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Claudia Hummel: What Does ›aushecken‹ – Hatching Ideas – Mean?
What Does ›aushecken‹ – Hatching Ideas – Mean?
(p. 147 – 158)

Claudia Hummel

What Does ›aushecken‹ – Hatching Ideas – Mean?

PDF, 12 pages

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

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English

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Claudia Hummel

Claudia Hummel

studied art education and conceptual art at the State Academy of Fine Arts in Stuttgart. She is involved in projects on the interface of art, society, and everyday life (including the collective finger, Theater an der Parkaue, Berlin) as an artist, gallery educator, and also curator. Since 2009 she teaches at the »Institut für Kunst im Kontext« at the Berlin University of the Arts. At documenta 12 she directed the project hatching ideas—for children and youth groups.

Other texts by Claudia Hummel for DIAPHANES
Ayse Güleç (ed.), Claudia Hummel (ed.), ...: documenta 12 education I

Ayse Güleç (ed.), Claudia Hummel (ed.), Sonja Parzefall (ed.), Ulrich Schötker (ed.), Wanda Wieczorek (ed.)

documenta 12 education I
Engaging audiences, opening institutions Methods and strategies in education at documenta 12

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

Softcover, 214 pages

Inkl. DVD

PDF, 214 pages

Inkl. DVD

»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 1 gives a comprehensive and richly illustrated survey of formats and models of education and collaboration with the public at documenta 12.

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