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Annika Hossain: The Fragment
The Fragment
(p. 181 – 196)

Annika Hossain

The Fragment
Guiding Metaphor for Modernity and Indicator of Discursive Formations in Gallery Education

PDF, 16 pages

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

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English

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English

Annika Hossain

studied art history, as well as English and American studies at Ruhr University, Bochum, and Università degli studi di Bologna and earned an M.A. in museum and exhibition studies at Carl von Ossietzky University of Oldenburg. She coordinates and implements exhibition projects with an emphasis on gallery education. She worked as a gallery assistant for Meyer Riegger Gallery in Karlsruhe and currently is Ph.D student at Swiss Institute for Art Research, Zurich.

Other texts by Annika Hossain 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.

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