Abstract
Transformative and visionary force necessitates creativity, but creativity has to be freed from its straitjacket. It is a force that requires something artists possess in great measure: the ability to change perspectives, to question traditions, to break with routines and taboos, to see dichotomies as processes, and to draw creatively on the antinomies of chaos and order, fantasy and reality, and improvisation and perfection. In order to develop new forms and concepts of the (political) capacity to act, we must avoid applying the usual patterns; we must open up the disciplines; we must further develop our ability to communicate and cooperate; we must break up binary forms of logic; we must recognize hitherto unnoticed connections; and we must develop a network-like, transversal way of thinking. This means we must learn. But not only that. We must also and above all unlearn. Embedded in this system, art education sees its task as being to identify the specific (defining) peculiarities of education by means of art and culture and to make them productive in the educational process. Art schools maintain spaces that are consciously structured to ensure that encounter and debate regularly take place (e.g., in the form of art classes). The goal is to create within the study framework a space for learning and development that provides impulses to thought processes and work methods which are not automatically adapted to knowledge that has been transmitted or to practices that have been established without questioning; and this means opening up spaces for thought and action where difference and disagreement are welcome.
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Notes
- 1.
Michel Foucault, The History of Sexuality, Volume 2: The Use of Pleasure, trans. Robert Hurley, original title: L’Usage des plaisirs (Paris: Gallimard, 1984).
- 2.
Martha Nussbaum, Not for Profit: Why Democracy Needs the Humanities (Princeton University Press, 2010).
- 3.
Gilles Deleuze, “Postscriptum on the Societies of Control,” in October, vol. 59 (The MIT Press, winter 1992): 4 https://cidadeinseguranca.files.wordpress.com/2012/02/deleuze_control.pdf, accessed on 17 September 2017.
- 4.
Martha C. Nussbaum, op. cit., 2. http://www.filosofia.unimi.it/zucchi/NuoviFile/(Public%20square%20(Princeton,%20N.J.))%20Martha%20C.%20NussbaumNot%20For%20Profit_%20Why%20Democracy%20Needs%20the%20Humanities%20(The%20Public%20Square)%20%20-Princeton%20University%20Press%20(2010).pdf, accessed on 17 September 2017.
- 5.
Cf. for example: Konrad P. Liessmann, Bildung als Provokation (Vienna: Paul Zsolnay Verlag, 2017) and Irit Rogoff, “Schools of Thought,” Frieze Magazine, Issue 101 (2006), and also a statement made by the neurobiologist Gerhard Hüther: “This school system does not correspond to the human brain, because the brain is geared towards establishing interconnections and not towards accumulation.” (Translated from: Gerhard Hüther, Was wir sind und was wir sein könnten: Ein neurobiologischer Mutmacher (Frankfurt am Main: S. Fischer Verlag, 2011)).
- 6.
Liessmann, op. cit., 9.
- 7.
Ibid., 9.
- 8.
Joseph Beuys, Manifest, documenta 5, Kassel, 1972; see also an interview with Peter Brügge at www.spiegel.de/ “Die Mysterien finden im Hauptbahnhof statt” (Der Spiegel, 23/1984).
- 9.
Cf. in this respect Martha C. Nussbaum, op.cit., 16.
- 10.
Cf. Joseph Beuys, “Aufruf zur Alternative,” first published in the Frankfurter Rundschau, 23 Dezember 1978.
- 11.
Cf. Jacques Rancière, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (Stanford University Press, 1991).
- 12.
Ibid., see the section entitled “Society Pedagogicized,” chapter 5, “The Emancipator and His Monkey”.
- 13.
See Donald Winnicott, Playing and Reality (London: Tavistock Publications, 1971). Winnicott expresses the view that in all human cultures art essentially has the function of maintaining and expanding room for play.
- 14.
At this point, mention should also be made of a very problematic issue, one that is fraught with contradictions, namely, that of artists becoming models of neoliberal entrepreneurs, a topic that cannot be further expanded upon here. Cf. Barbara Putz-Plecko, “Provocation as a constructive element in the arts and in education to foster societal development and innovation: Experience and knowledge as forms of social relations,” in Gerald Bast, Elias Carayannis, David F.G. Campbell (eds.), Arts, Research, Innovation and Society (New York: Springer, 2015).
- 15.
Cf. Barbara Putz-Plecko, Art and Culture – Key Elements of Education, background report prepared for the Parliamentary Assembly of the Council of Europe (Vienna/Paris, 2009).
- 16.
Carmen Mörsch and Ute Pinkert, “Transformative Wirkung künstlerischer Strategien in sozialen Feldern,” Kunstpädagogik im Projekt der allgemeinen Bildung, eds. Johannes Kirschenmann, Frank Schulz and Kurt Sowa (Munich, 2006), 538.
- 17.
Samuel P. Huntington, The Clash of Civilizations and the Remaking of World Order (New York, 1996). Cf. other standpoints such as Amartya Sen, Identity and Violence: The Illusion of Destiny (New York and London, 2006) or Amin Maalouf, Les Identités meurtrières (Paris, 1998).
- 18.
Cf. Oliver Marchart, “Warum Cultural Studies vieles sind, aber nicht alles. Zum Kultur- und Medienbegriff der Cultural Studies,” Medienheft/Dossier (19/2003).
- 19.
Cf. Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (Cambridge: Harvard University Press, 1984).
- 20.
Cf. IAE zhdk.ch Glossar, https://www.zhdk.ch/forschung/iae/glossar-972 (accessed on 11 September 2019).
- 21.
Johann Gottfried Herder, Auch eine Geschichte der Philosophie zur Bildung der Menschheit (Frankfurt am Main, 1967 [1747]), 44f.
- 22.
Wolfgang Welsch, “Was ist eigentlich Transkulturalität?” in Kulturen in Bewegung. Beiträge zur Theorie und Praxis der Transkulturalität, eds. Dorothee Kimmich and Schamma Schahadat (Bielefeld, 2012), 26f.
- 23.
Cf. Stuart Hall, “Cultural Studies: Two Paradigms,” Media, Culture and Society (1980/2), 57–72.
- 24.
See in this respect a current analysis of the culturalization of politics and the culturalization of the refugee question in Ruth Wodak, The Politics of Fear: What Right-Wing Populist Discourses Mean (London and Los Angeles: Sage, 2015).
- 25.
Klaus-Peter Busse, Bildumgangsspiele einrichten, vol. 9 of Studien zur Kunstdidaktik (Dortmund, 2009), 22f.
- 26.
Cf. Richard Sennett, Together: The Rituals, Pleasures and Politics of Cooperation (New Haven: Yale University Press, 2012).
- 27.
Ibid., 374.
- 28.
Wolfgang Welsch, Aesthetisches Denken (Stuttgart, 1990), 76.
- 29.
Ibid., 72.
- 30.
Johannes Kirschenmann, “Wider das Ideal ästhetischer Autonomie,” in Kunstpädagogik im Projekt der allgemeinen Bildung, eds. Johannes Kirschenmann, Frank Schulz and Kurt Sowa (Munich, 2006), 28. Cf. Boris Groys, Über das Neue: Versuch einer Kulturökonomie (Frankfurt am Main, 1999).
- 31.
Juliane Rebentisch, Theorien der Gegenwartskunst. Zur Einführung (Hamburg, 2013), 80.
- 32.
Cf. Johannes Kirschenmann, Frank Schulz and Kurt Sowa (eds.), Kunstpädagogik im Projekt der allgemeinen Bildung (Munich, 2013), 16.
- 33.
Eva Sturm, Im Engpass der Worte. Sprechen über zeitgenössische Kunst (Berlin, 1996).
- 34.
Andrea Liesner and Michael Wimmer, Der Umgang mit Ungewissheit. Denken und Handeln unter Kontingenzbedingungen (Hamburg: digital publication, 2004).
- 35.
“The sibling pair ‘art and science’ alone has the ability to transform the thick jungle of circumstances in which we live into a bewildering labyrinth. Chaotic complexity becomes a landscape, which, rather than proposing prepackaged solutions, reveals perspectives and possibilities.” Rudolf Scholten, Die Politik und die Kunst (text of a lecture given within the framework of aut (architektur und tirol). https://aut.cc/veranstaltungen/rudolf-scholten-die-politik-und-die-kunst (accessed on 11 September 2019).
- 36.
Cf. Barbara Putz-Plecko, Kunst und Kultur: Art and Culture – Key Elements of Education, background report prepared for the Parliamentary Assembly of the Council of Europe (Paris, 2009).
- 37.
Irit Rogoff, Turning, http://www.lot.at/sfu_sabine_bitter/Rogoff_Turning.pdf (accessed on 1 October 2017), 39.
- 38.
Ibid. An earlier version of this text with illustrations first appeared in e-Flux Journal, No.0. 2008. See http://www.e-flux.com/journal/view/18
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Putz-Plecko, B. (2019). Querkraft – Cross-Force – Art as Education. Transversal Practices Versus Economic Rationalization. In: Bast, G., Carayannis, E.G., Campbell, D.F.J. (eds) The Future of Education and Labor. Arts, Research, Innovation and Society. Springer, Cham. https://doi.org/10.1007/978-3-030-26068-2_13
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