Muzeum sztuki współczesnej jako przestrzeń edukacji

Abstract

The process of searching for alternative or complementary forms of popularizing culture and related to their presence in the life of contemporary communities has been gaining a lot of importai these days. A large increase in the number of institutions and places presenting art has been obsen recently. Some of the existing collections of the contemporary art have become the most promini examples of the contemporary artistic legacy, and difficult though it was, received a soc recognition. The load of educational responsibility in terms of popularizing the contemporary legacy, n inly the artistic one, rested on the shoulders of institutions liable for propagating these goods. T1 refore, the key element of the social mission of the institution popularizing contemporary culti and art constitutes the development of cultural and artistic mediation which, in broader terr portrays itself as a form aiming at facilitating the actual meeting of an artist, work and his/1 receiver, possibly under the best circumstances. The artistic mediation, related to the new . constitutes, more often than not, the completion of the school education, especiaUy the c connected with the aesthetic, artistic or even cultural education; an alternative solution for 1 enterprises of a cultural and educational nature, not always realized in a competent way. Finally becomes the element reviving the slogan of participation in the culture understood in its broadi and anthropologic sense. A special place in this perspective was given to the institutions popularizing the contempora art. It is mainly these institutions that need a new type of the receiver — the one for whom t contact with art is not limited to merely an aesthetic pleasure of communing, who expects not or the information about art, but rather the space of an active reception, the experience co-participation in the artistic art, and interactive communication. Thus, they also need a ni museum organization placed in the space between the sanctuary and a “fun fair”. Such a mu set needs new activities and methods which, enriching the previous experiences, enable the receiver come closer to the art, re-build the ability of communicating with it, experiencing and inlerpreti: it in his/her way, and obtaining pleasure from communing with art for its own sake. Thanks them the museum can become the space of meeting, exploring, creating and searching in t community with the Other. The European museums, especially the French museums of the contemporary art, worked o interesting models of work, the prominent feature of which is the aspiration for arranging dir« meetings with the new art for the receivers of different ages. Hence, the main part of the prese work constitutes the analysis of the forms of museum educational activity realized in the Fren museums of art, mainly the contemporary one, which have worked out the model solutions terms of organizing audience meetings (mainly children and youth) with the new art in the h twenty years of the 20th century.