Co-learning

Sources

Genealogies of practice

• Scuola senza fine  (Italia) Adriana Monti, 36 min., b/n, 1983
  In 1973 Italian auto and steel workers gained a contractual improvement whereby their employers had to pay for 150 hours every three years for cultural and learning activities. Between 1974 and 1982 these activities were recognised as state school programs and were extended to housewives, pensioners, and the unemployed. Many of the courses explored the psychological structures of power/knowledge that control the formation of subjectivity. The film Scuola Senza Fine is based on a pedagogical experiment carried out by feminist teacher Lea Melandri with a group of housewives.
  

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Resources

BIBLIOGRAPHY
• El espectador emancipado. Jacques Rancière. 2010, Castellón: Ellago ediciones
  

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• Collaboration: Seven notes on new ways of learning and working together.  Florian Schneider. ,
  Text originally published in the book "Academy", edited by Irit Rogoff, Charles Esche, Bart de Baere et al., in the framework of a series of exhibitions of the same title that took place between 2003 and 2005 in Hamburg, Antwerp and Eindhoven.

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• The ‘‘FREE UNIVERSITY OF WOMEN.’’ Reflections on the Conditions for a Feminist Politics of Knowledge.  Paola Melchiori. ,
  

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CONTEMPORARY ART PROJECTS
• Proyecto Hipatia. Musac. León, España 2007-2011,
  Proyecto Hipatia (an iniatiative of MUSAC’s Education and Culture Department) was a series of workshops, seminars, conferences and film screenings, organised in collaboration with female inmates from Block 10 at the Mansilla de las Mulas Correctional facility in León, Spain. The experiment gave rise to a magazine, “Proyecto Hipatia: Pedagogías de género”, entirely authored and edited by the prison inmates, who wanted to share their reflections and experiences.

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• Microsillons. Ginebra, Suiza. ,
  Microsillons, established in 2005, is an independent organization of artists and cultural mediators who seek to generate temporary spaces of reflection, dialogue and creation connected with contemporary cultural practices. Depending on the situation, Microsillons operates on different fields, from curatorial practice to theory, design, performance or editing; their aim is not only to pose questions on art, institutions and public spaces, but also to infuse some imagination and poetry into everyday life. Microsillon’s collaborative and cross-disciplinary approach favours local projects with micro-publics involved in the process of creation.

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