Übungsraum für Kritik
Die Installation "Übungsraum für Kritik" ist ein Versuch, Kritikfähigkeit aktiv zu üben. Sie stellt die Fragen: Wie wird Kritik gelehrt, welche Werkzeuge werden benötigt und wie können wir uns auf Situationen vorbereiten, in denen wir Kritik äußern oder annehmen müssen?
Die Idee der Installation entstand während eines Workshops mit Studierenden der Hochschule für bildende Künste in Hamburg und wurde in Zusammenarbeit mit der Kulturstiftung Kursbuch und dem Goethe-Institut entwickelt. Kritisches Denken ist eine Fähigkeit, ohne die ein Zusammenleben in einer demokratischen Gesellschaft nicht möglich wäre. Das Aufeinanderprallen von Standpunkten, das Akzeptieren von Widersprüchen und das Argumentieren basierend auf Fakten sind die Grundlage einer freien Gesellschaft. Die Menge an Informationen und ihre Komplexität erschweren die Orientierung und lassen vielfältige Interpretationen zu. Dadurch wird kritisches Denken wichtig und erfordert Mut und Reflexion nicht nur in der Ansprache, sondern auch, wenn es darum geht, unangenehme Argumente anzuhören oder zu akzeptieren. In Form einer Turnhalle mit Kraftgeräten lädt die Installation in jeder Phase dazu ein, unterschiedliche Aspekte der Kritik zu üben.
Konzept:
Friedrich von Borries und Jesko Fezer
Kurator:
Endri Dani
Gestaltung:
Frieder Bohaumilitzky
Grafik:
Anne Stiefel
Vermittlungsprogramm:
Anne Wilhelm, Irida Vorpsi, Livia Xhango
Unterstützt durch:
Goethe-Zentrum Tirana
Practice Space for Criticism
The project 'Practice Space for Criticism' is an experiment which actively tests out the concept of criticism. It addresses the following questions:
how can we master the practice of criticism, which tools do we need to do so and how can we also prepare ourselves for situations in which we wish to express and receive criticism, whether positive or negative? The ability to accept criticism is a key social skill when it comes to coexisting democratically with others, given the importance of entering into exchanges with others and negotiating different viewpoints. In order to strengthen this social skill, you need to have the courage to listen and understand your own viewpoint. The art to practising criticism is to tell another person how you see them or where you stand on a topic without offending them in the process – and, conversely, to be able to accept the opinions and insights of others without taking offense. In the form of a circuit training exercise, the practice space encourages participants to hone their critical abilities. Each station focuses on an area of critical practice, allowing participants to develop specific skills which can be applied to everyday situations.
Matte für Beweglichkeit
Kritik ist nicht nur eine innere Haltung, sondern drückt sich auch korperlich aus. Erproben Sie Ihre individuelle Kritikhaltung auf der Turnmatte!
Mat for Adaptability
Sequence: The trainers introduce a scenario that relates to one of the core themes selected by the local curators (e.g. a man doesn’t participate in household chores, members of a minority group experience discrimina- tion, etc.). Together, group members develop possible lines of reasoning to constructively criticize each behaviour. Ideally this will link back to Exercise 1. Secondly, the trainers select two volunteers who position themselves on the gym mats. The volunteers now express the arguments developed previously in three different positions: first they stand opposite each other without moving, then they hold hands, and finally, they turn away from each other and stand back-to-back. The aim is to test how the body can be used actively and passively.
Note: The trainers must point out that the volunteers will need to be in physical contact during the exercise.
Note: The trainers must point out that the volunteers will need to be in physical contact during the exercise.
Objective: The purpose of this exercise is to encourage awareness of one‘s body language. The exercise should help to support the act of criticism through gestures.
Harte Bank der Theorie
Das Wissen über den Gegenstand seiner Kritik eignet man sich am besten im Sitzen an. Lesen Sie einen Text auf der harten Bank der Theorie!
Weight Bench of Theory
Sequence: The participants engage in roleplay by re-enacting a talk show in which each participant takes on the role of a talk show guest, with the trainers acting as the hosts. The theme of the talk show is selected by the local curators. The talk show guests are an economic politician, an activist, an influencer, a businessperson, and a student. The invitees try to argue from their imaginary perspectives. (e.g. the politician justifies their past political decisions; the environmental activist demands that everyone take radical, compulsory measures; the influencer tries to promote sustainable products; the pupil demands a commitment to their future; the automobile businessperson argues against all the measures suggested and for the market as regulator). After ten minutes, all participants will for the most assertive character and for the character possessing the best arguments by a show of hands.
Objective: The aim of the exercise is to perceive hierarchies, raising participants’ awareness of said hierarchies and training their assertiveness.
Streitschaukel
Eine gute Diskussion ist wie eine Wippe – sie schaukelt sich hoch und macht SpaІ. Suchen Sie sich einen Kritikpartner und streiten sich mit ihm auf der Wippe! Mit wem wollen Sie sich streiten?
Seesaw of Debate
Sequence: The trainers pick two visitors who are prepared to go on the seesaw together. What happens when one of the duo shifts their weight so that the other person can no longer reach the floor? How does that affect mutual trust? Afterwards, the trainers ask the visitors to suggest verbal and physical rules that could be applied from this scenario to an argument situation. What does it take to argue productively?
Objective: The aim of the exercise is to overcome the negative connotations of conflict. To that end, the exercise should help participants to acknowledge legitimate antagonism and clarify that shared rules are necessary for discussion and criticism.
Treffpunkt der Kritik
Ein Stehtisch ist ein guter Ort, um ins GesprКch zu kommen und den eigenen Standpunkt zu reflektieren. Diskutieren Sie mit anderen! Sind Sie privilegiert, entsprechen Sie der Norm oder werden Sie marginalisiert?
Meeting Point for Criticism
Station: Three standing desks, each labelled with a flag. One flag reads ‘privileged’, one ‘marginalized’ and one ‘standard’.
Sequence: The trainers introduce one of the core themes selected by the local curators and invite the participants to position themselves – according to the three groups – at one of the standing desks. Next, the trainers invite the participants to behave in a way that shows solidarity for another category by moving to a different standing desk and, once there, expressing how members of that group represent norms, are discriminated against, or experience privilege.
Note: The trainers must be careful that the positions are not taken literally. If any actual discrimination occurs, they need to intervene!
Sequence: The trainers introduce one of the core themes selected by the local curators and invite the participants to position themselves – according to the three groups – at one of the standing desks. Next, the trainers invite the participants to behave in a way that shows solidarity for another category by moving to a different standing desk and, once there, expressing how members of that group represent norms, are discriminated against, or experience privilege.
Note: The trainers must be careful that the positions are not taken literally. If any actual discrimination occurs, they need to intervene!
Objective: The purpose of this exercise is to convey how one takes a stance and demonstrates their position.
Lautsprecher der Dystopie
Kritik muss Probleme benennen und malt dabei auch mal schwarz. Spielen Sie Dystopien ab! Was ist Ihre Dystopie?
Loudspeaker of Dystopia
Sequence: The trainers split the group into two. Inspired by one of the themes selected by the local curators, the first group designs a utopian scenario, the second group a dystopian one. The key question is: How will the world develop in the next fifty years in relation to the theme (e.g. school for pupils, work for employees and employers or the city for its residents)? If nothing occurs to the visitors, they can listen to the files on the MP3-player for inspiration. Next, the trainers ask the visitors about the implications of these utopias and dystopias on their own behaviour in the present.
Objective: The aim of this exercise is to imagine different futures and break free from habitual thought patterns.
Objective: The aim of this exercise is to imagine different futures and break free from habitual thought patterns.
Lautsprecher der Utopie
Alternativen müssen auch gehort werden.
Horen Sie Utopien über den Lautsprecher!
Welche Utopie haben Sie?
Loudspeaker of Utopia
Sequence: The trainers split the group into two. Inspired by one of the themes selected by the local curators, the first group designs a utopian scenario, the second group a dystopian one. The key question is: How will the world develop in the next fifty years in relation to the theme (e.g. school for pupils, work for employees and employers or the city for its residents)? If nothing occurs to the visitors, they can listen to the files on the MP3-player for inspiration. Next, the trainers ask the visitors about the implications of these utopias and dystopias on their own behaviour in the present.
Objective: The aim of this exercise is to imagine different futures and break free from habitual thought patterns.
Objective: The aim of this exercise is to imagine different futures and break free from habitual thought patterns.
Kritik-Kanzel
Die Kanzel ist der Ort, um seinen Mut zusammen zu nehmen und seine Kritik zu artikulieren. Sprechen Sie von der Kanzel! Was haben Sie zu sagen?
Criticism Pulpit
Sequence: The trainers suggest a simple, everyday criticism scenario (e.g. food doesn’t taste good, payment hasn’t gone through or someone has been wronged). The participants climb into the pulpit one after another and deliver the same criticism out loud, first gently, then arguing factually, and finally aggressively. At the end, they vote on which intonation is the best way to deliver criticism.
Objective: The aim of the exercise is to find the intonation suited to each piece of criticism. The exercise should illustrate that each piece of criticism needs to be adapted in order to be received.
Spiegel der Selbsterkenntnis
Der Spiegel lügt nicht, in ihm ist man den eigenen MaІstКben ausgesetzt. Betrachten Sie sich! Was hat Ihre Kritik an anderen mit Ihnen selbst zu tun?
Mirror of Self-Recognition
Sequence: The trainers ask the participants about one of the themes set by the local curators (e.g. ‘What is your view on child labour?’). They compile the participants’ statements and in a second round, the participants reflect on their own involvement in the topic area (e.g. ‘Can I rule out the possibility that any children were involved in the production of my item of clothing?’). The group will discuss the results together. (If the possibility of child labour cannot be ruled out, ask: ‘What should happen to the item of clothing now?’ and ‘How can I change my consumerist habits?’.
Objective: The purpose of this exercise is self-reflection. It should help participants not only to receive criticism but also to understand how the criticism they provide relates to themselves.
