Maria-Lind_Why-Mediate-Art-

Ten Fundamental 

Questions of 

Curating 

4/10 

Why Mediate Art? 

Maria Lind

Ten Fundamental Questions 

of Curating 

Publishing director 

Edoardo Bonaspetti 

Editor 

Jens Hoffmann 

Copy editor 

Lindsey Westbrook 

A project realized in partnership with 

Artistic director 

Milovan Farronato 

Design 

Studio Mousse 

Issue #4 


by Maria Lind, 

with artwork by 

Marysia Lewandowska 

Ten Fundamental Questions 

of Curating 

is printed in Italy and published 

five times a year by 

Mousse Publishing 

Publisher 

Contrappunto S.R.L. 

via Arena 23 

20123, Milan - Italy 

No parts of this publication may be 

reproduced or transmitted, in any 

form or by any means, without prior 

written permission of the publisher 

please add: With the exception of 

Twitter Education artwork by Marysia 

Lewandowska which appears under 

Creative Commons, NC-ND v.3.5 

Sharon Houkema, M3, installation with overhead projector, container, plastic cup, mist maker, p 

WHY MEDIATE ART? TEn FunDAMEnTAL QuEsTIons oF CuRATIng 

99 


Text — Maria Lind 

Artwork — Marysia Lewandowska 

Vermittlung—“mediation” in German—signifies a transfer 

from one party to another, the pragmatic transmission of a 

message. It also stands for attempts at reconciling parties who 

disagree on something: nations, for instance, or people in conflict. 

Although there is an abundance, even an overproduction, 

of traditionally didactic activities within art institutions 

today, I believe that now is the time to think more and harder 

about the mediation of contemporary art. About whom we as 

artists and curators want to communicate with, and the associated 

questions of how art actually functions in contemporary 

culture. It is a seeming paradox: an excess of didacticism 

and simultaneously a renewed need for mediation. 

The two different conditions to account for here, before the 

dance with the question of mediation can begin, occupy different 

positions in discussions about art and curating. The 

first is generally considered more annoying than useful by the 

professional community. The second is by contrast little-discussed, 

even below the radar of most practitioners. I am referring 

to the educational and pedagogical approaches that are 

in place at most art institutions. On the one hand they can be 

overbearing, and they may even obscure the art. On the other 

hand there is the increasing bifurcation between experimental, 

cutting-edge art and curating, and the ambition of institutions 

to spread art beyond social and economic boundaries. 

An effect of the latter condition is a growing sense of isolation 

between spheres of interests and activities in the arts, not to 

mention an almost total lack of mediation beyond relatively 

closed circles in the more experimental arenas.

100 WHY MEDIATE ART? TEn FunDAMEnTAL QuEsTIons oF CuRATIng 101 

The one institution that has played a greater role than any other 

in setting the standard for mainstream museum education 

is the Museum of Modern Art in New York. The model that its 

founding director Alfred Barr instigated in the 1930s did not 

add pedagogy at the end of the exhibition-making process, as 

icing on the cake, but rather integrated it into every exhibition. 

In the brilliant book Spaces of Experience: Art Gallery 

Interiors from 1800 to 2000, the art historian Charlotte Klonk 

demonstrates that exhibitions at MoMA have always been consciously 

didactic, promoting Barr’s formalist view of art. His 

main purpose was to refine the aesthetic sensibility of visitors 

and to mold a mode of spectatorship based on what she calls 

“the educated consumer,” in contrast to the 19th-century ideal 

of the spectator as a “responsible citizen.” Despite Barr’s famous 

charts of stylistic developments and well-written, accessible 

catalogue texts, the educational approach in his exhibitions 

tended to be more visual and spatial than discursive. The 

paintings were hung low on the white walls, and numerous 

partitions created more [organized the?] wall space. The selection 

of works and the display strategies themselves were of 

utmost importance. “Points” were made in the exhibitions: for 

example, in the 1936 exhibition Cubism and Abstract Art, the 

identification of historical and non-Western visual sources for 

20th-century Western geometric abstraction. 

The fact that MoMA from the outset quite literally situated 

itself as a mediator between industrial producers and distributors 

(a powerful interest group with a strong presence on the 

board of trustees) and a “buying” audience cannot be underestimated. 

MoMA openly borrowed display techniques from 

department stores and other commercial settings. And visitors 

were considered not just consumers, who in conjunction with 

certain exhibitions could even buy the displayed design objects 

in the museum shop, but tastemakers who were expected 

to become responsible members of the emerging society of 

consumption. Thus market strategies and business interests 

merged and shaped new ideals of spectatorship. Given MoMA’s 

influential status, its approach was taken up at innumerable 

other art institutions in all different parts of the world. The 

idea of “winning people over,” of persuading them, was central 

to MoMA’s didactics from the outset, just as it was in the contemporaneous 

advertising industry, which was itself coming 

of age and transforming for the new modern era. Within this 

largely commercial scheme, unconventional and “innovative” 

art was accepted as long as the innovations remained on a formal 

level and did not allude to, let alone provoke, any practical 

overlap between the sphere of art and the sphere of social and 

political action. 

This should ring more than one bell for those familiar with 

contemporary art museums and curating. Another familiar 

phenomenon is the concept of the education or pedagogical 

department. Despite the fact that its particular brand of curating 

was based primarily on integrated didacticism, in 1937 a 

separate education department was started at MoMA. Under 

the leadership of Victor E. D’Amico, it deviated from Barr’s 

ideas about a more or less detached spectator and promoted 

visitor participation. Instead of emphasizing enjoyment or 

judgment of the art on the wall, it encouraged visitors to explore 

their own creativity. John Dewey’s pragmatist philosophy 

and theories about art as an emancipatory activity with great 

potential to stimulate political participation in democratic societies 

played a certain role. Nevertheless, in the cases of both 

Barr’s educated consumer and D’Amico’s participant, a heightened 

sense of individuality was promoted. This was markedly 

different from the collectivist approaches to spectatorship, influenced 

by Constructivism, that around the same time and 

even before were promoted by artists such as El Lissitzky and 

curators such as Alexander Dorner, both in Europe. Collective 

spectatorship was inspired by the Russian Revolution and by

102 

WHY MEDIATE ART? 

TEn FunDAMEnTAL QuEsTIons oF CuRATIng 103 

Einstein’s theory of relativity. It encouraged a varied and active 

experience through dynamic exhibition design, where things 

looked different from different angles, while simultaneously 

emphasizing the totality of the installation. It also promoted 

ideas of shared, collective encounters with art. 

Today, Barr’s didactic model of “educated consumer spectatorship” 

can easily be identified in the operations of most major 

museums and other exhibiting institutions, from MoMA 

in New York to Tate Modern in London to Moderna Museet 

in Stockholm. The idea of “Constructivist spectatorship” has 

been largely left behind, although it has hibernated and survived 

in the work of Group Material, the group around Shedhalle 

in Zurich in the late 1990s, and artists such as Dominique 

Gonzalez-Foerster, Philippe Parreno, and Liam Gillick. 

At the same time museum practice in the United States has, 

since the early 20th century, promoted itself as reaching out 

to a wider audience. European welfare states have done some 

of the same in the postwar period and in the name of equality 

they have supported both broader access to high culture and 

reformulations of what constitutes high culture. Educational 

concerns are important, maybe even essential in democratic 

societies. But this attitude often clashes with high-modernist 

ideas about art not imposing itself on its viewers—that it is, 

or at least should be, strong enough to stand on its own feet 

and speak for itself, removed from “external” contexts. Which 

leads to decontextualized “What do you see and what do you 

feel” pedagogy. 

Again the art in question does not typically challenge the status 

quo; it is about enjoyment and judging. We can call this 

method “the establishment of the canon,” relying mostly on 

developments internal to art and certainly echoing Barr’s 

ideas. This method aims at producing a genealogy of artists, 

and to a certain degree also a sequence of accepted themes, 

whose work can be included in a master narrative of the history 

of art. Importantly, however, this maneuver happens at 

the expense of more investigative approaches where a stated 

ambition is to contextualize artistic practice and to study and 

question current phenomena and inherited norms and procedures. 

In other words, to decode and recode artifacts and 

activities that pertain to contemporary life, guided more by 

what is interesting and relevant than by what is “pleasurable,” 

“good,” and “lasting.” Nowadays this model can itself be contextualized 

within the widespread call for canons of culture, 

blueprints of “eternal quality” to be implemented in school 

and university curricula. 

So what does this have to do with mediation? All of the above 

count as forms of mediation, employed more or less consciously: 

integrated didacticism, supplementary participatory 

education and pedagogy, and finally narrative information deployed 

both inside and outside the institution. This last was 

historically generated by educational and pedagogical departments 

but nowadays it comes more and more from PR and 

marketing people. Whereas the added participatory education 

is based on an assumption that there is a deficiency among 

the visitors—a gap to be bridged, a hole to be filled, or even 

a conflict to be solved—the other two are concerned more 

with a perceived lack of contact between parties, a “misunderstanding,” 

or a conflict to be straightened out. The idea that a 

sort of “dating service” is needed to put the right people and 

“things” in touch with each other. At the same time, mediation 

can be much more than this: It is essentially about creating 

contact surfaces between works of art, curated projects, and 

people, about various forms and intensities of communicating 

about and around art. As a term, mediation seems to be open 

enough to allow for a wider variety of modes of approaching 

exchanges among art, institutions, and the outside world. In 

short, mediation appears to provide room for less didacticism,

104 WHY MEDIATE ART? 


less schooling and persuasion, and more active engagement 

that does not have to be self-expressive or compensatory. 

Let us return for a moment to the current abundance of didacticism. 

It is an excess that pertains in equal measures to what 

is typically considered the very nucleus of the craft of curating 

(for example, Barr’s model of selecting, installing, and in 

other ways contextualizing work) and what is tagged onto a 

curated project (gallery tours and workshops, wall texts, labels, 

audio guides, et cetera). Whereas the latter is frequently 

deemed over-didactic, the former is not commonly thought 

of as “didactic” at all but rather as common practice, the normal 

thing to do. It is almost not visible, like curating before 

Harald Szeemann—invisible hands selecting and arranging. 

In addition to the type of curating described above (the didactic 

establishment of the canon, with narrative information 

added on), among the most common modes of interpellation 

in art education within exhibiting institutions today remains 

the participatory format promoted by D’Amico. Experiencebased 

guided tours and workshops where visitors are asked to 

share what they see and what they think and feel about what 

they see, to discover “the creator” in themselves, are part and 

parcel of this. 

The division of labor in larger art institutions involves the 

educational and pedagogical departments taking responsibility 

for educating the audience, in essence for “fixing” what 

ought to be the responsibility of other social institutions such 

as schools, colleges, and universities. The collections and temporary 

exhibitions departments take care of the more persuasive, 

integrated, and therefore probably more efficient didactics. 

An interesting feature of D’Amico-style formats within 

this scheme is that they are easy to avoid—we don’t have to 

join in unless we really want to—as opposed to Barr’s model, 

which is baked into the institution or exhibition. This is also 

the case with the many overly simplified and often promotional 

wall texts, brochures, and other presumably generous 

narrative techniques, which tend to render art at the same 

time more simple and more spectacular. The pure promotion 

has reached almost obscene levels, particularly in press releases. 

Marketing and PR departments have gradually taken over 

responsibilities that used to be shared between curators and 

educators. In many art institutions, marketing and PR take the 

lead on any added narrative, and they can for example decide 

not to provide written information about a specific project, 

even though it is up and running, because it detracts attention 

from the blockbusters. It is not unknown for marketing and 

PR people to interfere with the program itself, even. 

But do we really need more mediation? Maybe what we should 

call for is different types of mediation, and in other contexts. 

As well as a heightened awareness of the specific forms of mediation 

that are already employed in institutions, not least the 

persuasive mediation embedded within the traditional craft 

of curating. We as professionals would certainly benefit from 

methods that help us reflect upon what we do and how we do 

it, as a form of consciousness-raising. Furthermore, most of 

the methods of mediation in use today have been modeled 

upon modern art, which functioned in radically different ways 

than contemporary practice. Formats derived from one paradigm 

are being applied to art from a different paradigm. 

But most importantly, it is time to consider and take seriously 

the fact that the art and curated projects at the forefront of 

experimentation, which formulate new questions and create 

new stories, are growing increasingly remote from the mainstream. 

These sidestreams, many of which test various forms 

of “Constructivist spectatorship,” trickle further and further 

away from the situations where most people encounter art 

and curated projects (large institutions in big cities), and here

106 

WHY MEDIATE ART? 

mediation, whatever type it may be, is marginal. This kind of 

strategic separatism is in many ways a survival strategy in order 

to guarantee other proportions of self-determination; the 

mainstream is not particularly welcoming to the sidestreams 

and the sidestreams prefer to stick to themselves. And yet the 

inevitable result is self-marginalization, where only the already-converted 

are reached. 

Another reason for asking what is the good of mediation: More 

and more over the last decade, I have observed in emerging 

curators and students of curating a relatively limited interest 

in communicating about art beyond professional circles. This 

pattern stands in stark contrast to the developments in mainstream 

institutions discussed above, which suffer from too 

much (and too much one-sided) didacticism. Together with 

a number of colleagues I am partly to blame for this development, 

having supported ideas around all kinds of experimentation, 

both artistically and curatorially, advocating the 

necessity to try out the unknown without having to constantly 

glance at the reception. We have been motivated by the need 

to create other ways of thinking and acting—a direct reaction 

to a perceived stasis among mainstream institutions, including 

their overly didactic modes of address. The experimentation 

has more or less only been possible in the sidestreams. 

And I will continue to pursue it, but while trying to keep more 

of an eye on how what we are doing might be communicated 

beyond the confirmed believers. On how mediation can create 

space for exchange with something “other.” 

This limited interest in communication beyond the select audience 

of one’s peers manifests itself in two tendencies among 

younger curators and students. One foregrounds smart curatorial 

concepts and another privileges collaboration and new 

production. The first one, let’s call it the “curatorial pirouettes,” 

focuses on the ideas of the curator. Here art tends to 


be included based on illustrative or representational grounds 

and the outcome is usually a thematic group exhibition. In this 

category we can also include some of the more self-reflexive 

curatorial models, which tend to focus on reworking structures 

and formats. The second one, which we can term the 

“over-collaboration,” involves close collaboration between the 

curator/student and an artist with the purpose of creating new 

work. Although the rhetoric involves “avoiding traditional notions 

of authorship” and “escaping individuality,” this intense 

interaction between the two players often ends up being close 

to a symbiosis. Others are kept outside, and the result is a 

“super-artistic” subject who has two bodies instead of one and 

is surprisingly self-expressive. 

In both situations, a third term—a wedge to trigger a dialectical 

dynamism—is missing. Instead there is little exteriority, 

almost no outside and very few “others.” Again, this is the opposite 

of the theoretical open-arms strategy of mainstream art 

institutions. The curator/student creates a separate universe 

for her/himself and her/his ideas or artist buddy. Of course 

any show involves detailed work that needs to take place behind 

closed doors, but I believe that the moment has come to 

insist on experimentation while simultaneously attempting to 

develop new forms of mediation—to consider earnestly the 

question of what art does in culture, what its function can be 

in society, and to be more generous with the material at hand. 

And to shift the terms of the existing forms of mediation in 

mainstream institutions in order to make room for other types 

of exchanges, and possibly also to let art use more of its potential. 

Given that consumption is one of the most widely known and 

accepted forms of engagement with the surrounding reality, we 

should ask whether dismissing MoMA’s model of the “educated 

consumer” is necessarily a good thing. Is it actually the fastest



and most efficient means by which to reach new audiences, 

or rather, to develop a different “exteriority”? Most likely this 

model can be used in other ways, for different purposes. At 

the same time I wonder if we have not already seen the emergence 

of yet another model, that of “the entertained consumer,” 

where visitors arrive at the museum with the expectation 

that they must be constantly amused and entertained. And yet 

the collectivist spectatorship advocated by the Constructivists 

continues to have an allure. The theoretician Irit Rogoff has 

argued for a related version of spectatorship, or rather “terms 

of engagement,” in which the physical participation that is 

part of the 200-year-old art habitus carries the nucleus of a 

qualitatively better form of democracy than the separation 

offered by representative democracy. If we take Rogoff seriously, 

“reaching new audiences” is less relevant than changing 

the terms in which we talk about how we together produce a 

public or semi-public space thanks to, with, and around art, 

curated projects, institutions, and beyond.

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stores 

emerging 

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consumption 

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themes 

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particular 

brand 

separate 

universe 

amico 


detached 

spectator 

pragmatist 

philosophy 

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heightened 

awareness 

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lissitzky 

alexander 

dorner 

russian 

revolution 

major 

museums 

moderna 

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liam 

gillick 

wider 

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so 

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t 

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york 

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#spectaters 

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@andydickson 

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paula 

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ccbuaw 

questions 

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d 

make 

meetings 

@artslondon 

got 

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@sfmoma 

made 

especially 

de 

kooning 

sunflower 

seeds 

then 

discussion 


last 

hooray 

down 

http//jmp/bhw6k2 

liked 

muybridge 

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folks 

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at 

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is 

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when 

i 

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them 

#android 

app 

colour 

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up 

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successful 

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or 

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1 

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space 

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hanna 

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there 

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t 

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innovative 

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today 

1830 

through 

violent 

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has 

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currently 

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hey 

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myths 

conversation 

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via 

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more 

why 

@museummodernart 

week 

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an 

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hallo 

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richter 

exhibition 

d 

make 

meetings 

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made 

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sunflower 

seeds 

thru 

oct 

then 

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paper 


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down 

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audio 

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arts 

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free 

ipad 

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sorry 

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1400 

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chat 

gallery 

he 

coming 

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festival 

mon 

practice 

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members 

room 

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definitely 

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based 

entirely 


#tp2010 

white 

flag 

big 

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twitter 

sign 

activities 

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studio 

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variations 

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my 

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done 

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techniques 

tm 

kiosk 

want 

people 

struck 

me 

look 

4 

be 

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quite 

useless 

opening 

soon 

designer 

cynthia 

his 

cage 

its 

charm 


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hi 

http//bitly/azxjcf 

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like 

smith 


black 

mountain 

life 

guided 

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director 

chris 

traditionally 

didactic 

alfred 

barr 

visual 

sources 

real 

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tended 

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objects 

strategies 

themselves 

interests 

merged 

status 

value 

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left 

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any 

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visitors 

arrive 

john 

piper 

spectatorship 

given 

political 

participation 

different 

world 

pedagogical 

approaches 

bottom 

while 

europe 

collective 

projects 

institutions 

promoted 

visitor 

itself 

removed 

should 

ring 

generally 

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participatory 

education 

master 

narrative 

among 

mainstream 

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mediation 

let 

alone 

thought 


selecting 

installing 

rather 

integrated 

into 

gifs 

workshops 

wall 

almost 

ready 

rhyme 

upon 

further 

updates 

been 

using 

powerful 

interest 

contrast 

little-discussed 

above 

count 

beyond 

relatively 

buying 

audience 

curators 

announce 

close 

collaboration 

curatorial 

asst 

involves 

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attitude 

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term 

bodies 

instead 

specific 

forms 

educated 

consumer 

seriously 

reaching 

better 

@vesselinatp 

ve 

won 

catalogue 

poster 

cafe 

voucher 

followers 

worldwide 

#tate200k 

@angelasung 

ll 

bear 

say 

@inespriorisaenz 

weather 

forecast 

pissarro 


weekend 

resembles 

peter 

brook 

http//bitly/gwxpoc 

turkey 

shopping 

bag 

roy 

lichtenstein 

http//bitly/brj1vr 

thur 

fine 

words 

go 

depends 

become 

responsible 

citizen 

despite 

idea 

though 

was 

had 

survey 

every 

immediate 

action 

online 

team 

response 

helps 

secret 

dancer 

http//bitly/blxnjq 

nominated 

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rachel 

she 

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collects 

http//bitly/9z679q 

avant 

garde 

meets 

classical 

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sublimity 

dec 

http//bitly/coldml 

wait 

until 

modern 

http//bitly/9urvry 

prize 

nominee 

susan 

philipsz 

place 

sound 

sale 

raising 

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nocturne 

important 

women 

double 

o 

two 

weeks 

miuccia 

prada 

#fashion 

#prada 

lobster 

telephone 

1936 

http//bitly/cg9d7v 

november 

5 

preparator 

pamela 

popeson 

gushes 

over 

280 

perfect 

kitchen 

http//bitly/biher9 

@orielyparc 

brilliant 

imagine 

wwwtatemoviecouk 

kitchens 

took 

center 

pilots 

jetty 

le 

havre 

upcoming 

poprally 

presents 

post 

mexican 

directors 

qa 

part 

discovering 

latin 

02-nov 

http//bitly/akkuo7 

before 

harald szeemann 

invisible 

social 

media 

take 

manipulate 

how 

many 

plate 

@gbartdebate 

asks 

*is* 

banksy 

@philippawarr 

no 

plans 

kept 

outside 

grabs 

flickr 

pics 

makes 

fans 


follow 

tateetc 

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membership 

discount 

http//jmp/moma4sq 

m 

sure 

way 

unless 

cheers 

@designtrustnyc 

deep 

after 

hours 

quiet 

wednesday 

yinka 

goldsmiths 

lecturer 

gilda 

williams 

saturday 

dara 

birnbaum 

marguerite 

2330 

30 

#bbcimagine 

documentary 

6pm 

tonight 

alex 

prager 

little 

exteriority 

most 

votes 

slide 

show 

abstract 

expressionist 

slides 

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legendary 

experimental 

strong 

breeze 

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#bookgame 

#bookartist 

munch 

floss 

cezanne 

imal 

farm 

still 

worried 

features 

oscar 

wilde 

said 

lecture 

@guggenheim 



weds 

17 

sat 

http//bitly/carm9x 

http//bitly/blkifi 

@mamatiara1 

always 

aim 

photo 

clue‰û_ìãå_ 

mor 

http//twitpiccom/2woilr 

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tomorrow 

nerd 

alert 

@jpersse 

takes 

tint 

shade 

tone 

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top 

ten 

calm 

peaceful 

club 

anything 

piece 

polish 

maker 

wilhelm 

jackson pollock 

current 

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floor 


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learn 

http//bitly/97iqep 

watch 

october 

22 

8 

45 

@definedkind 

totally 

agree 

acronyms 

point 

tricky 

welcome 

noma 

@sarahcave 

these 

sidestreams 

prefer 

nursery 

frieze 

ii 

http//bitly/bowhfh 

5th 

annual 

ny 

rethinking 

int 

l 

presses 

booksellers 

artists 

http//jmp/bq2lnd 

artisans 

explaining 

sez 

guardian 

http//bitly/aqiayk 

@fashionfutures 

shots 

met 

rosa 

barba 

prix 

fixe 

etc 

am 

betcha deaddesk 

platforms 

mea 

much 

one-sided 

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less 

right 

person 

red 

grooms 

imagines 

rothko 

serena 

cant 

horses 

fri 

7pm 

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bankside 

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dalwood 

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boring 

come 

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actually 

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text 

message 

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against 

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sky 

ticket 

rts 

package 

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@jemaa 

@icebergslum 

well 

ago 

marina 

http//bitly/bspnhe 

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crossing 

everything 

problem 

website 

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apea 

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dean 

ft 

marc 

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hashim 

non 

governmental 

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kids 

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alike 

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dancing 

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incredible 

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la 

cruz 

later 

lewis 

klahr 

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stills 

contest 

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is‰û_ìãå_ 

drum 

dance 

company 

perform 

poetry 

18 

1961 

yet 

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friend 

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contact 

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clue 

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own 

exquisite 

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juliet 

kinchin 

paulina 

pobocha 

http//nytims/aqhvmu 

hot 

press 

releases 

those 

familiar 

1930 

bst 

1st 

date 

w 

hubby 

nyc 

7th 

23 

50 

mins 

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cornelia 

explore 

forgotten 

wet 

windscreen 

ramsgate 

harbour 

roland 

vivian 

pitchforth 

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; 

class 

@josespiano 

mysterious 

ways 

alice 

tully 

fleet 

footed 

museum 

archivist 

pre 

1950 

german 

signifies 

imdb 

andy 

lanyon 


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cuckold 

gil 

scott 

http//jmp/bspnhe 

epa 

program 

analyst 

fever 

nicholas 

information 

deployed 


yeonghwa 

cannes 

favorite 

en 

vogue 

n 

est 

@bandoche 

http//tco/@ 

onmouseover 

documentgetelementbyid 

intern 

visits 

hyde 

park 

jeremy 

deller/scott 

king 

william 

morris 

http//bitly/blia7c 

hercules 

brabazon 

another 

model 

simultaneously 

emphasizing 

professional 

community 

closed 

circles 

educational 

approach 

growing 

sense 

increasingly 

remote 

historian 

charlotte 

klonk 

demonstrates 

stylistic 

developments 

texts 

labels 

numerous 

partitions 

utmost 

importance 

20th-century 

western 

geometric 

abstraction 

commercial 

settings 

scheme 



advertising 

active 

experience 

engagement 


dominique 

gonzalez-foerster 

philippe 

parreno 

european 

welfare 

united 

states 

canon 

relying 

certainly 

echoing 

benefit 

editions 

pr 

departments 

taking 


perceived 

stasis 

total 

lack 

et 

cetera 

frequently 

deemed 

efficient 

means 

obscene 

levels 

particularly 

welcoming 

already 

employed 

seen 

@martincoles 

traditional 

craft 

constantly 

glance 

theoretical 

open-arms 

survival 

strategy 


continues 

download 

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lack_and 

newyorkminutes 

museumnerd 

KatyHamer 

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CityExpertsNY 

ranjit 

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JoAnaSwan 

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AfricanArt 

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bronxmuseum 

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IndiaArtMachine 

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ThirdPerson_ 

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RenMedia 

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Twitter Education 

This is the time when art is mediated to its audience not only through lectures, 

seminars, artists’ talks, guided tours and publications but when mediation intervenes 

as a pulsating stream of immediacy, mixing the promotional intentions of the 

institution with the visitors’ desires of sharing their observations and responses. 

The banal is closely entangled with the political, the randomness is attached to a 

system as announced by the ubiquitous banner: Twitter is a rich source of instantly 

updated information. It's easy to stay updated on an incredibly wide variety of topics. 

By utilising the social networking platforms such as Facebook, YouTube and 

Twitter that emerged over the past few years, the communication between the art 

institutions and their audiences has grown into a real time stream of information 

snippets. 

What appears on the following pages are graphs mapping tweets sent by three major 

art institutions, Tate in London, MOMA in New York and Moderna Museet 

in Stockholm to communicate and mediate their activities as they are enmeshed 

together with Maria Lind’s text. The two text streams have been aggregated as a 

word chain, where each word is connected with a link to the following word in 

the sentence. Each word is represented only once as a node in the chain, but in 

many cases with multiple connections, edges, to the following words. The resulting 

visualisation is of a network based on the structure of the words in use. The two 

different sources are distinguished where red lines represent the links between the 

words in the tweets sent by the art institutions, while the black lines show the flow 

of the essay written by Maria Lind. The tweets cover the period between 2009-09- 

16,15:18 and 2010-11-29 16:03. The graphs were developed in collaboration with 

Fabian Neuhaus www.urbantick.blogspot.com 

The mapping of this flow expresses a desire and interest in distributive networks 

without restriction; it is the desire of being in touch and engaged, of organising 

one’s thoughts and sharing them instantly. The knowledge ecologies of a wider 

world intersect in unexpected ways and point to the role mediation plays in shaping 

our current social and political life. 

www.marysialewandowska.com

Enrico David Repertorio Ornamentale 

31 maggio / 25 settembre 2011, 

Fondazione Bevilacqua La Masa, Venezia 

con il contributo di Fiorucci Art Trust e Vhernier 

Enrico David, Untitled, 2011. Pencil on paper. Courtesy the artist and Michael Werner Gallery New York.

Maria-Lind_Why-Mediate-Art-

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