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Tina Oberleitner: On Playing Back and Recording
On Playing Back and Recording
(S. 159 – 165)

Tina Oberleitner

On Playing Back and Recording

PDF, 7 Seiten

  • Museum
  • Pädagogik
  • documenta
  • Kunstvermittlung
  • Kuratorische Praxis
  • Bildung
  • Ausstellung
  • Gegenwartskunst
  • Öffentlichkeit

Meine Sprache
Deutsch

Aktuell ausgewählte Inhalte
Deutsch, Englisch, Französisch

Tina Oberleitner

studierte Kunst und Kommunikative Praxis an der Universität für angewandte Kunst in Wien. Sie arbeitet als Künstlerin, Illustratorin und seit 2007 als Kunstvermittlerin.

Weitere Texte von Tina Oberleitner bei DIAPHANES
Carmen Mörsch (Hg.): documenta 12 education II

Carmen Mörsch (Hg.)

documenta 12 education II
Between Critical Practice and Visitor Services Results of a Research Project

Übersetzt von Nathaniel McBride, Karen Michelsen Castañón, Laura Schleussner und Erik Smith

Broschur, 374 Seiten

PDF, 374 Seiten

»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.

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