Learning on the Run: From Psycho-Modernism to Fugitive Sociality

IF 0.2 2区艺术学 0 ART

ARTMargins Pub Date : 2022-02-01 DOI:10.1162/artm_r_00315

Timothy Ridlen

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Abstract

Abstract Two exhibition and research projects, Creativity Exercises and Back to the Sandbox, are united by the history of reform pedagogy, Friederich Fröbel, and the legacy of the Bauhaus. The books related to the projects explore didactic and participatory art, questioning how to teach art, how to reform or radicalize education, and what participatory art practices share with pedagogy. The centerpiece of the first project is the work of Miklós Erdély and Dora Maurer, specifically the classes they organized at the Ganz-MAVAG factory in Budapest from 1975–1977. Although framed as part of an international turn toward creativity research during the cold war, a framing that crosses any East/West divide, the workshops and related projects reveal an interest in the psychology of creativity, focusing on the social subjects produced as Bauhaus-style education turned inside out. The second publication uses the sandbox as an object lesson and figure of thought to learn from the past of reform education while looking to the future. Although both projects highlight the contradictions and constraints of pedagogy, they succeed where they provide direction for the work of learning and leave the question of education's paradoxes behind.

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逃亡中的学习：从心理现代主义到逃亡社会

摘要两个展览和研究项目，创造力练习和回到沙盒，是由改革教育学的历史，弗里德里希Fröbel和包豪斯的遗产结合在一起的。与这些项目相关的书籍探讨了说教式和参与式艺术，质疑如何教授艺术，如何改革或激进化教育，以及参与式艺术实践与教育学的共同点。第一个项目的核心是Miklós Erdély和Dora Maurer的作品，特别是他们1975年至1977年在布达佩斯Ganz MAVAG工厂组织的课程。尽管这一框架是冷战期间国际上转向创造力研究的一部分，跨越了任何东西方的鸿沟，但研讨会和相关项目揭示了人们对创造力心理学的兴趣，重点关注包豪斯式教育由内而外产生的社会主题。第二份出版物将沙盒作为一堂实物课和一个思想人物，在展望未来的同时，学习改革教育的过去。尽管这两个项目都突出了教育学的矛盾和制约因素，但它们在为学习工作提供方向并将教育悖论问题抛在脑后的地方取得了成功。

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来源期刊

ARTMargins ART-

CiteScore

0.10

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0.00%

发文量

期刊介绍： ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.