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Andrea Hubin: »And that is why we also think that the conversation has to be without words«
»And that is why we also think that the conversation has to be without words«
(p. 291 – 310)

Andrea Hubin

»And that is why we also think that the conversation has to be without words«
documenta 1 and the Rejection of Education

PDF, 20 pages

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

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Andrea Hubin

is an art historian and gallery educator, having worked in the latter position at Generali Foundation Vienna and documenta 12. She was also active at the wiener kunst schule and at basis wien. Recently, she developed the gallery education concept Secret Service for the 5th Berlin Biennial. Her teaching and writing deal with art historical subjects and the theory and history of art education.

Other texts by Andrea Hubin 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.