Photo: Students working on the insect project at the glass pavillion. Photo: Guðrún Gröndal (teacher).

The insect project is an ongoing project by the Icelandic group of pupils from the Erasmus+_group within CAMP notes on education. The students will be working on the project at various hours around other events of the Erasmus-project. While they are working, it is possible to visit the exhibition and see the work from the inside, but as the drawings are placed on the windows, they can also be seen from the outside at any time.

Insects of the world are a huge community of small creatures that people have mixed feelings about. Some are scary, ugly or possibly dangerous, others are beautiful and fascinating. The insects from our own environment seem ordinary, but the ones that are unfamiliar make us curious or even afraid.

Drawing the insects on a glass wall is an attempt to capture the transparency and mystique of their evermoving world, communities and life within ours.

Each insect is a small being but when many come together and fill up a space, form a cloud or cover a field they become one entity.

Insects are also interesting as they have different shapes and forms, they can inspire abstract drawings as well as figurative interpretations of their alien bodies.

Remembering through weight.

An experience involving sculpture hearing and laying down on the blanket we made the day before to remember through the weight of the sculptures and their sounds.

Hafenstrasse 76, CAMP space

Monday, 12.09.2022 11am – 1 pm

Tuesday, 13.09.2022 2pm -4pm

Photo: Quino Monje, 2022.

Project work on documenta fifteen · Hungarian team

 

The group consists of 20 11th grade students aged 17-18. There are 17 art students and 3 media students, who have been working on the Erasmus + project since October 2021. The art students have three, 45 minute long lessons of Hungarian discipline for education, Drawing and Visual Culture per week. The compulsory curriculum in the formal drawing lessons had to be observed, so the preparation for documenta fifteen was mainly done through extra-curricular activities. (This was practical arrangement, because the three media students belong to another study group). The starting point of our project was social sensitisation, where the creative process was driven by the feelings and desires of the students and the participating children who belong to the Hungarian Roma minority. The principle was to build a new community through a collective creative process where children can safely express their feelings and needs.

 

Concept and reflection on the central concepts of documenta fifteen

Clarification of concepts. Sharing individual presentations with the group in English on topics related to the documenta fifteen. Joint discussion of the presentations.

 

Themes of the presentations:

Everyday life of Kassel; past and present; · history of Documenta; · aims and objectives of the organisers of documenta fifteen; · the creative concept of lumbung; · OFF-Biennale Budapest: · environment · re- and upcycling; · collective self-expression;· A comprehensive guide to Joseph Beuys’ life; · Beuys and Documenta 5-6-7, · sculptures of Beuys, · Beuys and language;· exercises for collective creation; · Wesley János Nursery, Primary and Secondary School; · school of the future

 

Our project: “Blossom”

The aim of the project is to create artworks together with the first and second grade students of Wesley János Primary School, where most children come from socially disadvantaged Roma households. The project focused on portraits executed in drawing and painting.

instagram: @blossomprojekt

Taking stock of an ’emotional landscape’ of the group

To measure the effectiveness of the complex and long-lasting project after its end, students were given preliminary Tests. Each student had to write an essay in English on the topic of vulnerability. What are the emotional problems of the students, where are the sensitive areas where they would like to get healed and heal others through creative processing of problems and establishing emotionally satisfying and strendthening human relationships?

 

Reading and watching videos together about contemporary art

Source: “ÚjMűvészet” (Fine Arts Journal): Various articles and videos on contemporary art. The group held

workshops where students integrated a range of contemporary art practices and techniques in their own

creative work.

 

Presentation at Hafenstr. 76, the Sandershaus and pavilion KURT

with visual material and participation in the discussion of possibilities of joint creating and talking about self-expression and freedom of art.

 

Joint development of common artistic practices

Ideas were developed in the group, but there was always the possibility for students to take the implementation in an individual direction. Between 18-30 July 2022, seven high school students participated in a two-week intensive creative workshop at the studio of the Hungarian University of Fine Arts. Only those students selected to represent our school in person at documenta fifteen participated.

 

Development of focused questions for an advertising campaign in public space

for two large billboards and five City Light Posters in Kassel.

 

Budapest / Hungary

www.szlgbp.hu

The Szent László Grammar School is attended by 850 students, each grade has 6

parallel classes. The school is located in Kőbánya, in the 10th district of Budapest.

In 2005-2006, five-year education (grades 9-13) was introduced alongside the previous

four-year education (grades 9-12).

There are different special classes in each year in the five-year education: Class A:

Hungarian-Italian bilingual class.

Grade E: increased level in natural sciences (biology, chemistry, environmental protection).

Class F: increased level in computer science, mass media.

There are also different special classes in each year in the four-year education: Class

B: increased level of English for advanced students.

Class C: increased level in mathematics and English.

Class D: increased level in art, increased level in German.

 

DE

www.szlgbp.hu

Das Gymnasium Szent László besuchen 850 Schüler*innen, jeder Jahrgang hat 6 Parallelklassen.

Die Schule befindet sich in Kőb.nya, im 10. Bezirk von Budapest.

In den Jahren 2005-2006 wurde die Fünfjährige Ausbildung (Klasse 9-13) neben der

bisherigen Vierjährigen Ausbildung (Klasse 9-12) eingeführt.

Es gibt verschiedene Spezialklassen in jedem Jahrgang in der fünfjährigen Ausbildung:

Klasse A: ungarisch- italienische bilinguale Klasse.

Klasse E: erhöhtes Niveau in Naturwissenschaften (Biologie, Chemie, Umweltschutz).

Klasse F: erhöhtes Niveau in Informatik, Massenmedien.

Es gibt auch verschiedene Spezialklassen in jedem Jahrgang in der vierjährigen Ausbildung:

Klasse B: verstärkter Englischunterricht für Fortgeschrittene.

Klasse C: erhöhtes Niveau in Mathematik und Englisch.

Klasse D: erhöhtes Niveau in Kunst, erhöhtes Niveau in Deutsch.

 

Kobanyai Szent László Gimnázium

[High School]

Kőrösi Csoma Sándor út 28-34

1102 Budapest

www.szlgbp.hu

[supervised by Tímea Pók & Luca Pataki]

Knitting soft lumps and creating un SinFin with our conversations.

While we knit a big blanket that we will use for our next performances, we invite the people around to have a conversation with us.

Hafenstrasse 76, CAMP space

10am – 1pm

Photo: Quino Monje, 2022.

Project work on documenta fifteen – Icelandic team

 

The group of six students aged 18 – 19 years all study at a big modular college in Reykjavík.

Within the college there are three study lines: Academic, Vocational & technical and Fine Art & textiles. The Fine Arts department has about 120 students and the six students were chosen for their good study achievements and sincere interest in art.

Introduction to Students

At the beginning of the process, the teachers leading the project introduced documenta to all classes of the fine arts department, by telling and showing visual material like photos and videos and homepages. In March 2022 there was a FEINART symposium on socially engaged art, at the University of Iceland, where Mirwan Andan and Ajeng N Aini, members of ruangrupa had a talk titled “Hanging-out: Sharing Resources”. They are members of the team curating documenta fifteen and in their lecture they shared information about the background and role of the collective and its curative role at documenta. The teachers of the project attended this symposium and following that interesting experience continued and deepened their discussion with the students about documenta, ruangrupa, and the specific concepts the Indonesian collective has brought to the exhibition. Following a teachers meeting in Kassel in April 2022, the six Icelandic participants were chosen from the big art students group.

 

Meetings

Teachers and the six students started to further deepen their knowledge about the nature of big international exhibitions, about the importance of documenta, the thinking and concepts of ruangrupa and its impact on documenta fifteen. This needed lengthy and repeated discussions. We shared with students articles about the subject from magazines like Artsy ( Elíza Levinson : 8 standout Artists and Collectives at Documenta 15. 6.July 2022) and an article from Kunst & Unterricht (Ernest Wenger: documenta fifteen – lumbung Rice barn as a concept? April 2022). Other material about criticism and controversies was read and there was a cultural program about documenta fifteen and ruangrupa on national radio (RUV: Lestin, 5.May 2022) that we shared and discussed with our students. Finally we started to look for what might be our contribution at documenta fifteen.

 

Projects

Posters:

It was decided that the group of four countries would do a poster campaign in Kassel during the visit there in September. Soon the feeling was that being students it would be interesting to express our thoughts by formulating questions for the posters. Themes were decided upon by all countries, students composed questions they thought were important and of 35 questions six were chosen and students then designed the posters.

 

Glass Pavilion:

Through lively discussions of the group several ideas came up that later merged into a joint

project of the whole group called Compost. We wanted to work with insects, old toys, garbage i.e. found material at documenta and the processes of constructing and deconstructing.

 

Public Space:

Students thought a lot about communication and the possibility of communicating with strangers by visual means without spoken or written language. Drawing being their own personal strongest communication medium besides verbal language, they plan to experiment with drawing with strangers at the exhibition.

 

 

Bottom line

Participating actively in documenta is an exciting experience. But seeing high scale artwork from all over the globe and taking part in activities and discussions will probably be the most precious benefit of the participation.

 

 

Reykjavík / Iceland

www.fb.is

Fjölbrautaskólinn í Brei›holti, Reykjavík, was founded in 1975. It is a vocational

school, art school and comprehensive school and the first of its kind in Iceland. Age

group: 15- 20. The school has the oldest and most diverse art department in Iceland,

as well as vocational departments for electricity, carpentry, beautician and nursing.

Students graduate with a high school diploma or licence to work in the respective vocational

fields.

 

 

DE

www.fb.is

Fjölbrautaskólinn í Brei›holti, Reykjavík, wurde 1975 gegründet. Sie ist eine Berufsbildende

Schule, Kunstschule und Gesamtschule und die erste ihrer Art in Island. Altersgruppe:

15- 20 Jahre. Die Schule hat die älteste und vielfältigste Kunstabteilung in

Island sowie Berufsabteilungen für Elektrizität, Schreinerei, Kosmetik und Krankenpflege.

Die Schüler*innen schließen mit dem Abitur ab oder haben eine Lizenz für die

Arbeit in den jeweiligen Berufsfeldern.

 

Fjölbrautaskólinn í Breiðholti

[High School & Vocational School]

Austurberg 5

111 Reykjavík

www.fb.is

[supervised by Guðrún G. Gröndal & Guðrún H. Sigurðardóttir]

 

Spanish team – Brief thoughts about our practice on CAMP notes on education

Our Group

We are six students of 3rd degree of Fine Arts and two teachers, Angela Cuadra and Kino Monje. We worked along the course in an extra-academic program based on three points: investigation, discussion and common art practice.

 

Our Practice

On investigation part, we invite some local agents (artists, curators, ethnologists…) to deal with issues of social change. We also planned some readings and screenings of artists and thinkers who work with new forms of social development, new communities, the role of art in social changes, etc. On discussion part we make several critic sessions in which we talk about and present our point of view on these issues. Some other topics on discussions are poetical potency of art on social changes, strongehold of common work, new ways of share ideas on art and spread new significances from art world, learning from other cultures outside the focus of Western context and think about new ways of developing in a global world.

 

In the practical part, the students developed a common project designed for the documenta fifteen spaces and based on some of the themes that form the backbone of the event. At this part we count on Sandra Val, an artist and ceramist from Madrid, who share her atelier with students to make some pieces of their project. For us, the autonomy of the students and the possibility of sharing not only opinions, but also affections and emotions has been very important. In this sense, some workplaces have been friendly places, far away from the university, such as parks, other artists’ studios, etc. Outside the academic structure it is easier to find more fluid and emotionally enriching work dynamics. Our common idea as art teachers is to make possible a structure of shared learning process, giving agency to students and involve them in a common process of shared experiences. Decision making would not be done in a hierarchical teacher-student manner, but from a horizontal structure in which the interests of the students direct the proposed activities.

 

Invited Agents

We invite some agents from our local art scene, in order to be in contact with real practices and developments of art.

 

Paloma Checa Gismero, PhD in Art History, Theory, and Criticism from the University of California,

San Diego (2019), and an MFA in Arts, Production, and Research from the Universidad

Complutense de Madrid (2009). is a scholar of global contemporary art and critical biennial studies.

Her teaching revisits the history of Euro-American modernism from a transnational lens that foregrounds art’s imbrication in the social fabric. Her scholarship addresses past and present relations of coloniality active in the formation of global contemporary art, with a particular focus on how these processes impact art from Latin America. Her book about the early years of the art biennial boom is forthcoming with Duke University Press.

 

Sara Ramo, Spanish-Brazilian artist involved in a collective of Brazilian artists and thinkers. With multiple practices in installation, video, photography, sculpture and collage, the artist takes everyday objects to compose them as new arrangements, passing through chaos and reordering in new ways of dealing with the world.

 

Ana María Ramo y Affonso, Master in Social Anthropology from UFMG- Federal University of

Minas Gerais in Brazil. She has published field researchs among the Guarani communities of the Amazon with a focus on their philosophy and on issues that affect the problematization of Western thought models through indigenous philosophy.

 

Sandra Val, artist and ceramist, Master of Research in Art and Creation 2017 and is a graduate in Fine Arts 2015 from the Complutense University of Madrid.

 

 

Knowing documenta/Making things together

For us it was very important to generate curiosity in the students about Documenta as an institution and about this edition in particular. For this reason, we invite you to investigate the documenta fifteen page and choose some artists and collectives of their interest and investigate their practice. We dedicate some sessions to talk about that and and think together about the multiplicity of ways in which art can be involved in social changes and political issues. We study the lumbung concept as a way to problematize the western thinking and start new ways of work together. We study local models similar to lumbung, such as Horreos and palafittes in Galicia and Asturias, or communal silos or granaries in a kind of comparative anthropology as a way of finding points in common with other cultures.

The lumbung practice was for us a way to articulate the classroom, especially at these points:

Different artists work together. They help each other.

For example:

• By sharing ideas,
• by making pieces of art together,
• or by giving money, so that other artists can make pieces of art.

If artists work together, they can do more.

Students start to work in a common project, involving teachers, sharing materials, thinkings, memories, affects… I think their own text is very clear about it:

“As a group we come from memories that we don’t know if they happened or not, that are endlessly transformed and that seek a way to be transmitted. The project proposes a new economy based on the richness of memory, in which collective memories are generated that do not impose a single story, and do not create a hierarchy based on the possession of truth. The weight is in the community of the translation of these memories, and in the exchange of acquired knowledge, resulting from the life experience with another person. Through the creation of an enveloping atmosphere, personal relationships are renegotiated to give way to new forms of communication, in which the senses, beyond sight, find the possibility of discovering other memories. The experience is designed so that visitors generate a link with the space and the pieces that give rise to an exchange of imagination and memories from a safe place. As a result of the meetings with Paloma Checa, Sara and Ana Ramo, the Casa de Campo ducks, Lua, the texts by Alan Kaprow, and the tutorials with Ángela Cuadra and Quino Monje, who have accompanied us throughout the process, we entered in contact with other ways of understanding a social and political art that put the community at the center. This was manifested from the beginning of the project in the latent concern for the place occupied by those who are in our room.

During conversations and debates that have arisen in these months, we have become aware of the art pieces as active agents rather than simple objects. Objects that fold and reveal a collective fluid memory through various sensory experiences, where senses such as touch and hearing are claimed. That fluid memory manifests itself in many ways as it passes through each person’s imagination and therefore reciprocally transforms depending on the way it is perceived.”

 

Common Readings

Kaprow, Allan, The Education of the Un-artist

Kaprow, Allan, Essays on the Blurring of Art and Life

Haraway, Donna, The Companion Species Manifesto: Dogs, People, and Significant Otherness

Haraway, Donna, A Cyborg Manifesto

Haraway, Donna, Story Telling for Early Survival

Ramo y affonso Ana María, Tekoaxy transhumanity and Gifts in Motion

Mauss, Marcell, The Gift: Forms and Functions of Exchange in Archaic Societies

Lèvi-Strauss, Claude, The Jealous Potter

Lèvi-Strauss, Claude, The Savage Mind

Krenak, Ailton, Ideas for Postponing the End of the World

Ramo, Sara, La caída y otras formas de vida

 

 

Madrid / Spain

www.taiarts.com

TAI is a university school essentially dedicated to teaching bachelor’s and master’s

degrees in the arts, an avant-garde space and a reference point for training in artistic

disciplines.

Our educational offer includes visual arts, music, cinema and performing arts. We

aim to create a space where new trends and tendencies emerge and are disseminated.

Exploring and expanding artistic discourse beyond its traditional boundaries.

We promote international relations and experiences to support a universal vision of

the arts and the cohesion of an artistic community operating in a global world.

We also organise public activities such as workshops, seminars and lectures, as well

as exhibitions, film screenings, theatre performances and concerts produced by the

students themselves.

 

DE

www.taiarts.com

TAI ist eine Universitätsschule, die sich im Wesentlichen der Lehre von Bachelor- und

Masterabschlüssen in den Künsten widmet, ein avantgardistischer Raum und ein

Bezugspunkt für die Ausbildung in künstlerischen Disziplinen.

Unser Bildungsangebot umfasst Bildende Kunst, Musik, Kino und Darstellende

Kunst. Wir wollen einen Raum schaffen, in dem neue Trends und Tendenzen entstehen

und verbreitet werden. Erforschung und Erweiterung des künstlerischen Diskurses

über seine traditionellen Grenzen hinaus.

Wir fördern internationale Beziehungen und Erfahrungen, um eine universelle Vision

der Künste und den Zusammenhalt einer künstlerischen Gemeinschaft zu unterstützen,

die in einer globalen Welt agiert.

Darüber hinaus organisieren wir öffentliche Aktivitäten wie Workshops, Seminare und

Vorträge sowie Ausstellungen, Filmvorführungen, Theateraufführungen und Konzerte,

die von den Studierenden selbst produziert werden.

 

Aula Abierta S.A. / Centro Universitario de Artes TAI

[Private Academy of Art]

C/ Recoletos, 22

28001 Madrid

www.taiarts.com

[supervised by Ángela Cuadra & Quino Monje]

 

 

 

Sinfin GrUumos

Sinfin Lingual

Sinfin Lingual

Project work on documenta fifteen · German team

 

Description of the learning group

The group consists of 12 Year 11 students aged 16-19. They have been working continuously since November 2021 during the 3 hours (45 min. each) of lessons per week. The Erasmus+_context was introduced right at the beginning. The basic principle is the transparency of available information and intellectual processes in joint discursive work.

 

Introduction to the origins and genesis of the documenta since 1955

Concept and reflection on the central concepts of documenta fifteen

Sustained and repeated discussions

Taking stock of an ’emotional landscape’ of the learning group

What preoccupies the students emotionally, what fears, hopes, etc. do they have about their own personal environment and about major world events?

 

Common reading

Erich Fromm: ‘To have or to be’.

Andreas Weber: ‘Enlivenment. A Culture of Life / Attempt at a Poetics for the Anthropocene’.

K+U (Kunst und Unterricht, journal for art education): Various articles on documenta fifteen

From all the above… Development of possible themes for the students’ own artistic work:

Prejudices of all kinds · Gender & gender identities · Violence · Sexism · Racism · Added value

(material / spiritual) · Climate · Food · The nature of money · Animal welfare / Plant welfare /

Mushroom welfare · Mental health problems (individual / social) · Social inequality · Environment ·Marine pollution · Globalisation – Acceleration (of society & the individual) · Cohesion vs. individualism · negative solidarity · Justice = equality? · Ignorance / (banality… of evil – Hannah Arendt)

 

Permanent discursive opening of the concept of art

away from the result-oriented towards the processual, thematisation of the phases of the creative process, thematisation of failure as a permissible ‘result’

 

Observation of works by various artists with regard to the connection between form/medium – content/message:

Bill Viola · William Forsythe · Pina Bausch · Los Carpinteros · Sophie Calle · Thomas Hirschhorn ·Rimini Protokoll · Raumlabor · Richard Long · Forensic Architecture · Bas Jan Ader · Christian Boltanski · Center for Political Beauty · Marina Abramovic ́ · Vanessa Beecroft · Matthew Barney · Pipilotti Rist · Tania Bruguera · Ragnar Kjartansson · Theater Gates · Pussy Riot · Ic3peak – Ai Weiwei ·Tino Sehgal · Almut Linde · Wolfgang Laib · Rebecca Horn · Jenny Holzer · and others

 

Presentation of the venues Hafenstr. 76, the Sandershaus as well as the pavilion KURT

with visual material and in the discussion of possibilities

 

Development of approaches for one’s own artistic practice

Ideas are developed partly individually, partly in groups, but always discussed and developed further in plenary in their various stages of development.

 

Development of pointed questions for an advertising campaign in public space

for 2 large billboards and 5 City Light Posters in Kassel.

 

 

DE

 

Die Gruppe besteht aus 12 Schüler*innen des Jahrgangs 11 im Alter von 16-19 Jahren.

Gearbeitet wurde seit November 2021 durchgehend während der 3 Stunden (à 45 Min.) Unterricht pro Woche. Der Kontext Erasmus+ wurde gleich zu Beginn vorgestellt. Grundprinzip ist die Transparenz verfügbarer Informationen und gedanklicher Prozesse in gemeinsamer diskursiver Arbeit.

 

Einführung in Entstehung und Genese der documenta seit 1955

Konzept und Reflexion der zentralen Begriffe der documenta fifteen

Nachhaltige und wiederholte Diskussionen

Bestandsaufnahme einer ‘emotional landscape’ der Lerngruppe

Was beschäftigt die Schüler*innen emotional, welche Ängste, Hoffnungen etc. gibt es zum eigenen persönlichen Umfeld und zum großen Weltgeschehen?…

 

Gemeinsame Lektüre

Erich Fromm: ‘Haben oder Sein’

Andreas Weber: ‘Enlivenment. Eine Kultur des Lebens / Versuch einer Poetik für das Anthropozän’

K+U (Kunst und Unterricht, Zeitschrift zur Kunstpädagogik): Diverse Artikel zur documenta fifteen

Aus allem Vorgenannten… Entwicklung von Themenbereiche für die eigene künstlerische Arbeit der Schüler*innen:

Prejudices of all kinds · Gender & gender identities · Violence · Sexism · Racism · Added value

(material / spiritual) · Climate · Food · The nature of money · Animal welfare / Plant welfare /

Mushroom welfare · Mental health problems (individual / social) · Social inequality · Environment ·Marine pollution · Globalisation – Acceleration (of society & the individual) · Cohesion vs. individualism · negative solidarity · Justice = equality? · Ignorance / (banality… of evil – Hannah Arendt)

 

Permanente diskursive Öffnung des Kunstbegriffes

weg vom Ergebnisorientierten hin zum Prozesshaften, Thematisierung der Phasen des kreativen Prozesses, Thematisierung des Scheiterns als statthaftes ‘Ergebnis’ Betrachtung von Werken diverser Künstler*innen im Hinblick auf den Zusammenhang Form/Medium – Inhalt/Botschaft: Bill Viola · William Forsythe · Pina Bausch · Los Carpinteros · Sophie Calle · Thomas Hirschhorn ·Rimini Protokoll · Raumlabor · Richard Long · Forensic Architecture · Bas Jan Ader · Christian Boltanski · Zentrum für politische Schönheit · Marina Abramovic ́ · Vanessa Beecroft · Matthew Barney· Pipilotti Rist · Tania Bruguera · Ragnar Kjartansson · Theater Gates · Pussy Riot · Ic3peak · Ai Weiwei · Tino Sehgal · Almut Linde · Wolfgang Laib · Rebecca Horn · Jenny Holzer · und andere

 

Vorstellung der Räumlichkeiten Hafenstr. 76, des Sandershaus sowie des Pavillons KURT

mit Bildmaterial und in der Diskussion von Möglichkeiten

 

Entwicklung von Ansätzen für die eigene künstlerische Praxis

Ideen werden dabei teils individuell, teils in Gruppen erarbeitet, immer jedoch in ihren verschiedenen Entwicklungsphasen im Plenum diskutiert und weiterentwickelt.

 

Entwicklung von pointierten Fragen für eine Werbekampagne im öffentlichen Raum

für 2 Großplakatflächen und 5 City Light Posters in Kassel

 

 

Heusenstamm / Germany

www.arg-heusenstamm.de

The Adolf-Reichwein-Gymnasium (ARG) is a general secondary school that leads its

students (about 1300) to the Allgemeine Hochschulreife.

The school is located in Heusenstamm, a small town in the Rhine-Main region.

The families from which the students of the ARG come belong predominantly to the

middle class. The need for integration and inclusion at the school is not very pronounced.

A full-time school social worker is available for the mental health of the students.

All learning areas (language and music, social studies, science) are given equal importance.

A special feature is that French can be learned as the first foreign

language. The art department in particular regularly works on short and long-term

projects with external partners such as freelance artists, designers and photographers.

 

DE

www.arg-heusenstamm.de

Das Adolf-Reichwein-Gymnasium (ARG) ist eine allgemeinbindende Schule, die ihre

Schüler*innen (etwa 1300) zur Allgemeinen Hochschulreife führt.

Die Schule befindet sich in Heusenstamm, einer Kleinstadt im Großraum Rhein-Main.

Die Familien, aus denen die Schüler*innen des ARG stammen, gehören überwiegend

dem bürgerlichen Mittelstand an. Der Integrations- und Inklusionsbedarf an der

Schule ist nicht sehr ausgeprägt. Für die seelische Gesundheit der Schüler*innenschaft

steht eine Schulsozialarbeiterin mit ganzer Stelle zur Verfügung.

Allen Lernbereichen (Sprachlich-Musisches, Gesellschaftliches, Naturwissenschaftliches)

wird die gleiche Bedeutung zugemessen. Als Besonderheit ist hervorzuheben,

dass Französisch als erste Fremdsprache gelernt werden kann. Insbesondere der

Fachbereich Kunst arbeitet regelmäßig in kurz- und langfristig angelegten Projekten

zusammen mit externen Partnern wie freischaffenden Künstler*innen,

Designer*innen und Fotograf*innen.

 

Adolf-Reichwein-Gymnasium

[High School]

Leibnizstr. 34-36

63150 Heusenstamm

www.arg-heusenstamm.de

[supervised by Stephan Bedel & Thomas Schmidt]