Réinventer la pédagogie des opprimé·e·x·s pour développer une approche dialogique de l’art contemporain

Au-delà de la réception bien documentée de l’œuvre de Paulo Freire dans les champs des pédagogies émancipatrices, de l’alphabétisation ou encore des sciences de l’éducation, ses textes ont également connu un destin élargi dans le domaine de l’art – dans les processus de production artistique, l’éducation à l’art et/ou par l’art. Ce texte propose de revenir sur le projet « Réinventer la pédagogie des opprimé·e·x·s pour favoriser la participation culturelle dans les institutions d’art contemporain suisses (janvier 2021-janvier 2023) » (RPO). Cette réinvention a consisté en une relecture de Freire entre les membres de notre équipe de recherche, quatre collectifs ou associations dans quatre institutions artistiques en Suisse francophone, en vue de réengager sa pensée dans un projet d’émancipation. Les quatre groupes ayant collaboré au projet se distinguent par les formes d’engagement et leur taille. Les quatre institutions d’art contemporain se distinguent elles aussi par leur dimension, leur ancrage géographique et leurs modalités de gestion. Projet à géométrie variable, cette expérience révèle différentes inflexions des inédits possibles ouverts par la pensée de Paulo Freire, chaque projet soulignant en effet un point saillant de l’expérience d’émancipation.Para além de receção bem documentada de Paulo Freire no horizonte das pedagogias emancipatórias, da alfabetização e das ciências da educação, os seus textos tiveram um destino alargado no campo da arte – nos processos de produção artística, educação artística e/ou através da arte. Este texto propões revisitar o projeto “Reinventar a pedagogia para os oprimidos para promover a participação cultural nas instituições de arte contemporânea suíças (janeiro de 2021 a janeiro de 2023)” (RPO). Esta reinvenção consistiu numa reinterpretação de Freire entre os membros da nossa equipa de pesquisa, quatro coletivos ou associações em quatro instituições artísticas na Suíça francófona, com o objetivo de reenquadrar o seu pensamento num projeto de emancipação. Os quatro grupos que colaboraram no projeto distinguem-se pelas formas de compromisso e pelo tamanho. As quatro instituições de arte contemporânea também se destacam pela sua dimensão, localização geográfica e modalidades de gestão. Projeto de geometria variável, esta experiência revela diferente inflexões das possibilidades inéditas abertas pelo pensamento de Freire, sendo que cada projeto destaca um ponto saliente da experiência de emancipação.Beyond the well-documented reception of Paolo Freire’s work in the realm of emancipatory pedagogies, literacy, and education sciences, his texts have also found an expanded destiny in the field of art – within processes of artistic production, art education, and/or through art itself. This text aims to revisit the project “Reinventing the Pedagogy of the Oppressed to Foster Cultural Participation in Swiss Contemporary Art Institutions (January 2021-January 2023)” (RPO). This reinvention consisted of a reinterpretation of Freire among the members of our research team, four collectives or associations in four artistic institutions in French-speaking Switzerland, with the aim of reengaging his ideas in a project of emancipation. The four groups that collaborated on the project are distinguished by their forms of commitment and their size. The four contemporary art institutions also distinguish themselves by their size, geographic location, and management methods. A project with variable geometry, this experience reveals different inflections of the possible innovations opened up by Freire’s work, with each highlighting a salient point of the emancipation experience

If We Make It, We Can Change It

For the art critic Claire Bishop ‘collectivity and collaboration have been some of the most persistent themes of advanced art and exhibition-making of the last decade’ (2012, p.12). I will bring with this thesis a new contribution to this discourse by reflecting on the specificity and potential of the notion of ‘common’ through the production of art with non-artists. This practice-led research is based on the practice of microsillons, the artists collective I founded with Olivier Desvoignes in 2005. The experiential dimension of the practice is entangled with an investigation that integrates recent approaches to the concept of ‘common’ by theorists and cultural workers as a framework to reflect, critique, resist and overcome the effects of the neo-liberal transformation of all spheres of human activity. I will describe the common as an ‘already-there’ (Hardt and Negri, 2009) but also as a ‘to come’ (Dardot and Laval, 2015a) and, furthermore, as a critical tool. These theoretical underpinnings form the conceptual background for the different experimentations developed by microsillons with common modes of thinking, organizing and producing. I will analyse the way microsillons developed its art practice in common with non-artists. Each of these analyses articulates a series of dual central concepts, namely: authorship/common production, banking education/commonly generated knowledge and cultural participation/agonistic mediation, terminology that I will outline in the body of the thesis. Together with these case studies from microsillons’ practice, I discuss contemporary examples of comparable practices developed by artists such as Copenhagen Free University, Ultra-Red or Suzanne Lacy. In this way, I explore how Olivier and I have been able to build, with people outside the worlds of contemporary art, unique and complex experiences, condensed in common forms. The geographical anchoring of this practice in Geneva, a French-speaking city in Switzerland, brings a specific testimony. The text describes how the activity of common, acknowledging the importance of divergences or conflicts, can challenge forms of exclusion or oppression, which I will discuss as being more prevalent, yet also more hidden, due to the fact that this city is one of the world capitals of finance

Motifs incertains ::enseigner et apprendre les pratiques socialement engagées

Cette publication – réalisée à l’initiative du Master TRANS– de la HEAD – Genève – regroupe des textes rédigés par les responsables (et les étudiant·e·s) de cinq programmes d’études construits autour des les pratiques artistiques socialement engagées (MA Socially Engaged Art (National College of Art and Design, Dublin) / Art & Social Practice (Portland State University) / PEI (MACBA, Barcelona) / Institute für Kunst im Kontext (Universität der Künste, Berlin) / Master TRANS– (HEAD – Genève)). Elle contient également les traductions de deux textes fondamentaux (l’un de Pablo Helguera, auteur de Education for Socially Engaged Art et l’autre de Gregory Sholette, co-éditeur de Art as Social Action

Réinventer la pédagogie des opprimé·e·x·s pour développer une approche dialogique de l’art contemporain

Au-delà de la réception bien documentée de l’œuvre de Paulo Freire dans les champs des pédagogies émancipatrices, de l’alphabétisation ou encore des sciences de l’éducation, ses textes ont également connu un destin élargi dans le domaine de l’art – dans les processus de production artistique, l’éducation à l’art et/ou par l’art. Ce texte propose de revenir sur le projet « Réinventer la pédagogie des opprimé·e·x·s pour favoriser la participation culturelle dans les institutions d’art contemporain suisses (janvier 2021-janvier 2023) » (RPO). Cette réinvention a consisté en une relecture de Freire entre les membres de notre équipe de recherche, quatre collectifs ou associations dans quatre institutions artistiques en Suisse francophone, en vue de réengager sa pensée dans un projet d’émancipation. Les quatre groupes ayant collaboré au projet se distinguent par les formes d’engagement et leur taille. Les quatre institutions d’art contemporain se distinguent elles aussi par leur dimension, leur ancrage géographique et leurs modalités de gestion. Projet à géométrie variable, cette expérience révèle différentes inflexions des inédits possibles ouverts par la pensée de Paulo Freire, chaque projet soulignant en effet un point saillant de l’expérience d’émancipation