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Carmen Mörsch: At a Crossroads of Four Discourses
At a Crossroads of Four Discourses
(p. 9 – 31)

Carmen Mörsch

At a Crossroads of Four Discourses
documenta 12 Gallery Education in between Affirmation, Reproduction, Deconstruction, and Transformation


  • art education
  • museum
  • pedagogy
  • curatorial practice
  • exhibition
  • education
  • contemporary art
  • documenta
  • public sphere

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Carmen Mörsch

Carmen Mörsch

has been organizing projects and conducting research on gallery education and cultural education since 1994. Between 2003 and 2008, she worked as a junior professor in the Department for Cultural Studies: Art, Textiles and Media at Carl von Ossietzky University of Oldenburg. Her research activity encompasses pilot projects for the Federal Ministry of Education and Research. She guided the research carried out by gallery educators parallel to their activities at documenta 12 and, as of 2008, is director of the Institute for Art Education at Zurich University of the Arts.

Other texts by Carmen Mörsch for DIAPHANES
Carmen Mörsch (ed.): documenta 12 education II

Carmen Mörsch (ed.)

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

Translated by Nathaniel McBride, Karen Michelsen Castañón, Laura Schleussner and Erik Smith

Softcover, 374 pages

PDF, 374 pages

»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.