Rolf Laven | Vienna University of Education (original) (raw)

Books by Rolf Laven

MAKING - PROCEEDINGS InSEA 2019 World Congress, 2020

The technique of graphic storytelling has proved itself to be a particularly suitable form of cul... more The technique of graphic storytelling has proved itself to be a particularly suitable form of cultural expression, which is equally appealing for children, adolescents and young adults. The European project “Soundwords: Graphic
Storytelling” tests a pluralistic linguistic concept as an approach of cultural education, which is a key competence for cultural awareness and social inclusion. Methodological approach is learning through art along the technique of graphic storytelling. There are two outputs a theoretical paper on the subject of reading comprehension and graphic storytelling. The “Europe Graphic Novel” as second output is the practical part, a collection of examples that includes the work of the students and demonstrates the possibilities of technology around the topic of social inclusion and vulnerability. As a further trans-european trans-cultural step, Franz Čižek and his Viennese Juvenile Art Class will be presented as a role model for empowering the younger generation towards unskilled / unschooled Visual Expression. Čižek‘s artistic, pedagogical lifework and legacy will lead us to new research fields in a paradigmatic and trend-setting way.

Revista Educação, Artes e Inclusão - Universidade do Estado de Santa Catarina, 2020

The Graphic Novel as a development of the last decades and nowadays an independent art form is pr... more The Graphic Novel as a development of the last decades and nowadays an independent art form is presented in the context of workshop series within its educational potentials. Graphic story telling workshop series as methology exemplifies us an alternative form of communication beyond textual literacy. This took place within the framework of teacher training workshops in the Polisario refugee camps in Algeria. With the possibilities of the graphic novels, contents from the school environment and the everyday life of the participants were developed by means of art education, in the sense of a reflection of the own work event/ reference, for oneself and others. Drawings and personal stories from everyday life were developed in detail in the form of successive pictures and pictorial elements, sometimes including writing. In a non-verbal and playful way, the reality of life should come to face. In particular, one's own experiential space should be experienced as a source of creativity-personal, original, self-referential should be appreciated and valued. Unconventional forms of communication were generated and established as mutually effective educational methods. RESUMO : Uma novela gráfica, desenvolvida nas últimas décadas e agora como uma forma de arte independente, é o foco deste texto. A novela gráfica é aqui apresentada no contexto de uma série de workshops sobre o potencial educacional do formato. Uma série de workshops gráficos que conta histórias é apresentada como um exemplo, como uma forma alternativa de comunicação além da alfabetização textual. Isso ocorreu no âmbito de oficinas de formação de professores nos campos de refugiados de Polisario, na Argélia. Com as possibilidades das novelas gráficas, os conteúdos do ambiente escolar e do cotidiano dos participantes foram desenvolvidos por meio da arte/educação, no sentido de uma reflexão do próprio evento/referência de trabalho, para si e para os outros. Desenhos e histórias pessoais da vida cotidiana foram desenvolvidos em detalhes em imagens sucessivas e elementos pictóricos, às vezes incluindo a escrita. De uma maneira não verbal e lúdica, a realidade da vida deve vir à tona. Em particular, o próprio espaço experiencial deve ser experimentado como uma fonte de criatividade-pessoal, original e de autorreferência que deve ser apreciada e valorizada. Assim, formas não-convencionais de comunicação foram geradas e estabelecidas como métodos educacionais mutuamente eficazes.

Heavy Metal (second edition), 2020

The free play of forces. Steel sculptures are a substantial part of the aggregate of Rolf Laven’s... more The free play of forces.
Steel sculptures are a substantial part of the aggregate of Rolf Laven’s work. The artist puts particular emphasis on segmenting pieces of steel that he finds – for the most part oil pipes – by means of straight cuts in order to reassemble them within a new context of form. Cut sections, arches, individual pieces are joined to form a whole.
What does not fit is made to fit. Laven’s sculptures constantly involve the space that surrounds them; they create room for freedom and expansion. An interesting interplay between space and interpenetration is skillfully translated into sculptures. An imaginary Möbius strip – mathematically, a form of plurality that defies orientation – often finds its way into the design as a mental construct. Consisting of two sides, the
strip is a visualization of the possibility of uninterrupted movement. However, when following the form with the eye, one realizes that this vision of movement is being materialized by a non-moving form.
Just as, for example, a diamond becomes a brilliant in the hands of a lapidary, while at the same time retaining its crystalline structure, in Rolf Laven’s alterations of form the predefinition remains partially intact, but what is expressed becomes something different. In these ways, for many years he has created series in which formal concepts have been
worked out by means of various cutting and joining techniques. Frequently, visions of movement and associations involving movement – notwithstanding the massive weight of steel – evolve as a part of the concept and find their equivalent expressed in form.
Here, it becomes possible to experience forms and spaces as interacting surfaces and as powerful spaces infused with energy. The surfaces also seem to exploit the space beyond the object and to resonate in the surroundings. At the same time, an encounter between playful poetry and concrete art takes place here. (R.L.)

Introduction The reformer Franz Čížek (1865-1946) is considered by worldwide experts in his fi... more Introduction
The reformer Franz Čížek (1865-1946) is considered by worldwide experts in his field to be a pioneer in art education. As an eminent inspirer and mentor he had an influence on the development of current art education practices. He was a catalyser for reform
pedagogical and artistic innovation. Čížek, who dedicated his life to “research on psychogenic creation”, had many followers and imitators, particularly in the English speaking realm. The relationship between art and pedagogics, the history of which is marked not only by tensions between varying views on perception, but also by the
productive exchange of ideas, can be seen clearly in Čížek’s lifework. This work included the development of Viennese Kineticism and the leadership of art classes for children and youths. Through his activities
Čížek, who was extensively artistically trained, was able to broach the issue of this rift and in the end he was able to transcend the division of the two disciplines within his sphere of influence. He wanted his own actions to be seen as creative artistry: “I am an artist and my venue of art cultivation (...) should not become a school! (...) I am not a pedagogue, but rather a waker, provoker, stimulator and catalyser!” (Čížek, 1946, o.S.).

METHODS OF TEACHING AND LEARNING IN THE FIELD OF BILDLITERALITÄT / VISUAL LITERACY ABSTRACT In t... more METHODS OF TEACHING AND LEARNING IN THE FIELD OF
BILDLITERALITÄT / VISUAL LITERACY
ABSTRACT
In this paper, that addresses different methods of teaching and learning in the field of Bildliteralität, the experiences with competence orientated art education are in the mainframe of research. The goal is to get more detailed information about the specific teaching-learning interaction by using the model of competence orientated visual literacy (according to the European Guideline CEFR_VL). The setting of a task in the process of the creative work within the parameters of visual literacy is a major issue. One of the research goals was the process how the children would appropriate professional, personal social competencies. These teaching-learning processes were supposed to be discussed later on in the discourse of art education. The ongoing inquiry started in 2014/15. Up to now the location of the inquiry were two classes in a viennese primary school (age bracket 6-9 years). The frame of reference was multilingualism. The choice of the schools corresponded to socio-economic and socio-cultural circumstances. Using art specific didactic methods under the mainframe of the competency model were supported by documenting and interpretating. Qualitative research methods (participating supervision, interviewing, photo- and video documentation, phenomenological analysis, case study) were used to get a larger context how visual literacy methods are positioned in art education. Within the span of a few weeks time up to the period of several months the tasks brought little by little the addressed competencies to light. It is helpful using the competence-orientated model of visual literacy within an artistic setting of serial tasks rather than analysing a single task. But ist demands a larger amount of time to make competencies accessible by acting in the artistic field.
KEYWORDS: Bildliteralität, Visual Literacy, Teaching-Learning Methods, Creativity, Competence orientated Learning, Assignment of tasks

Marija Ivetic: Even though the title of this exhibition 2 u 1 sounds like a commercial slogan, it... more Marija Ivetic: Even though the title of this exhibition 2 u 1 sounds like a commercial slogan, it was not chosen to implicate the content code of the artworks presented. Rather than that, it is an association of two separate opuses of two authors, Elvis Berton and Rolf Laven. It especially emphasizes their co-authorship in the realization of paintings whose morphogenesis consists of two substantially mended artistic reasoning.
Fifteen years ago Elvis Berton held his first solo exhibition in Pazin. The period that followed was fruitful in many determinants important for his artistic dignity: maturation of his artistic expression, rich production, numerous awards and prizes, an array of solo exhibitions, participations in group exhibitions and artistic colonies in Croatia and abroad. As a part of his third solo presentation in Pazin, Berton is representing sculptures from his two cycles – White Cypresses and Seven Years of Hunger, paintings from the cycles Before the Rain, Remembering Tourves and Birds as well as mutual artistic masterpieces realized in cooperation with Rolf Laven.

Creativity, Motivation and Interaction in Community are wide-ranging concepts that can be defined... more Creativity, Motivation and Interaction in Community are wide-ranging concepts that can be defined in several ways. What is the new interacting part of figurative work? Is this a genre? A vehicle? An art programme? Should an art-oeuvre be physically functioning to be categorised as such or do we collaborate when we sense and make sense?
In this thesis I try to debate that my interactive sculture work sets moving-thinking-feeling as an incarnation; artmarks are adopted as they are formed and related. My interactive installations explain how the embodied art labels, connotations, and materials clarify themselves, however the community senses, perceptions and substances disclarify. Cooperating creations generate conditions which improve and modify understanding and action in customs that demand thoughtfulness to our diverse connections.
Nevertheless, in order to have some common direction in my projects I would like to propose this description of my work and some thoughts about my embodied interactive art approach rather than a definition.
These are some thoughts about my art approach:
I try to combine art and environmentalism in a community context. This thesis explores the role of art in encouraging empathic understanding and activism in members of the public. In my work art is examined as a problem-solving procedure that can facilitate a positive shift in the relationship people have with environment and society.
The role of me as an artist is to offer creative settings for these experimental interaction schemes so that community and individuals within it become visible and not so much the artist himself.
Furthermore, my aim is to connect communities and artists, to suggest topics, to search for issues to promote, as well as to arrange new creative settings for continual and constant interactions.
Keywords: Sculpture, Creativity, Motivation and Interaction in Community
www.rolflaven.com

Papers by Rolf Laven

Revija za Elementarno Izobraževanje, Dec 1, 2017

Povzetek V prispevku namenjamo osrednjo pozornost grafičnemu romanu kot pojavu zadnjih nekaj dese... more Povzetek V prispevku namenjamo osrednjo pozornost grafičnemu romanu kot pojavu zadnjih nekaj desetletij in danes samostojni umetniški formi. Kot primer predstavljamo niz delavnic o grafičnem romanu. Potekale so v okviru programa usposabljanja učiteljev v saharskih begunskih taboriščih v Alžiriji. Z možnostmi, ki jih nudijo grafični romani, so bile umetnostno, pedagoško in ustvarjalno razvite vsebine iz poklicnega življenja udeležencev v smislu reflektiranja lastnih delovnih izkušenj (zase in za druge), sklicevanja na delo. Samostojno ustvarjene zgodbe iz poklicnega dnevnega dogajanja so bile razvite v obliki zaporedja z detajli bogatih slik in slikovnih elementov, deloma z vključevanjem besedila. Ključne besede: • grafični roman • zaporedna umetnost • odnos med besedilom in sliko • vzgojno-izobraževalni procesi • medpredmetne kompetence učiteljskega poklica •

Revista Educação, Artes e Inclusão, Jul 1, 2020

The Graphic Novel as a development of the last decades and nowadays an independent art form is pr... more The Graphic Novel as a development of the last decades and nowadays an independent art form is presented in the context of workshop series within its educational potentials. Graphic story telling workshop series as methology exemplifies us an alternative form of communication beyond textual literacy. This took place within the framework of teacher training workshops in the Polisario refugee camps in Algeria. With the possibilities of the graphic novels, contents from the school environment and the everyday life of the participants were developed by means of art education, in the sense of a reflection of the own work event/ reference, for oneself and others. Drawings and personal stories from everyday life were developed in detail in the form of successive pictures and pictorial elements, sometimes including writing. In a non-verbal and playful way, the reality of life should come to face. In particular, one's own experiential space should be experienced as a source of creativity-personal, original, self-referential should be appreciated and valued. Unconventional forms of communication were generated and established as mutually effective educational methods.

Research in Arts and Education, Jun 1, 2019

Rolf Laven's research activity in the refugee camps of the Polisario takes place against the back... more Rolf Laven's research activity in the refugee camps of the Polisario takes place against the backdrop of the cultural form of the predominantly Muslim Saharawis, which is characterized by textual literacy. The realization of pictorial representations as a means of communication presents a new educational and learning field for these children and their teachers. The focus lies on the role of childlike image-based forms of expression in the process of world-and selfempowerment. The resulting picture worlds illustrate worldviews from the child perspective; the daily experienced as well as the imagined, have been imprinted. Images, presentation/representation and their adoption as well as meta-levels are effective for all interacters at the interface of teaching-learning processes on both sides. Methods were participating observation, qualitative empirical study, and phenomenological analysis. The children's drawings manifest the status of independent documents; complexity and focus do not remain referring exclusively on the narrative content.

De Gruyter eBooks, Jun 1, 2015

International Journal of Education Through Art, Mar 1, 2023

In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Sp... more In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Spalowskygasse (‘Bildungsgrätzl Mariahilf’), an artistic encounter zone is being created through the participation of artists, schools and neighbourhood residents. This artistic intervention employs service-learning and engaged learning approaches. Based on cultural heritage and local history, plans for using various found materials and employing processes of recycling and upcycling have been developed. Such an artistic encounter zone initiates a public creative discourse. It aims to expand the circle of participants beyond already established knowledge alliances to create new synergies. The concept provides for broad participation from art and cultural institutions, schools, universities and social institutions. Participants are invited to take the initiative in community learning activities. This article reports on the initial phase of this service-learning project where workshops have already been conducted.

Intellect Books, Jul 29, 2022

Ediciones Universidad Alberto Hurtado eBooks, Mar 4, 2022

Nomos Verlagsgesellschaft mbH & Co. KG eBooks, 2021

Revista Farol

With the participation of artists, schools and local residents, an artistic encounter zone is bei... more With the participation of artists, schools and local residents, an artistic encounter zone is being created between a sculpture studio in Vienna's Spalowskygasse and the "Lerncampus Mariahilf". This artistic intervention, inspired by Rolf Laven, is presented as an innovative form of learning that uses the school space and employs service learning/engaged learning approaches. Based on cultural heritage and local history, methods are developed with different upcycling materials. Such an artistic encounter zone initiates a public creative dialogue. It aims to expand the circle of participants beyond already established knowledge alliances (Erasmus+ KA2 research projects Rural 3.0_Service-Learning; SLUSIK and SLIDE as well as artistic, school and student teaching-learning areas) and co-creators and to create new synergies. The project concept envisages broad participation from the field of art and cultural work, from school and university institutions as well as from socia...

Intellect Books, Jul 29, 2022

Aims (Hypotheses) Franz Čižek (1865-1946) is regarded as a prominent reformer of art pedagogy. Hi... more Aims (Hypotheses) Franz Čižek (1865-1946) is regarded as a prominent reformer of art pedagogy. His Vienna art classes for children, established in 1897, became the centre of an international, long-term reform movement. His educational principles based on the freedom of development of children's creativity and his international exhibition activity, which made his classes particularly well-known in G.B. and the USA, changed art teaching in state schools and met with a multifaceted response such as from Maria Montessori, Johannes Itten, the English Child Art movement, the Group of Seven in Canada and, not least, in the teaching and writings of Mark Rothko from the late 1930s. The educationalist Rolf Laven charts an overall picture of Čižek's work and impact against the background of contemporary pedagogical positions. He was also able to drawn on the largely unpublished material in the Čižek Archive in Vienna.

Ediciones Universidad Alberto Hurtado eBooks, Mar 4, 2022

International Journal of Education Through Art

In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Sp... more In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Spalowskygasse (‘Bildungsgrätzl Mariahilf’), an artistic encounter zone is being created through the participation of artists, schools and neighbourhood residents. This artistic intervention employs service-learning and engaged learning approaches. Based on cultural heritage and local history, plans for using various found materials and employing processes of recycling and upcycling have been developed. Such an artistic encounter zone initiates a public creative discourse. It aims to expand the circle of participants beyond already established knowledge alliances to create new synergies. The concept provides for broad participation from art and cultural institutions, schools, universities and social institutions. Participants are invited to take the initiative in community learning activities. This article reports on the initial phase of this service-learning project where workshops have a...

MAKING - PROCEEDINGS InSEA 2019 World Congress, 2020

The technique of graphic storytelling has proved itself to be a particularly suitable form of cul... more The technique of graphic storytelling has proved itself to be a particularly suitable form of cultural expression, which is equally appealing for children, adolescents and young adults. The European project “Soundwords: Graphic
Storytelling” tests a pluralistic linguistic concept as an approach of cultural education, which is a key competence for cultural awareness and social inclusion. Methodological approach is learning through art along the technique of graphic storytelling. There are two outputs a theoretical paper on the subject of reading comprehension and graphic storytelling. The “Europe Graphic Novel” as second output is the practical part, a collection of examples that includes the work of the students and demonstrates the possibilities of technology around the topic of social inclusion and vulnerability. As a further trans-european trans-cultural step, Franz Čižek and his Viennese Juvenile Art Class will be presented as a role model for empowering the younger generation towards unskilled / unschooled Visual Expression. Čižek‘s artistic, pedagogical lifework and legacy will lead us to new research fields in a paradigmatic and trend-setting way.

Revista Educação, Artes e Inclusão - Universidade do Estado de Santa Catarina, 2020

The Graphic Novel as a development of the last decades and nowadays an independent art form is pr... more The Graphic Novel as a development of the last decades and nowadays an independent art form is presented in the context of workshop series within its educational potentials. Graphic story telling workshop series as methology exemplifies us an alternative form of communication beyond textual literacy. This took place within the framework of teacher training workshops in the Polisario refugee camps in Algeria. With the possibilities of the graphic novels, contents from the school environment and the everyday life of the participants were developed by means of art education, in the sense of a reflection of the own work event/ reference, for oneself and others. Drawings and personal stories from everyday life were developed in detail in the form of successive pictures and pictorial elements, sometimes including writing. In a non-verbal and playful way, the reality of life should come to face. In particular, one's own experiential space should be experienced as a source of creativity-personal, original, self-referential should be appreciated and valued. Unconventional forms of communication were generated and established as mutually effective educational methods. RESUMO : Uma novela gráfica, desenvolvida nas últimas décadas e agora como uma forma de arte independente, é o foco deste texto. A novela gráfica é aqui apresentada no contexto de uma série de workshops sobre o potencial educacional do formato. Uma série de workshops gráficos que conta histórias é apresentada como um exemplo, como uma forma alternativa de comunicação além da alfabetização textual. Isso ocorreu no âmbito de oficinas de formação de professores nos campos de refugiados de Polisario, na Argélia. Com as possibilidades das novelas gráficas, os conteúdos do ambiente escolar e do cotidiano dos participantes foram desenvolvidos por meio da arte/educação, no sentido de uma reflexão do próprio evento/referência de trabalho, para si e para os outros. Desenhos e histórias pessoais da vida cotidiana foram desenvolvidos em detalhes em imagens sucessivas e elementos pictóricos, às vezes incluindo a escrita. De uma maneira não verbal e lúdica, a realidade da vida deve vir à tona. Em particular, o próprio espaço experiencial deve ser experimentado como uma fonte de criatividade-pessoal, original e de autorreferência que deve ser apreciada e valorizada. Assim, formas não-convencionais de comunicação foram geradas e estabelecidas como métodos educacionais mutuamente eficazes.

Heavy Metal (second edition), 2020

The free play of forces. Steel sculptures are a substantial part of the aggregate of Rolf Laven’s... more The free play of forces.
Steel sculptures are a substantial part of the aggregate of Rolf Laven’s work. The artist puts particular emphasis on segmenting pieces of steel that he finds – for the most part oil pipes – by means of straight cuts in order to reassemble them within a new context of form. Cut sections, arches, individual pieces are joined to form a whole.
What does not fit is made to fit. Laven’s sculptures constantly involve the space that surrounds them; they create room for freedom and expansion. An interesting interplay between space and interpenetration is skillfully translated into sculptures. An imaginary Möbius strip – mathematically, a form of plurality that defies orientation – often finds its way into the design as a mental construct. Consisting of two sides, the
strip is a visualization of the possibility of uninterrupted movement. However, when following the form with the eye, one realizes that this vision of movement is being materialized by a non-moving form.
Just as, for example, a diamond becomes a brilliant in the hands of a lapidary, while at the same time retaining its crystalline structure, in Rolf Laven’s alterations of form the predefinition remains partially intact, but what is expressed becomes something different. In these ways, for many years he has created series in which formal concepts have been
worked out by means of various cutting and joining techniques. Frequently, visions of movement and associations involving movement – notwithstanding the massive weight of steel – evolve as a part of the concept and find their equivalent expressed in form.
Here, it becomes possible to experience forms and spaces as interacting surfaces and as powerful spaces infused with energy. The surfaces also seem to exploit the space beyond the object and to resonate in the surroundings. At the same time, an encounter between playful poetry and concrete art takes place here. (R.L.)

Introduction The reformer Franz Čížek (1865-1946) is considered by worldwide experts in his fi... more Introduction
The reformer Franz Čížek (1865-1946) is considered by worldwide experts in his field to be a pioneer in art education. As an eminent inspirer and mentor he had an influence on the development of current art education practices. He was a catalyser for reform
pedagogical and artistic innovation. Čížek, who dedicated his life to “research on psychogenic creation”, had many followers and imitators, particularly in the English speaking realm. The relationship between art and pedagogics, the history of which is marked not only by tensions between varying views on perception, but also by the
productive exchange of ideas, can be seen clearly in Čížek’s lifework. This work included the development of Viennese Kineticism and the leadership of art classes for children and youths. Through his activities
Čížek, who was extensively artistically trained, was able to broach the issue of this rift and in the end he was able to transcend the division of the two disciplines within his sphere of influence. He wanted his own actions to be seen as creative artistry: “I am an artist and my venue of art cultivation (...) should not become a school! (...) I am not a pedagogue, but rather a waker, provoker, stimulator and catalyser!” (Čížek, 1946, o.S.).

METHODS OF TEACHING AND LEARNING IN THE FIELD OF BILDLITERALITÄT / VISUAL LITERACY ABSTRACT In t... more METHODS OF TEACHING AND LEARNING IN THE FIELD OF
BILDLITERALITÄT / VISUAL LITERACY
ABSTRACT
In this paper, that addresses different methods of teaching and learning in the field of Bildliteralität, the experiences with competence orientated art education are in the mainframe of research. The goal is to get more detailed information about the specific teaching-learning interaction by using the model of competence orientated visual literacy (according to the European Guideline CEFR_VL). The setting of a task in the process of the creative work within the parameters of visual literacy is a major issue. One of the research goals was the process how the children would appropriate professional, personal social competencies. These teaching-learning processes were supposed to be discussed later on in the discourse of art education. The ongoing inquiry started in 2014/15. Up to now the location of the inquiry were two classes in a viennese primary school (age bracket 6-9 years). The frame of reference was multilingualism. The choice of the schools corresponded to socio-economic and socio-cultural circumstances. Using art specific didactic methods under the mainframe of the competency model were supported by documenting and interpretating. Qualitative research methods (participating supervision, interviewing, photo- and video documentation, phenomenological analysis, case study) were used to get a larger context how visual literacy methods are positioned in art education. Within the span of a few weeks time up to the period of several months the tasks brought little by little the addressed competencies to light. It is helpful using the competence-orientated model of visual literacy within an artistic setting of serial tasks rather than analysing a single task. But ist demands a larger amount of time to make competencies accessible by acting in the artistic field.
KEYWORDS: Bildliteralität, Visual Literacy, Teaching-Learning Methods, Creativity, Competence orientated Learning, Assignment of tasks

Marija Ivetic: Even though the title of this exhibition 2 u 1 sounds like a commercial slogan, it... more Marija Ivetic: Even though the title of this exhibition 2 u 1 sounds like a commercial slogan, it was not chosen to implicate the content code of the artworks presented. Rather than that, it is an association of two separate opuses of two authors, Elvis Berton and Rolf Laven. It especially emphasizes their co-authorship in the realization of paintings whose morphogenesis consists of two substantially mended artistic reasoning.
Fifteen years ago Elvis Berton held his first solo exhibition in Pazin. The period that followed was fruitful in many determinants important for his artistic dignity: maturation of his artistic expression, rich production, numerous awards and prizes, an array of solo exhibitions, participations in group exhibitions and artistic colonies in Croatia and abroad. As a part of his third solo presentation in Pazin, Berton is representing sculptures from his two cycles – White Cypresses and Seven Years of Hunger, paintings from the cycles Before the Rain, Remembering Tourves and Birds as well as mutual artistic masterpieces realized in cooperation with Rolf Laven.

Creativity, Motivation and Interaction in Community are wide-ranging concepts that can be defined... more Creativity, Motivation and Interaction in Community are wide-ranging concepts that can be defined in several ways. What is the new interacting part of figurative work? Is this a genre? A vehicle? An art programme? Should an art-oeuvre be physically functioning to be categorised as such or do we collaborate when we sense and make sense?
In this thesis I try to debate that my interactive sculture work sets moving-thinking-feeling as an incarnation; artmarks are adopted as they are formed and related. My interactive installations explain how the embodied art labels, connotations, and materials clarify themselves, however the community senses, perceptions and substances disclarify. Cooperating creations generate conditions which improve and modify understanding and action in customs that demand thoughtfulness to our diverse connections.
Nevertheless, in order to have some common direction in my projects I would like to propose this description of my work and some thoughts about my embodied interactive art approach rather than a definition.
These are some thoughts about my art approach:
I try to combine art and environmentalism in a community context. This thesis explores the role of art in encouraging empathic understanding and activism in members of the public. In my work art is examined as a problem-solving procedure that can facilitate a positive shift in the relationship people have with environment and society.
The role of me as an artist is to offer creative settings for these experimental interaction schemes so that community and individuals within it become visible and not so much the artist himself.
Furthermore, my aim is to connect communities and artists, to suggest topics, to search for issues to promote, as well as to arrange new creative settings for continual and constant interactions.
Keywords: Sculpture, Creativity, Motivation and Interaction in Community
www.rolflaven.com

Revija za Elementarno Izobraževanje, Dec 1, 2017

Povzetek V prispevku namenjamo osrednjo pozornost grafičnemu romanu kot pojavu zadnjih nekaj dese... more Povzetek V prispevku namenjamo osrednjo pozornost grafičnemu romanu kot pojavu zadnjih nekaj desetletij in danes samostojni umetniški formi. Kot primer predstavljamo niz delavnic o grafičnem romanu. Potekale so v okviru programa usposabljanja učiteljev v saharskih begunskih taboriščih v Alžiriji. Z možnostmi, ki jih nudijo grafični romani, so bile umetnostno, pedagoško in ustvarjalno razvite vsebine iz poklicnega življenja udeležencev v smislu reflektiranja lastnih delovnih izkušenj (zase in za druge), sklicevanja na delo. Samostojno ustvarjene zgodbe iz poklicnega dnevnega dogajanja so bile razvite v obliki zaporedja z detajli bogatih slik in slikovnih elementov, deloma z vključevanjem besedila. Ključne besede: • grafični roman • zaporedna umetnost • odnos med besedilom in sliko • vzgojno-izobraževalni procesi • medpredmetne kompetence učiteljskega poklica •

Revista Educação, Artes e Inclusão, Jul 1, 2020

The Graphic Novel as a development of the last decades and nowadays an independent art form is pr... more The Graphic Novel as a development of the last decades and nowadays an independent art form is presented in the context of workshop series within its educational potentials. Graphic story telling workshop series as methology exemplifies us an alternative form of communication beyond textual literacy. This took place within the framework of teacher training workshops in the Polisario refugee camps in Algeria. With the possibilities of the graphic novels, contents from the school environment and the everyday life of the participants were developed by means of art education, in the sense of a reflection of the own work event/ reference, for oneself and others. Drawings and personal stories from everyday life were developed in detail in the form of successive pictures and pictorial elements, sometimes including writing. In a non-verbal and playful way, the reality of life should come to face. In particular, one's own experiential space should be experienced as a source of creativity-personal, original, self-referential should be appreciated and valued. Unconventional forms of communication were generated and established as mutually effective educational methods.

Research in Arts and Education, Jun 1, 2019

Rolf Laven's research activity in the refugee camps of the Polisario takes place against the back... more Rolf Laven's research activity in the refugee camps of the Polisario takes place against the backdrop of the cultural form of the predominantly Muslim Saharawis, which is characterized by textual literacy. The realization of pictorial representations as a means of communication presents a new educational and learning field for these children and their teachers. The focus lies on the role of childlike image-based forms of expression in the process of world-and selfempowerment. The resulting picture worlds illustrate worldviews from the child perspective; the daily experienced as well as the imagined, have been imprinted. Images, presentation/representation and their adoption as well as meta-levels are effective for all interacters at the interface of teaching-learning processes on both sides. Methods were participating observation, qualitative empirical study, and phenomenological analysis. The children's drawings manifest the status of independent documents; complexity and focus do not remain referring exclusively on the narrative content.

De Gruyter eBooks, Jun 1, 2015

International Journal of Education Through Art, Mar 1, 2023

In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Sp... more In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Spalowskygasse (‘Bildungsgrätzl Mariahilf’), an artistic encounter zone is being created through the participation of artists, schools and neighbourhood residents. This artistic intervention employs service-learning and engaged learning approaches. Based on cultural heritage and local history, plans for using various found materials and employing processes of recycling and upcycling have been developed. Such an artistic encounter zone initiates a public creative discourse. It aims to expand the circle of participants beyond already established knowledge alliances to create new synergies. The concept provides for broad participation from art and cultural institutions, schools, universities and social institutions. Participants are invited to take the initiative in community learning activities. This article reports on the initial phase of this service-learning project where workshops have already been conducted.

Intellect Books, Jul 29, 2022

Ediciones Universidad Alberto Hurtado eBooks, Mar 4, 2022

Nomos Verlagsgesellschaft mbH & Co. KG eBooks, 2021

Revista Farol

With the participation of artists, schools and local residents, an artistic encounter zone is bei... more With the participation of artists, schools and local residents, an artistic encounter zone is being created between a sculpture studio in Vienna's Spalowskygasse and the "Lerncampus Mariahilf". This artistic intervention, inspired by Rolf Laven, is presented as an innovative form of learning that uses the school space and employs service learning/engaged learning approaches. Based on cultural heritage and local history, methods are developed with different upcycling materials. Such an artistic encounter zone initiates a public creative dialogue. It aims to expand the circle of participants beyond already established knowledge alliances (Erasmus+ KA2 research projects Rural 3.0_Service-Learning; SLUSIK and SLIDE as well as artistic, school and student teaching-learning areas) and co-creators and to create new synergies. The project concept envisages broad participation from the field of art and cultural work, from school and university institutions as well as from socia...

Intellect Books, Jul 29, 2022

Aims (Hypotheses) Franz Čižek (1865-1946) is regarded as a prominent reformer of art pedagogy. Hi... more Aims (Hypotheses) Franz Čižek (1865-1946) is regarded as a prominent reformer of art pedagogy. His Vienna art classes for children, established in 1897, became the centre of an international, long-term reform movement. His educational principles based on the freedom of development of children's creativity and his international exhibition activity, which made his classes particularly well-known in G.B. and the USA, changed art teaching in state schools and met with a multifaceted response such as from Maria Montessori, Johannes Itten, the English Child Art movement, the Group of Seven in Canada and, not least, in the teaching and writings of Mark Rothko from the late 1930s. The educationalist Rolf Laven charts an overall picture of Čižek's work and impact against the background of contemporary pedagogical positions. He was also able to drawn on the largely unpublished material in the Čižek Archive in Vienna.

Ediciones Universidad Alberto Hurtado eBooks, Mar 4, 2022

International Journal of Education Through Art

In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Sp... more In the middle of Vienna between the locations of a sculptor’s studio and an educational campus Spalowskygasse (‘Bildungsgrätzl Mariahilf’), an artistic encounter zone is being created through the participation of artists, schools and neighbourhood residents. This artistic intervention employs service-learning and engaged learning approaches. Based on cultural heritage and local history, plans for using various found materials and employing processes of recycling and upcycling have been developed. Such an artistic encounter zone initiates a public creative discourse. It aims to expand the circle of participants beyond already established knowledge alliances to create new synergies. The concept provides for broad participation from art and cultural institutions, schools, universities and social institutions. Participants are invited to take the initiative in community learning activities. This article reports on the initial phase of this service-learning project where workshops have a...

Revista Educação, Artes e Inclusão, 2020

The Graphic Novel as a development of the last decades and nowadays an independent art form is pr... more The Graphic Novel as a development of the last decades and nowadays an independent art form is presented in the context of workshop series within its educational potentials. Graphic story telling workshop series as methology exemplifies us an alternative form of communication beyond textual literacy. This took place within the framework of teacher training workshops in the Polisario refugee camps in Algeria. With the possibilities of the graphic novels, contents from the school environment and the everyday life of the participants were developed by means of art education, in the sense of a reflection of the own work event/ reference, for oneself and others. Drawings and personal stories from everyday life were developed in detail in the form of successive pictures and pictorial elements, sometimes including writing. In a non-verbal and playful way, the reality of life should come to face. In particular, one's own experiential space should be experienced as a source of creativi...

Revija za elementarno izobraževanje, 2017

Povzetek V prispevku namenjamo osrednjo pozornost grafičnemu romanu kot pojavu zadnjih nekaj dese... more Povzetek V prispevku namenjamo osrednjo pozornost grafičnemu romanu kot pojavu zadnjih nekaj desetletij in danes samostojni umetniški formi. Kot primer predstavljamo niz delavnic o grafičnem romanu. Potekale so v okviru programa usposabljanja učiteljev v saharskih begunskih taboriščih v Alžiriji. Z možnostmi, ki jih nudijo grafični romani, so bile umetnostno, pedagoško in ustvarjalno razvite vsebine iz poklicnega življenja udeležencev v smislu reflektiranja lastnih delovnih izkušenj (zase in za druge), sklicevanja na delo. Samostojno ustvarjene zgodbe iz poklicnega dnevnega dogajanja so bile razvite v obliki zaporedja z detajli bogatih slik in slikovnih elementov, deloma z vključevanjem besedila. Ključne besede: • grafični roman • zaporedna umetnost • odnos med besedilom in sliko • vzgojno-izobraževalni procesi • medpredmetne kompetence učiteljskega poklica •

Rolf Laven’s research activity in the refugee camps of the Polisario takes place against the back... more Rolf Laven’s research activity in the refugee camps of the Polisario takes place against the backdrop of the cultural form of the predominantly Muslim Saharawis, which is characterized by textual literacy. The realization of pictorial representations as a means of communication presents a new educational and learning field for these children and their teachers. The focus lies on the role of childlike image-based forms of expression in the process of worldand selfempowerment. The resulting picture worlds illustrate worldviews from the child perspective; the daily experienced as well as the imagined, have been imprinted. Images, presentation/representation and their adoption as well as meta-levels are effective for all interacters at the interface of teaching-learning processes on both sides. Methods were participating observation, qualitative empirical study, and phenomenological analysis. The children’s drawings manifest the status of independent documents; complexity and focus do n...

Das Erbe der Kinder | The Children’s Heritage, 2021

´First Class` - Werke der Čižek`schen Jugendkunstklasse auf der Wiener Kunstschau 1908 Nach 1900 ... more ´First Class` - Werke der Čižek`schen Jugendkunstklasse auf der Wiener Kunstschau 1908
Nach 1900 war Wien das Mekka der Kunsterziehung. In einer Malschule wurde ab 1897, in großer Nähe zu Gustav Klimt und den Wiener Secessionisten, Kindern und Jugendlichen psychogenes Schaffen – schöpferisches Gestalten aus dem Innersten heraus – ermöglicht.
Der Urheber dieses kunstpädagogischen Laboratoriums war der Künstler Franz Čižek (1865–1946). Der frühere Historienmaler und Hofporträtist hatte sich immer mehr der Kinder- und Jugenderziehung zugewandt. In seiner Wiener Jugendkunstklasse, in der eine Vielzahl von Kindern im Alter von 4 bis etwa 14 Jahren malte, zeichnete, modellierte, Objekte in Holz sowie Stickereien fertigte, wurden außerdem die Collagetechnik und der Linoldruck neu entwickelt. Angehalten von ihrem Mentor, aus dem Empfinden zu schöpfen und das weitgehend freie Gestalten anstatt des bloßen Abbildens zu üben, waren die Heranwachsenden motiviert, Form und Inhalt neu zu entdecken und persönliche Erlebnisse und Interessen künstlerisch zu transferieren, „um das Nebelhafte, Unbestimmte zu überwinden, ringen (…) (die) Gedanken nach äußerer Gestaltung! “
Zu Recht gilt Čižek als der bedeutendste Kunstpädagoge des 20. Jahrhunderts
In seinem besonders der Kinderkunst gewidmeten Wirken setzte er sich für die freie Entfaltung der jedem Kind innewohnenden gestalterischen Kräfte ein, indem er gleichzeitig jede Art von methodischer Einschränkung verpönte, als „leidenschaftlicher Erwecker des Schöpfertums im Kinde und (…) kämpferischer Gegner von unkünstlerischen Regeln und Vorschriften".

Titel der Arbeitspakete: Nr. 2. Lernforschung und Referenzrahmen -Nr. 3. Qualitätssicherung Visua... more Titel der Arbeitspakete: Nr. 2. Lernforschung und Referenzrahmen -Nr. 3. Qualitätssicherung Visual literacy (er)leben: "Ästhetische Praxis und ihre fachliche und überfachliche Bildungsrelevanz an der Schnittstelle von Elementar-und Primarpädagogik". Eine qualitativ-empirische Studie von Kunstunterricht. Abstract: