WALKING THROUGH THE PROCESS TOGETHER: unpacking a creative work with human and more-than-human publics as an artist pedagogue and the condition of indeterminacy
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Abstract
WALKING THROUGH THE PROCESS TOGETHER: unpacking a creative work with human and more-than-human publics as an artist pedagogue and the condition of indeterminacy
Everyday Ecologies, an experiential, sensational, walking-based, research-creation work, constituted the practical component of Lenine’s practice led PhD study. A work of significance in an Australian context as it foregrounds emergent considerations of the ways contemporary artist-pedagogues can deliberately define public pedagogy. An artist-led residency developed under pandemic conditions, culminated in the public engagement with a new artistic work, deliberately framed as artist-led public pedagogy. Bringing the public together through an indeterminant, relational experience of the ‘speculative middle’ (Springgay & Truman, 2018), rather than something that is pre-determined prior to the experience. Lenine worked with five conditions which can determine the possibility to create an artist-led public pedagogy creative work including: understanding the importance of place, indeterminacy, relational, sensational and polydisciplinamory ways of making contemporary art works. This presentation or artist talk will explore three components of Lennie’s recent PhD study. The context for the creative work, as a more than human and human collaboration utilising Commonworld pedagogy as an innovation in artistic experiments through a pandemic. An explanation of the term artist pedagogy and how this is used by Lenine in an artist-led public pedagogy. And they will discuss further the condition of indeterminacy informing notions of togetherness as articulated by Biesta (2012) and other public pedagogues. Burdick and Sandlin (2013) describe this as a “pedagogy of the unknowable” (p. 158). Elizabeth Ellsworth (2005) considers the work of critical pedagogy “is most powerful when it demonstrates the pedagogical force of not dictating “the final correct answer”” (p. 76).