Museums and galleries as performative sites for lifelong learning: constructions, deconstructions and reconstructions of audience positions in museum and gallery education

In recent years community-based voluntary adult education has been under increasing pressure from neo-liberal discourses concerning the problems and benefits of globalization. Learning in museums traditionally connects to ‘soft’ humanist ideals of lifelong learning such as popular enlightenment, personal development and active citizenship, similar to those of the Scandinavian tradition of youth and adult education. However, even museum and gallery education has difficulties in resisting the introduction of discourses that, through new and subtle techniques of power, act in favour of individualized and marked-oriented constraints. In this article I take a critical constructivist approach to studying audience positions in lifelong learning as it is found in contemporary museum and gallery education. I use examples both from my own research in gallery education and from the case-studies of lifelong learning in museums and galleries reported at the homepage of the European consortium Collect Share. I frame the discussion by using three key concepts: construction, deconstruction and reconstruction

Visual events and the friendly eye: modes of educating vision in new educational settings in Danish art galleries

New, experimental educational settings such as ‘art laboratories’, ‘digital workshops’ and ‘theme-based tours’ are important to the processes of change towards more inclusive practices, which have been initiated in many Danish art galleries. While traditional gallery education was constructed in order to stimulate the ‘disciplined eye’ or the ‘aesthetic eye’ of the visitors, this article aims to discuss the practices of looking encouraged by contemporary and experimental educational projects. The first part of the article develops a theoretical perspective on educational settings conceived as visual events, and it discusses how ‘the desiring eye’ of some constructivist approaches, along with traditional practices of looking, have contributed to the formation of the modern, autonomous individual. The second part of the article analyses two cases from Danish art galleries and, inspired by Mieke Bal, proposes the ‘friendly eye’ as a possible dialogical and collective practice of looking that can be stimulated in educational settings

Subjectivation, togetherness, environment. Potentials of participatory art for Art Education for Sustainable Development (AESD)

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At sanse med kunst og natur. Æstetiske læreprocesser i Antropocæn

Artiklen undersøger, hvordan æstetiske læreprocesser kan bidrage til at udvikle elevers økologiske opmærksomhed i en antropocæn verden præget af global menneskelig dominans. Gennem et case studie af og med en 6. klasses deltagelse i performanceworkshoppen Voks skoV bidrager den til udviklingen af begrebet æstetiske læreprocesser i en økokritisk og nymaterialistisk retning, hvor naturen forstås som en partner snarere end som et materiale. Teksten er struktureret i tre dele: Del I præsenterer en undersøgelse af begrebet æstetiske læreprocesser som dette er blevet anvendt i Skandinavien siden 1990’erne, dels i kunstfag og dels i naturfag. Endvidere uddybes begrebet i relation til begrebet økologisk opmærksomhed, hentet fra den britiske teoretiker Timothy Morton. Del II indeholder et casestudie af performanceworkshoppen Voks skoV, hvor eleverne tilbringer en uge i naturen ledet af den danske kunstnergruppe Seidlers Sensorium. Materiale genereret under og efter forløbet analyseres som eksempler på, hvordan æstetiske læreprocesser konkret kan udfolde sig med særlig fokus på sanseoplevelse, skabende relationer til naturen og refleksion. Endelig indeholder del III en opsummering og forslag til en nyfortolkning af æstetiske læreprocesser i Antropocæn, hvor hovedvægten ligger på økologisk opmærksomhed og skabelse af kollektive fortællinger med den verden, vi er den del af sammen med naturen og andre mere-end-menneskelige eksistensformer.  ENGLISH ABSTRACT Sensing with art and nature: Aethetic learning processes in the Anthropocene The article investigates how aesthetic learning processes can contribute to developing students’ ecological awareness in an anthropocene world, characterized by human dominance. Through a case study of a class of 12 year old pupils in the performance workshop Grow Forest, it contributes to the recent development of the concept of aesthetic learning processes in an eco-critical and new materialist direction, where nature is seen as a partner and not as a material. The text is structured in three parts: Part I contains an examination of the concept of aesthetic learning processes, as this has been used in Scandinavia since the 1990s in arts education and in environmental education. Here the concept of ecological awareness by Timothy Morton is presented and discussed as an alternative to current understandings. Part II discusses the case study of the performance workshop Grow Forest, where the pupils spend a week in nature. Material generated during and after the workhop is analyzed as examples of how aesthetic learning processes can unfold with a particular focus on ecological and sensory experiences. Finally, part III contains a summary and proposals for a new interpretation of aesthetic learning processes in the Anthropocene, where the main emphasis is on ecological awareness and creating collective narratives together with more-than- human forms of existence

Uddannelse som social kunstform? Kunstneriske og pædagogiske dilemmaer i forskning med kunstfaglig uddannelse

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VI BLIVER SKOV BLIVER VI: Økologisk opmærksomhed i kunst og håndverk gennem kunstnerisk praksis i naturen

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