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Intressant läsning om att arbeta med utsatta människor

Francois Matarasso har kommit med en ny, viktigt och intressant text om att arbeta i konstprojekt tillsammans med utsatta människor som ex migranter eller psykiskt sjuka. Även vi som arbetar med barn och unga kan behöva denna tankeställare.

On Tuesday, I spoke about participatory art at a conference in Valletta. The questions people raised afterwards were mostly the kind I can’t answer—doubts about power, vulnerable people, appropriation and the relationship between professional artists and non-professional artists. Participatory art presents lots of ethical, political or philosophical dilemmas to which you can only respond with the guidance of your own beliefs and values. Even if I know how I would deal with a situation (and I often don’t until it happens) it’s just my response. Still, talking about these sensitive issues is a good way to prepare and learn. Tuesday’s questions about artists wanting to work with vulnerable people, and especially migrants, is a case in point. Consciously or not, some artists do see people as subjects for their work, though they tell better stories than that. The borderland between co-creation and exploitation is marshy. Anyone who wants to go there should at least be aware of its dangers.”

Läs hela artikeln här https://arestlessart.com/2018/10/28/more-questions-than-answers-stories-art-and-ownership/

Farnam Fun Palace

 

 

Ny och intressant läsning från Francois Matarassos blogg A Restless Art

”But culture, although full of facts, is not itself factual. It is a fact that William Cobbett was born in Farnham in 1763 and that he became an influential writer, but there is nothing factual about the meaning of his work to a reader. Like most of what is important in culture, that is a judgement. What is more, it’s important because it is a judgement. We make better judgements when we have knowledge, it’s true, but also when we have learned how to weigh evidence, test claims and trust our own experience. And then we might find that judgement is not the point after all. What matters is responding, as truthfully as we can, to other people’s truthful responses to experience. Being open to our own and other people’s intersecting understanding of the mystery of living—that is exhilarating, and nowhere is it more important—or easier—than in art. We must have the chance to learn about art but we must also have, as Fun Palaces argue, the chance to make it ourselves. We might learn something else than by being quiet and paying attention.

‘Fun Palaces instils creative power in everybody. It doesn’t make arts and science something we read or watch but something we make and do. It’s collaborative and inclusive, bond-building and boundary-smashing.’

Farnham Fun Palace reminded me how creativity springs also from desire—something artists know in their own work but do not always remember when they open that work to others.”

Hela artikeln läser du här:

https://arestlessart.com/2018/09/04/its-given-us-permission-to-play-to-take-part-to-engage/

Intressant läsning – om barns delaktighet

Läs Barbro Johanssons och Frances Hultgrens forskningsprojekt där de har undersökt vad delaktighet betyder i relation till de yngre barnen och hur delaktighet kan komma till uttryck i barnbibliotekets gestaltning och verksamheter. Rapporten, som är ett resultat av följeforskning, handlar om processen då en ny barnavdelning skapades på Malmö Stadsbibliotek. Biblioteket hade som  utgångspunkt att skapa en miljö som bygger på barns delaktighet.

http://hb.diva-portal.org/smash/get/diva2:1182398/FULLTEXT01.pdf