Beschreibung:
Mörsch, CarmenCarmen Mörsch ist Künstlerin und Kunstvermittlerin. Seit 1995 arbeitet sie an Projekten, Publikationen und in der Forschung der Kunstvermittlung und kulturellen Bildung. Ihre Forschungstätigkeiten sind u.a. in Modellprojekten des Bundesministeriums für Bildung und Forschung (2003-2005) und des Landesverbandes der Kunstschulen Niedersachsen (2005-2007). 2006/2007 war sie Wissenschaftliche Begleiterin der Kunstvermittlung der documenta 12. Von 2003 bis 2008 war sie Juniorprofessorin für materielle Kultur und ihre Didaktik am Seminar materielle und visuelle Kultur des Kulturwissenschaftlichen Instituts KUNST-TEXTIL-MEDIEN der Carl von Ossietzky Universität Oldenburg. Seit 2008 leitet sie das Institute for Art Education der Kunsthochschule Zürich.
These volumes are an ideal resource for people working in the fields of curating exhibitions, gallery education, youth work and cultural policy. People less familiar with cultural work will find in these books a valuable introduction to the field of gallery education.
9 - 31 At a Crossroads of Four Discourses (Carmen Mörsch)33 - 42 The Aspect of Dance in Gallery Education (Deniz Sözen)43 - 53 Palm Groves (Alexander Henschel)55 - 61 Gallery Education by Agreement, or Establishing »Hazardous Bodies« (Stephan Fürstenberg, Henrike Plegge)63 - 73 Performing Essentialism at documenta 12 (Hansel Sato)75 Pants Pulled Down Twice (Nora Landkammer)77 - 88 This Could Get Nasty ... (Sara Hossein)89 - 104 Leveling the Playing Field, or Where to Go with My Expert Role? (Teresa Distelberger)105 - 117 Productive Speech Moments (Anna Schürch)119 - 136 What Am I Allowed to Say These Days? (Kea Wienand)137 - 138 On Dropping My Pants and Underpants (Stephan Fürstenberg)139 - 148 Pitfalls/Falling Out of Roles (Nora Landkammer)149 - 157 The-Impossible-Wish for Immediate Gallery Education (Alexander Henschel)159 - 165 On Playing Back and Recording (Tina Oberleitner)167 - 179 Having a Routine-Breaking Routines-Preserving Personal Resources (Kathrin Nölle)181 - 196 The Fragment (Annika Hossain)197 - 209 Does the »Migration of Form« Make Art More Accessible? (Silke Ballath)211 To Stand and Stand For (Alexander Henschel)213 - 227 Offering a View of the Gaze (Julia Ziegenbein)229 - 240 Body Attitude(s) (Barbara Campaner)241 - 260 »You could have told us right away the artist is gay.« (Sandra Ortmann)261 - 276 Taking a Look or Looking Away (Simone Wiegand)277 - 288 Interfaces and Missed Connections (Stephan Fürstenberg, Henrike Plegge)289 - 290 About How We Failed to Write a Manifesto and Why We Still Need One (Teresa Distelberger, Nora Landkammer)291 - 310 »And that is why we also think that the conversation has to be without words« (Andrea Hubin)311 - 316 Exhibition as Medium (Ruth Noack)317 - 329 Breaking the Rules (Nikita Dhawan, María do Mar Castro Varela)333 - 347 Glossary (Silke Ballath, Inka Gressel, Nora Landkammer, Sandra Ortmann, Bernadett Settele)349 - 357 Artwork Descriptions (Inka Gressel, Sandra Ortmann)
»Cultural Education« is much debated. It is pivotal in sustaining a sense of community in a society that is constantly shifting. A space where differences can be explored, art exhibitions act as a superb medium for cultural and aesthetic education. They don't aspire to peace and harmony but to stage controversy. They enable multiple models of communication, open to dissent and rupture.
Education is situated in tension between public sphere and institution, amateur and professional, artist and audience. Its development needs felicitous examples as well as rigor in discussing problems towards identifying practical solutions.
»documenta 12 education« presents in two illustrated volumes the education formats with concomitant research, providing a basis for developing theory and praxis of gallery education.
These volumes are an ideal resource for people working in the fields of curating exhibitions, gallery education, youth work and cultural policy. People less familiar with cultural work will find in these books a valuable introduction to the field of gallery education.
Volume 2 focuses on a theory of gallery education, its methods and contexts, and reflects theoretically on examples presented in Volume 1. It is addressed to professionals from the field of gallery education, cultural education and formal education.
