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Kea Wienand: What Am I Allowed to Say These Days?
What Am I Allowed to Say These Days?
(S. 119 – 136)

Kea Wienand

What Am I Allowed to Say These Days?
Thoughts on a Non-normative and Non-racist Gallery Education Practice

PDF, 18 Seiten

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

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Deutsch

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Deutsch, Englisch, Französisch

Kea Wienand

ist Kunstwissenschaftlerin. Sie studierte an der Carl von Ossietzky Universität Oldenburg und war von 2004 bis 2006 Promotionsstipendiatin im Graduiertenkolleg Identität und Differenz der Universität Trier. Schwerpunkte ihrer Lehraufträge und Publikationen sind kulturwissenschaftliche Geschlechterforschung, postkoloniale Theorien und zeitgenössische Kunst.

Weitere Texte von Kea Wienand 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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