Einführung in die Kunstpädagogik WiSe 18/19 Meyer
Ein Beitrag zur Veränderung des Kunstverständnisses und der Kunstpädagogik von Antike bis Aufklärung vom 13.11.19
Next Art Education (Torsten Meyer)
Einführung in die Kunstpädagogik SoSe 18
Di, 5.6.2018 | 10.00 – 11.30 Uhr
Institut für Kunst und Kunsttheorie | Block B | .theater
R 2.212 | Gronewaldstraße 2 | Köln
Zum Ende der Sitzung am 5.6.2018 haben wir in dem Seminar „Einführung in die Kunstpädagogik SoSe2018“ eine interessante Diskussion über den Leitmedienwechsel geführt und seine Bedeutung für das Bildungssystem im Allgemeinen und für den Kunstunterricht im Speziellen imaginiert. Im Zuge dessen wurde oberflächlich der Text „Next Art Education“ von Torsten Meyer angeschnitten, sowie eine grobe Einführung in die Theorie des Philosophen Koert van Mensvoort vorgenommen.
This year’s Venice Biennale promises to be one of the most political. While curator Okwui Enwezor’s central exhibition, All the World’s Futures, talks about “filters” (please don’t let them be on Instagram), early publicity was about making the artists, curator, choreographers, and others into the main “protagonists.” We’ll have to wait and see. Aside from Enwezor’s highly anticipated show, the national pavilions are the focus.
One of the interesting aspects of Venice is that national politics, particularly from emerging countries, are writ large in the art through the selections, inclusions, and even exclusions. Political ambitions dovetail with these cultural displays, so in 2013 it wasn’t a coincidence that Venezuela’s Chavez government hit a populist note with a street art–focused pavilion, while Russia’s entry was literally showering gold on visitors (women only) in a grand display of conceptual might (it’s arguable how successful it was). Each nation projects itself to the world — expect fancy displays from wealthy oil kingdoms eager to suggest a more progressive image, including Azerbaijan, Iraq, Iran, Qatar, Venezuela, the UAE, and others.
This year’s smartphone app choices are more limited than in 2013, but The Art Newspaper has a simple one (Apple only) with a clean design, while My Art Guide (Apple only) has a slightly more cumbersome version.
Here are some notable things to watch.
“A world with no Biennale would rob us of these moments, when the present fights the past — or just talks to it a little bit.”
What would the world be like without the Venice Biennale? A chorus of art-world insiders and Venice locals respond with insights and stories, helping us navigate the cultural influence of this somewhat enigmatic, 120-year-old exhibition. Produced in collaboration with UBS, and directed by Oscar Boyson, this film pulls back the curtain on the event’s reach, extending beyond art and into politics and history at large. weiterlesen
Our Shortlist: The Six Pavilions You Shouldn’t Miss
Boobs and Bollocks Await in Sarah Lucas’s Venice Biennale Pavilion
Looking at the past 20 years of art by Sarah Lucas, you get the feeling she likes to laugh.
A sneak peek into the Canadian Pavilion, as artist collective BGL transforms the modernist octagonal building into a convenience store, sleeping loft, and paint-splattered studio, all under the guise of exterior scaffolding. Curator Marie Fraser chimes in, describing how BGL alters architecture to transport viewers beyond traditional, immaculate art spaces and into the creative process—one of constant experimentation and renovation.
The 56th Venice Biennale opens May 9th, filling the floating city to the brim with work by 136 artists representing 53 countries—and that’s just in the main exhibition. Curated by Okwui Enwezor, the Biennale will remain open for over six months, giving visitors plenty of time to investigate the abundant collateral events and exhibitions scattered throughout the city’s elegant palazzi and along its canals. weiterlesen