Artistic Methodologies as Pedagogical Practice in primary and lower secondary education
Drawing on methodologies from contemporary art and recent developments in art education, I
seek to examine how artistic approaches can underpin teaching practice in compulsory
education.
Many artists employ seriality as a working method. Serial practice is organized around
repetition, both thematic and formal, often involving subtle adjustments and nuances that
integrate individual components into a larger whole (Nyrnes 2016). This inquiry begins with a
concrete teaching project implemented at Minde School in Bergen, Norway. The project was
conceived in dialogue with a site-specific installation in Minde School’s schoolyard, created by
the ceramic artist Martin Woll Godal.
Godal’s installation is composed of repeated basic forms, the cylinder and the prism, that
combine to produce various patterns and systems. The installation can be read as serial work at
both macro and micro levels. The pedagogical design at Minde School employed seriality as an
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artistic research strategy and method, and the cylinder and prism also served as central
elements in the students’ projects. I aim to explore an approach to art education inspired by
working methods in contemporary art (Aure, 2013; Nyrnes, 2008; Nyrnes, 2013). A key objective
of the project was to facilitate an open-ended creative process without predetermining what
would occur along the way or how it would conclude. When the creative process unfolds
through, and depends on, the classroom community, the locus of learning shifts from the
individual to the collective.
seek to examine how artistic approaches can underpin teaching practice in compulsory
education.
Many artists employ seriality as a working method. Serial practice is organized around
repetition, both thematic and formal, often involving subtle adjustments and nuances that
integrate individual components into a larger whole (Nyrnes 2016). This inquiry begins with a
concrete teaching project implemented at Minde School in Bergen, Norway. The project was
conceived in dialogue with a site-specific installation in Minde School’s schoolyard, created by
the ceramic artist Martin Woll Godal.
Godal’s installation is composed of repeated basic forms, the cylinder and the prism, that
combine to produce various patterns and systems. The installation can be read as serial work at
both macro and micro levels. The pedagogical design at Minde School employed seriality as an
15
artistic research strategy and method, and the cylinder and prism also served as central
elements in the students’ projects. I aim to explore an approach to art education inspired by
working methods in contemporary art (Aure, 2013; Nyrnes, 2008; Nyrnes, 2013). A key objective
of the project was to facilitate an open-ended creative process without predetermining what
would occur along the way or how it would conclude. When the creative process unfolds
through, and depends on, the classroom community, the locus of learning shifts from the
individual to the collective.
Publisert i Art in Action: Itches and Edges in Art and Arts Education, 2026
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