The first, and perhaps longest running, pedagogic project of the 2000s was Ca\u0301tedra Arte de Conducta (2002\u20139): an art school conceived as a work of art by Cuban artist Tania Bruguera (b.1968). Based at her home in Havana Vieja and run with the help of two staff, it was dedicated to providing a training in political and contextual art for art students in Cuba. [\u2026]\u00a0she wished to make a concrete contribution to the art scene in Cuba, partly in response to its lack of institutional facilities and exhibition infrastructure, and partly in response to ongoing state restrictions on Cuban citizens\u2019 travel and access to information.<\/p>\n
Strictly speaking, Arte de Conducta is best understood as a two-year course rather than as an art school proper: it was a semi-autonomous module under the auspices of the Instituto Superior de Arte (ISA) in Havana. Students didn\u2019t get credits for attending it, but the institutional affiliation was necessary in order for Bruguera to secure visas for visiting lecturers.<\/p>\n
The school, like many of the student projects it produced, can be described as a variation on what Bruguera has designated as \u2018useful art\u2019 (arte util) \u2013 in other words, art that is both symbolic and useful, refuting the traditional Western assumption that art is useless or without function. This concept allows us to view Arte de Conducta as inscribed within an ongoing practice that straddles the domains of art and social utility.<\/p>\n
Freire maintains that hierarchy can never be entirely erased: \u2018Dialogue does not exist in a political vacuum. It is not a \u201cfree space\u201d where you say what you want. Dialogue takes place inside some programme and content. These conditioning factors create tension in achieving goals that we set for dialogic education.\u2019 In other words, critical pedagogy retains authority, but not authoritarianism: \u2018Dialogue means a permanent tension between authority and liberty. But, in this tension, authority continues to be because it has authority vis- a\u0300-vis permitting student freedoms which emerge, which grow and mature precisely because authority and freedom learn self-discipline.\u2019<\/p>\n
[\u2026]\u00a0a single artist (teacher) allows the viewer (student) freedom within a newly self-disciplined form of authority.<\/p>\n
Pedagogic art projects therefore foreground and crystallise one of the most central problems of all artistic practice in the social field: they require us to examine our assumptions about both fields of operation, and to ponder the productive overlaps and incompatibilities that might arise from their experimental conjunction, with the consequence of perpetually reinventing both.<\/p>\n
[Rancie\u0300re] argues that in art, theatre and education alike, there needs to be a mediating object that stands between the idea of the artist and the feeling and interpretation of the spectator: \u2018This spectacle is a third term, to which the other two can refer, but which prevents any kind of \u201cequal\u201d or \u201cundis- torted\u201d transmission. It is a mediation between them, and that mediation of a third term is crucial in the process of intellectual emancipation. […] The same thing that links them must also separate them.\u2019 In different ways, these philosophers offer alternative frameworks for thinking the artistic and the social simultaneously; for both, art and the social are not to be reconciled, but sustained in continual tension.<\/span><\/p>\nWe need to recognise art as a form of experimental activity overlapping with the world, whose negativity may lend support towards a political project (without bearing the sole responsibility for devising and implementing it), and \u2013 more radically \u2013 we need to support the progressive transformation of existing institutions through the transversal encroachment of ideas whose boldness is related to (and at times greater than) that of artistic imagination.<\/p><\/blockquote>\n
Send a job application to the National Gallery (in Finnish). In short I propose Kettlebell training sessions next to the collections of national art:<\/p>\n
“Haluan ohjata Ateneumin suomalaisen taiteen kokoelman\u00e4yttelyn yhteydess\u00e4 kahvakuulajumppaa. T\u00e4m\u00e4 ei ole vitsi. Harjoittelun my\u00f6t\u00e4 opitaan liikkeiden perusteita (turkkilainen maastanousu, yhden k\u00e4den tempaisu) ja saadaan fyysisen toiminnan kautta ainutlaatuinen ote taiteeseen. Intensiivisen\u00a0jumpan ohessa katsomme valikoituja teoksia, keskustelemme niist\u00e4 ja kuulemme teoksiin liittyvi\u00e4\u00a0puheenvuoroja. Olen tehnyt kahvakuulan kanssa\u00a0taide-esityksi\u00e4 vuodenp\u00e4iv\u00e4t ja k\u00e4ytt\u00e4nyt sit\u00e4 my\u00f6s\u00a0taideopetuksen ty\u00f6kaluna (Maa-taidekoulu 2016, Kankaanp\u00e4\u00e4n taidekoulu 2017). Intesiivinen fyysinen harjoittelu avaa taidetta eri tavalla kuin passiivinen k\u00e4yskentely. Minulla on alustavia suunnitelmia kuinka\u00a0ty\u00f6skentely kannattaa toteuttaa. Toimintaa olisi johdonmukaista k\u00e4ynnist\u00e4\u00e4 esimerkiksi ty\u00f6n-teemoihin liittyvien n\u00e4yttelyiden yhteydess\u00e4. Toimintaan on my\u00f6s referenssej\u00e4 maailmalta (mm. Metropolitan Museum of Art on j\u00e4rjest\u00e4nyt liikunnallisia taide-esittelykierroksia). T\u00e4ss\u00e4 ehdotuksessa on kuitenkin kyse syv\u00e4llisemm\u00e4st\u00e4 yrityksest\u00e4 hahmottaa taideteoksia, kehoa\u00a0ja museota.”<\/p>\n","protected":false},"excerpt":{"rendered":"
Met with Maria Oiva for an interview concerning her Digi-artist venture. She is going to blog about the discussion. Learning about Tania Brugueras’ “Useful Art” concept from Claire Bishops’ book\u00a0Artificial Hells\u00a0(2012). “Useful Art” feels fitting to\u00a0Trans-Horse activities (even better than “Maintenance Art”). The chapter “Conclusion” (pg. 275) is really good to read. I don’t agree … <\/p>\n
Continue reading “20170412”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[322,327,262,333,366,338,367,20],"class_list":["post-1554","post","type-post","status-publish","format-standard","hentry","category-log","tag-bodybuilding","tag-claire-bishop","tag-hollo-institute","tag-jacques-ranciere","tag-maria-oiva","tag-paulo-freire","tag-tania-bruguera","tag-trans-horse"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/1554","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/comments?post=1554"}],"version-history":[{"count":0,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/1554\/revisions"}],"wp:attachment":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/media?parent=1554"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/categories?post=1554"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/tags?post=1554"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}