Schlagwort-Archive: visual art

Masterplan Workshop at Neue Perspektiven gewinnen!

Von 2013 – 2016 ich, Jovanna und Dirk hat mit Förderband e.V. Neue Perspektiven gewinnen erfunden und co-organisiert.

Beim Projekt „Neue Perspektiven gewinnen“ geht es um das Thema „inklusives Museum“. Inklusives Museum in diese Sinne bedeutet:
Das Gebäude und die Ausstellungen eines Museums sind so,
dass alle Personen sie gut nutzen können. Egal, ob diese Personen eine Behinderung hat oder nicht.

Im Jahr 2009 ist in Deutschland die Übereinkunft der Vereinten Nationen über die Rechte von Menschen mit Behinderungen in Kraft getreten. Spätestens seitdem genießt das Thema Inklusion große Prominenz. Auch im Museum und Ausstellungswesen.
Vor dem Hintergrund knapper Budgets und Personallagen betreten Museen mit dem Thema jedoch vielfach Neuland. Oft existieren Berührungsängste, und es fehlt der Zugang zu Menschen mit Behinderungen ebenso wie Kommunikationserfahrungen und Wissen über spezielle Bedürfnisse.
Gefördert von Aktion Mensch e.V. konnten wir neben der Auftaktveranstaltung und der Schlusskonferenz eine Serie von 25 museumsfachlichen Workshops unterschiedlicher Ausrichtung und Intensität initiieren und durchführen.

Unsere Ziele waren:

  • Sensibilisieren für unterschiedliche Bedürfnisse
  • Fachlich weiterkommen, spielerisch experimentieren und voneinander lernen
  • das Netzwerk mit Betroffenen und untereinander stärken
  • praktisches Kennenlernen von Menschen mit und ohne Behinderungen befördern

Nicht nur der Gedanke der Inklusion sollte im Museum besser verankert werden, es ging auch darum, Museumsleute durch andere Wahrnehmungswelten zu inspirieren und Kulturangebote in Museen dadurch interessanter zu machen.

Meine Role in Neue Perspektiven gewinnen war an zeitgenössigne Kunst und Inklusion fokusiert. Ich habe zusammen mit Jovanna an eine Multisensoriale Vermittlung und Masterplan Workshop für Teilnehmerinnen aus den Bereichen Vermittlung, Marketing, Kuration, Ausstellungsdesign, technische Gestaltung des Berlinische Galeries am 23.09. , 25.09. , 26.09.2015 und am 11.02.2016 geleitet.

Ein komplexer mehrtägiger Workshop, der durch den Wechsel zwischen theoretischen bis hin zu wissenschaftlichen Inputs mit praktischen Übungsteilen bestimmt war. Ebenso gemischt waren auch die Teilnehmenden: MitarbeiterInnen aus Vermittlung und Kuration ergänzt durch Gäste mit Seh- und Hörbehinderung und Gäste mit Lernschwierigkeiten. Insbesondere im zweiten Workshopteil, der sich stärker dem Schwerpunkt der Ausstellungsgestaltung widmete, waren außerdem KollegInnen aus dem Design und der technischen Gestaltung dabei.

Fotos von Neue Perspektiven gewinnen sind unten. Weitere Details an diese Projekt finden Sie auf dieser Seite.

A Collaboration

Kirstin Broussard's work with The Museum of Modern Art’s Community and Access education team and their collaboration with PS77, a public school in Brooklyn NY for middle and high school aged students diagnosed on the autism spectrum.For over ten years I’ve had the pleasure of partnering with Amie Robinson, the art teacher at PS77 in Brooklyn New York and her students as part of The Museum of Modern Art’s Community and Access education team. (PS77 is a public school in Brooklyn NY for middle and high school aged students diagnosed on the autism spectrum.)

Though every single year we have partnered has been a revelation, I’d like to highlight 2015:

For this seven week program we focused on two exhibitions about artists who use their studio space as an integral part of their art-making practice- their studios become the ground for a kind of “world” they create and inhabit. In particular we focused on Matisse’s cut-paper collages which filled the walls of his home in Nice, and the work of a contemporary artist Daniel Gordon, who makes life size, three dimensional collages out of found images.

A number of things happened as a result of our encounters at MoMA: the students were now familiar with the idea of a kind of “manipulated” reality- they had explored images that transform everyday objects into something surreal and expressive, there was a spirit of play and experimentation in the air rooted in something familiar, personal and communal. Back at the school we collectively decided to build a life size, three dimensional kitchen still life from found images:

  • Three classes participated in the construction of the final art piece; every student participated in both the conception and creation of the project individually and at times communally, it spread across their school day and involved their classroom teacher, their computer teacher and their art teacher.
  • Every one of our sessions built upon previous investigations as we moved from the concrete to the abstract.
  • When the kitchen still life was complete, we lit it with studio lights, set up a camera and a tripod, and invited the students to take turns interacting with the set by both directing the scenarios within the set, and being the performers- they were both behind and in front of the lens if they wished. The final series of images blur the boundary between fiction and reality.

For more information, check out the PS77 Brooklyn Art News Blog.

Parcours der Nichtsehenswürdigkeiten

Parcours der Nichtsehenswürdigkeiten (Non-Sight Seeing Tour), workshop and guided tour by Jovana Komnenić and Dirk Sorge, part of Die Auflösung des Sehens (The Resolution of Sight), Kunsthaus Kloster Gravenhorst, 2014

Ein lächelnder Man berührt ein Steinkkulptur. A smiling man touches a stone sculpture.

The project Die Auflösung des Sehens“ was a creative reflection about the dominance of sight in art and everyday life. The projects aim was to point out the mechanisms of exclusion and to work in the opposite direction by inviting blind and visually impaired audiences into the gallery. It explicitly addressed these audiences, but was relevant for sighted people as well, because it pointed out the creative potential hiding in other ways of viewing things and the ability of invisibility to broaden the meaning. The overall goal was to bring awareness to this theme by using both irritation and reflection.

Eine Nahaufnahme von zwei Menschen die Hände berühren die Basis einer roten Metall-Straßenlaterne. A close-up of two people's hands touching the base of a red metal street light.The exhibition venue was the building of a former monastery situated in a large park area in the west of Germany. The whole project consisted of three parts and lasted one year (January to December 2014) with the project grant KunstKommunikation which supports a participatory approach in the arts. One part was a series of workshops with blind and visually impaired participants with the goal of developing a tour through the park, the second part was the production of a tactile map with audio output to guide visitors to the stops of the tour. The third part was the artistic intervention inside the historic building with site-specific installations.

Eine Nahaufnahme einer Hand, die einen Stein, der mit Buchstaben eingraviert ist, berührt, wie durch eine Lupe gesehen. A close-up of a hand touching a stone engraved with letters, as seen through a magnifying glass.For  further photos and a video of the installations please visit http://dirksorge.de/aufloesung.htm and http://www.jovanakomnenic.com/file/work/Pages/die_auflosung_des_sehens.html.

Further information on the project and Kunsthaus Kloster Gravenhorst (German only):

http://www.da-kunsthaus.de/dirk_sorge.html

Werkzeug Wahrnehmung (Perception as a Tool)

Werkzeug Wahrnehmung (Perception as a Tool), experimental art mediation walk at 6th Berlin Biennale by Birgit auf der Lauer, Jovana Komnenić, Silja Korn, Anja Winter and Dirk Sorge, 2010

Perception as a Tool was a moderated walk through the 6th Berlin Biennial exhibition of contemporary art. It took visitors through the exhibition and its surrounding in the public space. The concept of the walk made reference to the curatorial idea of the exhibition, but reacted to it in a participatory and playful way. The curator Kathrin Rhomberg posed questions about reality. She asked the audience: „Do you believe in reality?“

Our idea was to test the senses of the participants on the walk. To examine together how different perceptions convey different information, how they consciously and unconsciously connect with diverse memories and produce meaning in that way. In that sense, our focus was on the individuality of perception, on acceptance of diversity, and on the exchange within the group.

Another potential we saw was the possibility to focus on hidden or invisible stories in the surrounding of the exhibition.

BODY BILDER

BODY ↔ BILDER, workshop and exhibition between seeing and touching by Jovana Komnenić and Dirk Sorge, Schillerpalais, Berlin, 2013

In this workshop the participants built tactile pictures that are not flat, but have a relief surface and are supposed to be touched – not seen. The pictures were exhibited in a completely dark room and thus became invisible for the entire audience. It may seem strange to call them „pictures“, since they are not to be seen at all, but they are not sculptures either, they exist between the two-dimensional and three-dimensional realms.

In the exhibition we learned a lot about the mechanisms of the visual art system and the conventions that rule it. For touching a picture and following a line with your finger, you usually need much more time than you need when looking at it. When touching a picture, it is most suitable to only have one person standing in front of it. These two differences forced the audience of the exhibition to slow down in the dark room.

Not every picture could be recognized in the sense that it displayed concrete objects. Many were abstract and the process of touching itself was the subject of the art work.

For the sighted visitors it was an important experience to use their sense of touch. This sense is used a lot in everyday situations, but most of the time it happens without paying attention to it.