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ABSTRACT
Museum communication spaces in art education enable a setting for education work that activates and involves the visitors. With appreciation, respect, and awareness, safe spaces for open communication are created. The text negotiates the framework of what we talk about, who determines and defines the negotiated topics. It is important to be aware that art educators always take a stance. In their work, they can no more act objectively than the museum can be neutral. It is only in this open communication space that it becomes possible to reveal facts, fiction, fakes, and alternative facts and to use the museum as a discursive social space.
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No potential conflict of interest was reported by the author(s).
Notes
1 Hildebrand, “Einmal tun und tausendmal sehen,” 133.
2 Rand, “The 227-Mile Museum, or, Why We Need a Visitors’ Bill of Rights”.
3 Waitschacher, “Judy Rand: The Visitor’s Bill of Rights”.
4 Tyradellis, Müde Museen oder, 108.
5 Idema, How to Visit an Art Museum; Tips for a Truly Rewarding Visit, 20.
6 See the whole text of the definition in: https://www.kulturvermittlerinnen.at/kulturvermittlung/.
7 Mucha und Oswald, “Museen der Zukunft”.
8 Scharf und Wunderlich, “Museen und Outreach”.
9 Tyradellis, Müde Museen oder, 104.
10 The discussion about the neutrality of museums has recently gained momentum in the German-speaking world, especially through the lecture given by Lonnie Bunch, the secretary of the Smithsonian Institution at the ICOM General Conference in Prague.
11 Bal, Looking In, 17.
12 Mörsch, “Am kreuzungspunkt von vier diskursen”.
13 Ibid.
14 Ziese, Kuratoren und Besucher, 69.
15 Pierre Bourdieu understands social space as a metaphorical concept used to describe and analyze social relations and differences between individuals and groups. Pierre Bourdieu understands the concept of “social place” as a specific position in a social space that is shaped by certain social, cultural, and economic characteristics. A social place can be defined, for example, by a person’s social class, education, occupation, gender, ethnicity, or religion. Bourdieu emphasizes that these characteristics cannot be considered in isolation, but are interrelated and interdependent. According to Bourdieu, an individual’s position in a social space influences his or her entire actions, thoughts and feelings. In Bourdieu’s theory, social places are also places of struggle for power and recognition, since they influence the possibilities and opportunities a person has in life. Bourdieu therefore also views social places as a product and source of social inequality and emphasizes the need to analyze and address these inequalities in order to create a more just society.
16 Holzer-Kernbichler, “Wer redet mit? Mitsprache. Teilhabe. Transformation”.
17 Bourriaud und Bourriaud, Relational Aesthetics, 9.
18 Baur, “Krise der Repräsentationskritik? Über Deutungsmacht im postfaktischen Museum”.
19 Raicovich, “Museums Are Never Neutral”.
20 Holzer-Kernbichler, “Warum Das Museum Nicht Für Alle Ist,” 8.
21 Bal, Looking In; Fliedl, “Zwölf Möglichkeiten, das Museum mißzuverstehen”.
22 Bombonato, “The Hegemonic Taboo and Collaborative Social Practices,” 22.
23 Scharf und Wunderlich, “Museen und Outreach”.
24 Aksoy, “The 21st Century Art Museum: Is Context Everything?”.
25 Liessmann, Lauter Lügen, 117.
26 Haraway, “Situated Knowledges”.
27 Bauer, Die Vereindeutigung der Welt, 30.
28 Lehofer, “Welche Versöhnung und mit wem?,” 6.
29 Landau-Donnelly, “Konfliktraum Museum. Überlegungen für Museumstheorie und -praxis,” 341.
Additional information
Notes on contributors
Monika Holzer-Kernbichler
Dr. Monika Holzer-Kernbichler is an art historian, art educator, and educational curator. She has been working as a lecturer at various universities since 2005 and has been head of art education at Kunsthaus Graz and Neue Galerie Graz since 2008. Her focus is on art history from 1800 to the present, art theory, museology, practice, and the theory of mediation. Since 2020, she is ICOM CECA Austria National Correspondent.