Collaborative Arts Week 8

Collaborative Arts Week 8

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Week 8 and we had another walk through. The sun was shining this morning and there was nowhere better to be than at the top of the Rock looking out over the town across to the Uillinn Arts Centre and the surrounding hinterland. The area is so large we gave names to particular places to help identify them to ourselves when working out our plans. Doctors Hill, Telecom Lane and Windmill Lane are access points. Well Lane, Fire Pit, Famine Memorial, Roundabout, Skeety Rock Lane are the physical features of the 4.5 acre site. Pictured above is our newly appointed HQ. Exciting times ahead in 2016.

Art of the MOOC Experimental Pedagogy

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Artist as educator – transforming institutions from within or setting up new communities of learning

Pedagogy new forms of cultural presentation  Pablo Helguerais the author of Education for Socially Engaged Art: A Materials and Techniques Handbook (2011) Freire emphasises dialogue  as does Kester based on conversation & exchange

 

Hugo Chavez Allo Presidente

Beuys radical opening of roles that had previously been closed – President / Professor

 

Feminist activists / student movement focus attention on small gatherings cultural cells

Womanhouse Judy Chicago Miriam Shapiro 17 room installation Faith Wilding Waiting

John Berger Ways of Seeing BBC TV 1972

Rhizome – NetTime founded and run by artists online

 

Universidad la Tierra

Sahmat collective

Caracoles Zapatistas in Chiapas

Deschooling Society Ivan Illich

 

Guest presentations:

Suzanne Lacy Mapping the Terrain / founder of grad program in “public practice”

Tania Bruguera – Cathedra Arte de Conducta  invited international figures as an art project as well as also the founder of the Hannah Arendt International Institute for Artivism.

Sean Dockray founder of Aaargh online article library & founded Public School

 

Suzanne Lacey

 

education is fundamental to art practice

 

Education & Emancipation.

 

Art operates in public realm as pedagogy – needs more careful excavation by practitioners.

How are artists educated for social practice – the fieldwork & theoretical resources necessary does not normally exist in an Art School.

Host a class in the middle of the college art association revealing the network that exists between practitioners.

What are the politics of accessing 3rd level education?

Need to learn to make art?

Need to learn professional practice but also systems analysis / engagement strategies/ access to  specific areas of knowledge in order to operate effectively in the public realm – train in a guerrilla fashion

University of Bristol to construct an online program that represents the voices of people from Knowle west – collect knowledge that exists within the community in 2 minute videos how do they bury people how do they hunt for foxes – then reassembles for classes. Peer led classes teen mothers leading classes on childbirth. http://www.suzannelacy.com/university-of-local-knowledge/

Museums struggling to catach up with social practice and performance art – how a museum identifies a work and puts it in its collection provokes a lot of thought among artists – crystal patchwork collected by TATE

 

TANIA Brugeura

Cathedra Arte de Conducta 200 Cuba Biennial

A work of art & a school reflecting on education as a tool for social transformation

Nicholas Bourriaud / Clair Bishop Rikrit Tiravanja gave separate workshops – to create opposing views for students so they could draw their own conclusions

education as knoweing / analysis / rand esolution leads to arte util which can have short or long term impacts

Tatlins Whisper

Brings iconographt of the familiar images insisede teh art institution

fears for egotistical art ptractices that abandon public to mass culture

 

Sean DOCKRAY

aaaaagh

 

Collaborative Arts Week 7

Collaborative Arts Week 7

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Week 7 was important for us. We decided that we can continue to work together as a group after the research phase is complete. The experience of having spent 6 weeks meeting in different sites, discussing diverse artistic practices and processes gives us a shared field of reference and a language for discussing our artistic ambitions. Next week we will try and pin down those ambitions more specifically – a process that will be both iterative and generative. This week we met in the enclosed space of Uillinn. Next week we are back on the Rock – in the expanded field that I love.