Contemporary understandings of artistic careers, particularly in the field of visual arts, are increasingly moving away from models based solely on institutional education. While art schools remain important sites for developing technical and theoretical competencies, a significant portion of the skills that sustain the durability and autonomy of artistic practice are developed outside their structures. This applies especially to strategic, communicative, social, and organizational competencies, which—according to research on creative labour—are crucial for functioning within project-based economies and unstable career trajectories (Bridgstock, 2011; Comunian and Gilmore, 2016). This process can be interpreted through the lens of non-formal learning, which is grounded in experience, relationships, and action rather than in institutionalized curricula (Eraut, 2004).
One of the key areas of such learning is the development of strategic competencies, understood as the ability to plan one’s professional trajectory and make selective decisions regarding participation in projects, residencies, or exhibitions. These competencies are primarily shaped through practice: applying to open calls, initiating one’s own projects, or observing the strategies of other artists. As Bridgstock (2011) notes, individuals operating in the creative industries must actively “self-manage,” combining reflection on their development with adaptability.
At the same time, communication competencies are formed, encompassing both the ability to write about one’s artistic practice and to construct its narrative framework. In non-formal contexts, activities such as maintaining a social media presence, participating in grassroots initiatives, or engaging in collaborative projects play a particularly important role. These competencies extend beyond language skills to include the ability to adapt communication to different audiences and institutional contexts. Research indicates that effective communication directly affects access to resources and professional opportunities (Comunian and Gilmore, 2016).
Equally important are social competencies, developed through participation in networks of relationships. The art world operates as a social field structured by relations and the distribution of social capital (Bourdieu, 1986). Participation in collectives, co-organizing events, or informal working groups creates environments in which skills such as collaboration, negotiation, and trust-building are developed. In this sense, learning is situational and embedded in practice.
Particular attention should be given to innovative forms of non-formal competency development, including approaches based on gamification. Educational games, especially escape room scenarios, offer examples of experience-based learning environments that engage participants in problem-solving under conditions of limited time and resources. Their potential can be understood through Kolb’s (1984) model of experiential learning, in which knowledge emerges through cycles of action, reflection, and experimentation.
Escape rooms support the development of several competencies relevant to artistic practice. First, they enhance strategic competencies by requiring participants to analyse situations, identify patterns, and make decisions under uncertainty. Second, they strengthen communication competencies, as effective performance depends on clear information exchange, active listening, and coordination. Third, they foster social competencies such as collaboration, role negotiation, and managing group dynamics. Finally, by providing a safe space to experience failure and time pressure, they contribute to the development of psychological resilience and a willingness to take risks (Deterding et al., 2011; Nicholson, 2015). In this sense, escape rooms can be understood as simulations of complex professional situations in which transferable competencies develop in an integrated manner.
At the same time, it should be emphasized that the effectiveness of gamification as an educational tool is not automatic. Its value depends on the quality of the designed experience, the extent to which it relates to real professional practices, and the presence of reflection that enables the transfer of acquired experiences into professional contexts. Without these elements, such activities may remain engaging forms of entertainment rather than meaningful learning processes.
Beyond gamification, other forms of non-formal learning also play a significant role, including workshops led by practitioners, mentoring, and grassroots initiatives. What they share is their grounding in action and the possibility of immediate application of knowledge. Compared to formal education, they offer greater flexibility and often respond more effectively to the dynamic conditions of the art world.
In conclusion, the development of competencies necessary for sustaining an autonomous artistic career largely takes place outside formal educational institutions. Experience-based, relational, and project-oriented forms of learning are particularly important in this regard. This suggests the need to broaden the understanding of art education to include non-formal forms, which play a crucial role in preparing individuals to operate within the art field.
TEXT: Wenancjusz Ochmann; PHOTO: Michalina Kuczyńska
References
Bourdieu, P. (1986) The Forms of Capital. In: Richardson, J. (ed.) Handbook of Theory and Research for the Sociology of Education. New York: Greenwood.
Bridgstock, R. (2011) ‘Skills for creative industries graduate success’, Education + Training DOI:10.1108/00400911111102333
Comunian, R. and Gilmore, A. (2016) Higher Education and the Creative Economy: Beyond the Campus. London: Routledge.
Deterding, S., Dixon, D., Khaled, R. and Nacke, L. (2011) ‘From game design elements to gamefulness: defining “gamification”’ DOI:10.1145/2181037.2181040
Eraut, M. (2004) ‘Informal learning in the workplace’, Studies in Continuing Education, DOI:10.1080/158037042000225245
Kolb, D.A. (1984) Experiential Learning: Experience as the Source of Learning and Development. Englewood Cliffs: Prentice Hall.
Nicholson, S. (2015) ‘Peeking behind the locked door: A survey of escape room facilities’. Available at: http://scottnicholson.com/pubs/erfacwhite.pdf