https://doi.org/10.59132/viz/2022/5/35-39
Povzetek
V prispevku najprej na kratko predstavimo poglede na likovno pismenost, kakor so se znotraj likovne pedagogike izoblikovali v zadnjih tridesetih letih. Ideje povežemo s teorijo Scotta Lasha o specifičnosti odnosa med označevalcem, označencem in referentom v postmodernem času. Problematiko razvijanje likovne pismenosti v okvirih aktualnih kurikulov za likovne predmete v slovenskih šolah ilustriramo s pomočjo dveh konkretnih primerov. To sta umetniško delo Komik Maurizia Cattelana in z njim povezan performans Davida Datune z naslovom Lačni umetnik ter performans Lucije Ostan Vejrup in Line Akif z naslovom Rada imam Slovenijo in Slovenija ima rada mene. Sklenemo z mislijo, da sodobna likovna didaktika potrebuje sodobno umetnost, obenem pa mora v poplavi in heterogenosti vsega mogočega biti sposobna razbirati tiste primere sodobne umetnosti, ki so didaktično primerni in ne nazadnje vredni pozornosti likovne pedagogike.
Abstract
Visual Literacy in Contemporary Art Education
This paper briefl y presents the views on visual literacy as they have emerged within art pedagogy over the last thirty years. The attention then turns to Scott Lash’s postmodern theory of the specifi city of the relationship between the signifier, the signified, and the referent. Two concrete examples illustrate the problem of developing visual literacy in the context of current curricula for art subjects in Slovenian schools, i.e., the artwork Comedian by Maurizio Cattelan, the related performance by David Datuna entitled The Hungry Artist, and Lucija Ostan Vejrup and Lina Akif’s performance I Love Slovenia and Slovenia Loves Me. In conclusion, the author states that contemporary art didactics needs contemporary art. However, considering the abundance and heterogeneity of contemporary artworks, it must be able to identify those didactically appropriate and ultimately worthy of the attention of art pedagogy.