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“You Have to Form Your Mediators. It's a Series”: On Mediation, Encounters and Deleuze in the Art Museum

image of “You Have to Form Your Mediators. It's a Series”: On Mediation, Encounters and Deleuze in the Art Museum

Drawing upon the work of French philosopher Gilles Deleuze, in this chapter l revisit a collective artistic encounter as an opportunity to examine the role of the mediator and the concept of mediation (human or text, objects, spaces) in the art museum. For Deleuze, mediators are "intercessors", they are "point-relays" in a series (Stivale, 1998, p. 76) because they produce lines and connections. Being in an assemblage propels one onward toward other connections and possibilities for encounters. I suggest that thinking gallery education as a space of encounters operates a shift; it displaces the position of the mediator—whether human or non-human such as spatial, material, textual—not solely as a bridge to facilitate meaning, interpretation, knowledge, but as point-relays in an assemblage. Art museum educators show their own lines-of-flight and manifest a plane of possible assemblages, movements of thought and thus offer opportunities for the visiting public to form their own mediators.

Keywords: Art encounter ; Art gallery education ; Assemblage ; Becoming ; Museum education ; Non-formal education ; Post-structuralism ; Rhizome ; Virtual

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References

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     [Google Scholar]
  2. Bennett, T. (1995). The birth of the museum: History, theory, politics. Routledge.
     [Google Scholar]
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     [Google Scholar]
  6. Colebrook, C. (2002b). Understanding Deleuze. Allen & Unwin.
     [Google Scholar]
  7. Deleuze, G. (1994). Difference & repetition (P. Patton, Trans.). Columbia University Press.
  8. Deleuze, G. (1995). Negotiations: 1972–1990 (M. Joughin, Trans.). Columbia University Press. (Original work published 1990)
  9. Deleuze, G. (2007). Two regimes of madness (D. Lapoujade, Ed., A. Hodges & M. Taormina, Trans.). Semiotext(e).
  10. Deleuze, G. , & Guattari, F. (1987). A thousand plateaus: Capitalism and schizophrenia (B. Massumi, Trans.). University of Minnesota Press.
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     [Google Scholar]
  12. Desvallées, A. , & Mairesse, F. (2010). Key concepts of museology (S. Nash, Trans.). Armand Collin & ICOM – International Council of Museums. http://icom.museum/fileadmin/user_upload/pdf/Key_Concepts_of_Museology/Museologie_Anglais_BD.pdf
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     [Google Scholar]
  15. Kaitavuori, K. , Kokkonen, L. , & Sternfeld, N. (Eds.). (2013). It's all mediating. Outlining and incorporating the roles of curating and education in the exhibition context (Vol. 3). Cambridge Scholars Publishing. http://www.pedaali.fi
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     [Google Scholar]
  17. Marks, J. (2010). Ethics. In A. Parr (Ed.), The Deleuze dictionary (rev. ed., pp. 87–89). Edinburgh University Press.
     [Google Scholar]
  18. McClellan, A. (2008). The art museum from Boullée to Bilbao. University of California Press.
     [Google Scholar]
  19. Mörsch, C. (Ed.). (2009). Documenta 12. Education II. Between critical practice and visitor services. Diaphanes.
     [Google Scholar]
  20. Mörsch, C. , & Chrusciel, A. (Eds.). (2012). Time for cultural mediation. Institute for Art Education of Zurich University of the Arts (ZHDK). https://www.kultur-vermittlung.ch/zeit-fuer-vermittlung/v1/?m=10&m2=8&lang=e
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  22. Paquin, M. , & Lemay-Perreault, R. (2016). Typologie des médiations muséales: Des logiques d'intervention au registre d'actions culturelles. Muséologies, 8(2), 121–139.
     [Google Scholar]
  23. Roy, K. (2003). Teachers in nomadic spaces: Deleuze and curriculum. Peter Lang.
     [Google Scholar]
  24. Sauvagnargues, A. (2013). Deleuze and art (S. Bankston, Trans.). Bloomsbury.
  25. Vancouver Art Gallery. (2014–2015). Unscrolled: Reframing tradition in contemporary Chinese Art [Exhibition]. Vancouver, Canada. https://www.vanartgallery.bc.ca/exhibitions/unscrolled-reframing-tradition-in-chinese-contemporary-art
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