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Bucharest Biennale 2010


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Slideshow for my presentation at the Bucharest Biennale 2010.

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Bucharest Biennale 2010

  1. 1. LISTENING POST<br />
  3. 3. WHY<br />WHAT<br />HOW<br />
  4. 4. WHO<br />Göran Björnberg (M. Phil.)<br />Head of Tour Production and Pedagogics<br />Swedish TravellingExhibitions<br /><br />
  5. 5. Swedish TravellingExhibitions<br />National agency<br />Established 1965<br />Social and geographical equality. <br />
  6. 6. Swedish Travelling Exhibitions<br />Main target today to develop the exhibitionmedia<br />
  7. 7. Swedish Travelling Exhibitions<br />Producestravellingexhibitions and educations on exhibition media<br />
  8. 8. Swedish TravellingExhibitions<br />Contemporary Art<br />
  9. 9. Swedish TravellingExhibitions<br />Children & Youth<br />
  10. 10.
  11. 11. 1. A pedagogical perspective<br />Socio-culturalperspective<br />Every function in the child´s cultural development appears twice: first on the social level and later on the individual level: <br />first between people (interpsychological) <br />then inside the child (intrapsychological). <br />Vygotskij<br />
  12. 12. The exhibition<br />is a situatedpractice.<br />The situatedpractice is by nature social<br />Languages as mediatingresources<br />Vygotskij<br />Meaning - sense<br />Zone of proximal development<br />
  13. 13. Achieving knowledge has shifted from teaching to learning & from a teacher-centered process to a student-centered!<br />
  14. 14. Learning – Instruction paradox<br /><ul><li> There is a correct body of knowledge for a teacher to communicate to a student/learner
  15. 15. a hierarchical architecture of facts and ideas</li></li></ul><li>We need <br />to follow!<br />
  16. 16. This means we<br />need to focus <br />on the visitor!<br />
  17. 17. And the visitor as a participator!!<br />
  18. 18. The visitor as a consumer and as a producer<br />=<br />Exhibition 2.0<br />
  19. 19. 2. Narrative spaces<br />Narrative constitutesreality<br />Good art embodiesour story and does not remindus of our story<br />Jerome Bruner<br />
  20. 20. The Narrative Space<br />The Curator´s interpretation<br />A Statement<br />THE VISITOR<br />THE EXHIBITION<br />A representation of ART<br />Experiences, Interpretation,<br />Meaningmaking<br />THE SPACE<br />THE SOCIETY<br />The Museum, the Gallery or whatever<br />Values, History, Architecture, Communication<br />Discourse, Politics, Topicalsubjects<br />
  21. 21. How do we experience?<br />Semiotic<br />language<br />Disembodied Visual<br />TextualIntellectual<br />
  22. 22. How do we experience?<br />Phenomenological (events)<br />Embodied<br />Tactile<br />Emphatic<br />
  23. 23. Perception is related to action<br />Space is experiencedthroughmovement<br />Objects are experiencedthrough touch<br />We learn by using our body<br />
  24. 24. Mind<br />World<br />Body<br />Muriel Rukeyser“The universe is made of stories, not of atoms.”<br />
  25. 25. ”The Dance of Agency”<br />Mind BodyWorld<br />Engagement<br />
  26. 26. Agency The capacity to make a differenceGiddens<br />
  27. 27. 3. The Exhibition<br />Museums and galleries are important collective activities and must play a role within a lifelong learning perspective.<br />
  28. 28. We have to understand the exhibition as a learning environment, <br />a social arena for knowledge construction through active participation and collaboration<br />
  29. 29. 4. Youth – who are they?<br />
  30. 30. In order to work with youth <br />we must understand youth!<br />
  31. 31. The MeWE Generation<br />New values<br />&<br />mental styles<br />
  32. 32. The MeWE Generation<br />Individualism From We to Me<br />OpportunitiesMaximize!<br />Identities Homo zappiens – zapping between values, identities and places<br />Treasures It´s all about relationships<br />Technology Keeping the herd together<br />Work Opportunity vehicle & coffee shop diversion<br />Consumption Self-realization & Identity experiments<br />Gender The new amazons and their humble servants<br />The future now!<br />
  33. 33. 5. Two Examples<br />People narrativize their experience of the world and of their own role in it. (Bruner)<br />
  34. 34.
  35. 35. LISTENING POST<br />
  36. 36. The Collective<br />Presentation of the work<br />Watch it, listen to it, experienceit<br />DeconstructionIndividualentrances<br />Whatdoes it mean to you?, narrative, emotions, memories, experiences<br />The CollectivePresentations<br />Whatdowesee?<br />Discuss<br />ListeningPost<br />ReconstructionStatements, Representation<br />Paper, drawings, mobile phones, computers<br />The IndividualPersonal reflectionWho are you? I am ….<br />
  37. 37. Cecilia Parsberg / Rinkeby, Stockholm What would you like to ask someone who has more power than you?<br />
  38. 38. If you have power why don´t you use it for something good which can be good for society?<br />Why are other countries poorer?<br />Why do you have to obey grown ups?<br />Why am I?<br />Good that you want to listen there is almost noone who caresaboutwhatwethink<br />
  39. 39. WORKING CLASS HERO (Candice Breitz)<br />
  40. 40. SPONTANOUS TALKS<br />Meta-reflection<br />Emotions<br />What is an idol?What´s the relation betweena fan and an idol?What´s the role of popular music in the society<br />Howdidshedo it?<br />Whydo you think it wasdonein this way? Whatdoesshewant to say?<br />What feelings did you get?<br />Which artist would you choose?<br />Whichsong?<br />Why? Wahtwould you like to say?<br />THE ARTIST´S WORK<br />NarrativizingEmotions<br />
  41. 41. Acknowledgements<br />Some of the pictures in this slide show where taken from Flickr and the CreativeCommons.I thereforwhish to thank;<br />WetwebworkVictoriapeckham<br />Frozenchipmunk Ricardo martins<br />Scarlet green Bill HR<br />Kevin DooleyMilgrammer<br />J Lord and …. Leo Green<br />
  42. 42. www.<br />Thank you!<br /><br />