BRIDGING THE GAP BY FILLING THE GAP
(2025)
author(s): Joana Melo Rocha, Carolina Sousa, Catarina Almeida
published in: Research Catalogue
The exposition is about a school proposal developed in the Master in Teaching of Visual Arts and provides a context which framed the assignment; the pedagogical and political goals of the teacher in its formulation, by wandering through concepts like ‘individuality’, ‘collectivity/common’, ‘anonymity’ ‘teacher as intellectual’ and ‘teacher as artist’; and a snippet of the way it impacts visual arts teachers’ training by showing parts of the experimented case and explaining it in terms of the: dynamics among individuality and collectivity in the definition of the political outcomes in the pedagogical practices; the reconfiguration of the role of the teacher as intellectual and as artist (according to Henry Giroux); and the quest for new forms of visibility and sharing of teachers’ and students’ work, throwing it into the public sphere, in particular by resorting to the ‘exhibition’ as a strategy/tool for that purpose. The exhibition will assume a core role commanding the outcomes of the work.
The authors all took part in the proposal, two as Master students and teachers in training, and the other as teacher (of the AIPD2 - Activities for Initiation into Teaching Practice II - in the Master of Teaching of Visual Arts).
Accompanying Public Amateurs and Ignorant Generalists: Propositions for (Experimental) Pedagogical Approaches to PhD in Art and Scientific-Artistic Projects
(2025)
author(s): Ruth Anderwald, Leonhard Grond
published in: RUUKKU - Studies in Artistic Research
Based on our experience conducting our own independent artistic-scientific and practice-based research projects and the experiences made over the last years leading the Doctoral Programme for Artistic Research at the University of Applied Arts and now working at ARC Artistic Research Center and their Doctor Artium programme, at mdw University of Music and Performing Arts Vienna, we propose new and unconventional approaches to supervising and supporting doctoral artistic research work, whether their focus is more practice-based, theory-oriented or artistic-scientific. Design approaches, such as the pooling of supervision and strategically introducing moments of epistemic decompression, can support projects as well as candidates in a more sustainable and pluri-vocal manner, ultimately leading to the artist-researchers’ long-term independence, transcultural versatility and well-being. Reflexivity, methodology, and (somatic) learning theory are key points, as well as defining and conceptualising possibilities for supporting and supervising a line of work, which is directed into the unknown, unknowable, and uncertain, or located within limit-experiences.
You, Me, the Lakes and the Storm Water Drain
(2025)
author(s): Naomi Zouwer, Affrica Taylor
published in: RUUKKU - Studies in Artistic Research
This exposition charts a creative collaboration between two humans, two lakes and a stormwater drain. By thinking with water as archive and unknowability, making art with the water-bodies of significance to them, and drawing upon the thoughts of key scholars and Indigenous artists, the authors explore questions of ancestry, memory, belonging, and ecological recuperation. Throughout this process, they reflect upon and dialogue about the pedagogical implications of their creative collaboration, undertaken at the intersection of new-materialist arts and common worlds environmental education.
VEDEN LAKI - uudistavaa taiteilijapedagogiikkaa hahmottamassa
(2025)
author(s): Sara Elina Ilveskorpi
published in: RUUKKU - Studies in Artistic Research
Below in English
Ekspositio pyrkii vastaamaan tarpeeseen uudistavan kasvatuksen (regenerative education) tavoitteissa taiteilijapedagogisesta lähtökohdasta. Ekspositio pohjautuu paikkasidonnaiseen interventioon ja kuvailee taiteilijapedagogisen oppimisprosessin. Ekspositio tunnustelee taiteilijapedagogiikan suhdetta ekologisiin kysymyksiin kestävyysajatteluun sitoutuneen taiteilijapraktiikan ja taidepedagogian solmukohdassa. Kirjoittaja arvioi vahvan kestävyyden käsitteen avulla, millaisia ristiriitoja kestävyysajattelun ja oman praktiikan välille ilmaantuu interventioprosessin aikana, ja millaiset olosuhteet johtavat konflikteihin. Ekspositio tarkastelee aihetta ”myötäsyntyisen” metodin avulla yhdistäen taiteellista, agroekologista ja posthumanistista tutkimusta poikkitieteisesti. Päälöydöksenä on, että uudistavan kasvatuksen tavoitteet sotkeutuvat yhteiskunnan odotuksiin, päämääriin ja moraalikäsityksiin. Tämä johtaa neuvotteluun kestävyysajatteluun sitoutuneen taiteilijapraktiikan arvoissa suhteessa taiteilijapedagogiseen toimintaan. Kirjoittaja väittää, että taiteellisessa työssä ei ole erivapautta toimia ekologisesti kestämättömällä tavalla, koska taide on yhtä riippuvaista ekologisista suhteista kuin muukin elo. Hän väittää, että vahvan kestävyyden käsitteeseen sitoutumalla on mahdollista perustaa uusia arvostamisen paikkoja ja kehittää uudistavaa pedagogiikkaa.
The exposition aims to meet the need for the aspiration of regenerative education from an artist pedagogical practice. The exposition is based on a place-specific intervention and outlines the artist pedagogical learning process. The exposition explores the relationship of artist pedagogy to ecological issues. Exploration happens at the intersection of artist practice committed to sustainability thinking and art pedagogy. Reflecting the concept of strong sustainability, the author assesses what kind of contradictions between sustainability thinking and one’s own practice emerge, and what kind of circumstances lead to conflicts. The exposition takes place with “innate” method, combining artistic, agroecological and posthumanist research in an interdisciplinary manner. The main finding is that the goals of regenerative education are entangled with the expectations, goals and moral concepts of society. This accompanies a negotiation of the values of artist practice committed to sustainability thinking. Negotiation takes place in relation to artist pedagogical activity. The author argues that there is no waiver to act in an ecologically unsustainable manner in art practice, because art is as dependent on ecological relationships as any other concept of life. She argues that by committing to a concept of strong sustainability, it is possible to establish new places of appreciation and develop innovative pedagogies.
Taiteellisen duodjitutkimuksen tiloissa: LaavuStudio pedagogisena ja taiteellisena kokeiluna
(2025)
author(s): Outi Maarit Saara Magga
published in: RUUKKU - Studies in Artistic Research
Duodji refers to Sámi handicrafts and design. I reflect on the knowledge base of duodji thinking, how duodji is learned within the community, and how I have developed the teaching and research of duodji according to the principles of duodji and art. I also contemplate the essence and presentation of duodji in public spaces through the pedagogical-artistic practice, LaavuStudio."
Sharing (in) the Lab: Artistic research in Higher Music Education
(2025)
author(s): Halla Steinunn Stefánsdóttir, Ann Elkjär, Markus Tullberg, Stefan Östersjö
published in: RUUKKU - Studies in Artistic Research
This exposition takes as its departure the systemic inertia identified within Western Higher Music Education (HME), where education is driven by skill acquisition in a master–pupil format. Such approaches may hinder the growth of adaptable and reflective musicians. We propose an alternative: student-centred learning inspired by artistic research methods. To explicate this, we draw on findings through our own artistic research practices. Our hypothesis is that the model of the artistic, embodied research laboratory, as developed within the field of artistic research, may serve as a potent tool for renewal. By analysing our work as artist-researchers and educators, this exposition offers insights that support rethinking both institutional structures and pedagogical approaches in HME. Our aim is to strengthen student agency in learning situations and set them off on a path of lifelong learning. This research demonstrates that artistic research laboratories can provide practical frameworks for transforming HME pedagogy, offering educators concrete methods for fostering playful, inclusive, and sustainable learning environments whilst empowering students as active agents in their musical development.
