Àger Pérez Casanovas’s research while affiliated with University of Barcelona and other places

This article proposes a joint reading of the scenography and costume designs of Cubist artist Pablo Picasso and Bauhaus member Oskar Schlemmer, arguing that they share a common project of re-articulating the body and its movements that echoes contemporary concerns about how notions of normalcy govern the relationships between bodies and space. We propose that Picasso’s ballet Parade (1917) and Schlemmer’s Das Triadische Ballett (1922) can be productively read through the prism of critical disability studies (CDS), specifically in relation to Rosemarie Garland-Thompson’s feminist disability studies and her key concept of misfitting, enriched through the perspective of ecological affordances, as understood by James Gibson. This approach proposes to see disability from an ecological perspective that foregrounds the relationship between the body and space, as well as the affordances that are created and re-negotiated in the process of moving. By connecting Picasso and Schlemmer with CDS, this article puts forward a novel hermeneutic line from the artists’ work to the practice of contemporary artists Marco Donnarumma and Sandie Yi who share a relational conception of body, space and costume when designing in the field of crip couture, dance and AI prosthesis. This article proposes a CDS lens through which to re-evaluate the stage work of Schlemmer and Picasso, and their connection to contemporary artists’ interests, in order to open new paths of experimentation for contemporary artists and designers, as well as suggestive conceptual tools for both CDS and costume design scholars.

Maxine Greene (1917–2014) wasAestheticsaesthetic environmentsnotGreene, Maxine only an outstanding social activist, teacher and philosopher, whose works on aesthetic educationAestheticsaesthetic education and social imagination contributed to the theoretical field of Philosophy of EducationEducationphilosophy of education; she was also an iconic woman within academic philosophy, whose praxis is cut through by a preoccupation with the effective questioning of the patriarchal worldviewPatriarchypatriarchal worldview and the challenging of education’s function for democracy. This chapter reassesses her notion of aesthetic educationAestheticsaesthetic education in the light of its influences, and of a broader transition of her position with regards to both education and feminism—a transition from situatedness and autonomy, into community relationality. Secondly, aesthetic educationAestheticsaesthetic education is examined as a meaningful experience and as a task that involves some kind of agency and participation, directed toward an attention that is able to appreciate detail. Finally, the potential of Greene’s aesthetic educationAestheticsaesthetic education for shaping contemporary curricula and caring communities is assessed.