative Remix
Emancipatory knowledge and process cannot movement forward without creativity, merely the latter understood in a contemporary way, as a remix. When creativity is mentioned inside the context of art education, it always -refers to the students' creativity. In artEducation, creativity will also be the teacher'due south bones competence, a teacher who sees her or his part every bit a cultural producer. Withal, in a hyper technical world where the effigy of an expert has been entirely modified, to be a cultural producer is something very dissimilar to the notion nosotros had in the past and it may be like to how Nicolas Bourriaud defines a visual creative person: "[For nowadays artists] It is no longer a matter of elaborating a form on the ground of a raw material but working with objects that are already in circulation on the cultural market […]. Notions of originality (beingness at the origin of) and even of creation (making something from nothing) are slowly blurred in this new cultural mural marked by the twin figures of the DJ and the programmer, both of whom have the job of selecting cultural objects and inserting them into new contexts." 11
 Bourriaud is 1 of the almost interesting theorists reflecting on the roles of today's artist. Investigative and critical, his two books Relational Aesthetics 12 and Postproduction 13 can be interpreted every bit essays on gimmicky art or essays intimately related to pedagogy. Co-ordinate to Bourriaud, in the 21 st century the term author (regardless if we are musicians, chefs or teachers) acquires a new significant: we create on the foundations of other people's ideas. The notion of producing knowledge in a rhizomatic way, laid out by French philosophers Gilles Deleuze and Félix Guattari, fourteen proposes that to copy is to (re)generate, such that a DJ generates a personal discourse when arranging other's music in a specific way. In Postproduction , Bourriaud defends the theory of the artist as a DJ, a creator who works with what has been created , because "[a]ll these artistic practices […] accept in common the recourse to already produced forms. They testify to a willingness to inscribe the work of fine art within a network of signs and significations, instead of considering it an autonomous or original course". 15
 Bourriaud's conviction is articulate: information technology is unthinkable for the states to create something out of aught, a notion that is direct linked to the rhizome concept. When creating, we always start from a previous input, in a way that we make (new) connections and the genuine and completely original creation loses its meaning. For nowadays artists, to reprogram may be a new verb, but if we analyze it thoroughly, it is something that we teachers have always done, considering the content that we work with has inappreciably ever been entirely ours . For this reason, educational work in the 21 st century has to be founded on the notion of the teacher as a DJ, specifying our work every bit producers of remixes and validating the idea that a remix is a cosmos, not a copy.

In the get-go of this text, I sustained that a prototype shift inside educational practices in visual arts is a basic necessity. This challenge is to be addressed on the basis of artEducation, a model which produces emancipatory knowledge developed through a complex process and whose main working method is the creative remix. What is withal to come is to brand these ideas our ain and to transform them in order to make them tangible in classrooms, museums and hospitals, out on the streets and in our homes. If visual art pedagogy is not transformed in an area of contemporary knowledge, its ain obsolescence volition eliminate information technology. This is what is even so to come.

Translation: Dana Ersig / 2014.

one.) Luis Camnitzer, Introducción. Educación para el arte. Arte para la educación. Porto Alegre 2009. (world wide web.yumpu.com/es/document/view/14213328/arte-e-educacao-fundacao-bienal-do-mercosul/287; too: http://mariaacaso.blogspot.de/2013/10/2013-el-museo-es-una-escuela-i-la-9.html)
2.) María Acaso, La educación artística no son manualidades. Nuevas prácticas en la enseñanza de las artes y la cultura visual. Madrid 2009.
3.) María Acaso, rEDUvolution. Hacer la revolución en la educación. Barcelona 2013.
4.) John Dewey, Experience and education. New York 1883.
5.) Allan Kaprow, "The Pedagogy of the United nations-Artist", in: Idem, Essays on the Blurring of Art and Life, Berkeley 2003.
six.) María Acaso, La educación artística no son manualidades. Nuevas prácticas en la enseñanza de las artes y la cultura visual. Madrid 2009.
7.) Kerry Freedman, Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art. NY/Reston 2003.
8.) Paul Duncum, Visual culture in the art class: example studies. Reston 2006.
ix.) Henry Giroux, Teachers as Intellectuals: Toward a Disquisitional Pedagogy of Learning. Santa Barbara 1988.
10.) Original Spanish quote: "El acto de creación más genuino y coherente en nuestros días no consiste en producir nuevas imágenes, sino en asignar sentido a las existentes" (Joan Fontcuberta et al., Contranatura, Barcelona 2001.)
11.) Nicolas Bourriaud, Postproduction: Culture as Screenplay: How Fine art Reprograms the World. New York 2002, p. vi. (http://kinesthesia.georgetown.edu/irvinem/theory/Bourriaud-Postproduction2.pdf)
12.) Nicolas Bourriaud, Relational Aesthetics. Dijon 2002.
13.) Nicolas Bourriaud, Postproduction, 2002.
xiv.) Gilles Deleuze, Félix Guattari, L'Anti-Œdipe. Paris 1972.
15.) Nicolas Bourriaud, Postproduction, 2002.

[Dieser Text findet sich im Reader Nr. 2 auf Southward. 24.]

[Es sind keine weiteren Materialien zu diesem Beitrag hinterlegt.]

María Acaso

(*1970) is a professor of Fine art Education and director of the line of research on education in visual arts museums at the Fine Arts Faculty of the Complutense University of Madrid. Since the beginning of her grooming at the Universidad Complutense de Madrid she has been convinced that the current education system is outdated and in need of an urgent modify of paradigm. She is a member of the group „Invisible Pedagogies" and director of the „Escuela de Educación Disruptiva" and author of a number of books such as: rEDUvolution: hacer la revolución en la educación (2013), Pedagogías invisibles: El espacio del aula como discurso (2012), La educación artística no son manualidades (2009), Esto no son las Torres Gemelas (2006). http://mariaacaso.es

Analyse, Bedeutung, Dekonstruktion, Generation, Gesellschaft, Hegemonie, Kollektiv, Kreativität, künstlerische Praxis, Kunstpädagogik, Kunstunterricht, Lehrer, Macht, Postproduktion, Prozess, Remix, Repräsentation, Schule, Visuelle Kultur, Wandel, Wert, Zukunft

Bourriaud, Nicolas  ·  Deleuze, Gilles  ·  Dewey, John  ·  Duncum, Paul  ·  Freedman, Kerry  ·  Guattari, Félix  ·  Kaprow, Allan  ·  Ospina, Nadín  ·  Rubens, Peter Paul

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