TITLE: THE CONNECTION OF GALLERY EDUCATION AND FILM EDUCATION IN PRACTICE AUTHOR: AMÁLIE HORVÁTHOVÁ SUPERVISOR: MGR. LINDA ARBANOVÁ, PHD. /ABSTRACT THE DIPLOMA THESIS DEALS WITH PHENOMENONS OF MOVING IMAGES, FILM, VIDEO, ANIMATION AND FILM EDUCATION, SHOWS VARIOUS APPROACHES OF HOW MOVING IMAGE COMES INTO OUR LIVES OR POSSIBILITIES AND EXAMPLES OF HOW CERTAIN ARTISTS AND ART PROJECTS INTEGRATE MOVING IMAGES INTO THEIR WORK. FURTHERMORE, THE THESIS EXAMINES THE CONNECTION OF GALLERY EDUCATION WITH ELEMENTS OF FILM EDUCATION IN PRACTICE THROUGH THE INTRODUCTION OF CZECH AND FOREIGN INITIATIVES, PROJECTS, EXAMPLES OF FILM MUSEUMS AND FESTIVALS OF ANIMATION AND MOVING IMAGES. SUBSEQUENTLY, THE THESIS USES THEM AS AN INSPIRATION FOR THE EDUCATIONAL PROJECT THAT ABSORBES BOTH ART AND FILM EDUCATION WITH ITS RELATIONSHIP TO GALLERY PRACTICE IN DIFFERENT INSTITUTIONS AND SELECTED EXHIBITIONS. THE EDUCATIONAL PROJECT SERVES AS AN OPPORTUNITY FOR CHILDREN TO LEARN THE BASICS OF ANIMATED AND FILM CREATION, TO UNDERSTAND FUNDAMENTAL PRINCIPLES OF THE PRODUCTION OF MOVING IMAGES AND TO COMPREHEND HOW TO USE MODERN TECHNOLOGY FOR SELF EXPRESSION . THE DIPLOMA THESIS OBSERVES SPECIFIC PROJECTS AND SHOWS A VARIETY OF POSSIBILITIES OF THE CONNECTION OF FILM AND ART EDUCATION. A SHORT ANIMATION, RELATED EXERCISE BOOKS AND...

The study deals with the creation of gallery educational programs based on cooperation with artists and curators. The text is divided into two parts. In the theoretical part we try to define theoretical discursive field of art, galleries and gallery education. In the practical part we design gallery educational programs in cooperation with the artists and verify them with the children's group. KEYWORDS gallery education, discourse, visual culture, art work, contemporary art

This diploma thesis deals with the issue of intermediation of abstract art in gallery education programs for primary school students. Its theoretical part outlines the process from figurative to non-figurative imaging through the theory and history of art. The term of abstraction is further expounded by general and developmental psychology. The final theoretical part deals with the intermediation of art and all its connections, including potential difficulties which can occur. The empirical part contains a research with gallery lecturers, which brings and analyzes their attitude to the process of gallery-educational programs providing intermediation of non-figurative art to pupils of younger school age.

In the thesis submitted, I deal with the concepts of human physicality and image and their mutual relationship from the point of view of how physicality can be made present in the image and hence in the very dialogue between an artwork and the viewer. The other part is devoted to artistic contexts. I would like to give examples of various works of art which can be traced by means of confronting the contemporary concept of physicality and the appearance of a human figure coming from the earliest paintings to art actions of the present and contemporary art events. My goal is to try to grasp the relation between image and physicality, especially in the context of art education and possibilities of gallery and museum education. I designed and implemented a large educational project: Painting the flesh - the physicality of painting, that uses elements of visually dramatic conception of art education, emphasizing work with pupils physicality of their own, linked to the contexts of art history and also deals with the theme of interpretation, reproduction and manipulation of paintings. The visual part is called Interpretation as a shift from the painting of physicality to the physicality of painting and is also derived from the topic examined in the work.

This thesis deals with the theme of folk baroque. The aim of this thesis is to introduce this theme to pupils of secondary school in vivid and entertaining form and thus achieve bigger efficiency of educational process and acquisition of newly acquired information. As the best form of teaching i have considered watching a documentary video. The theoretical part of this thesis describes the history and formation of folk baroque, the most important areas in South Bohemia and also the life and work of Master bricklayer Jakub Bursa. This thesis also summarizes the history of documentary videos, its individual categories, the basics of film language, but also the essential aspects of the usage of video as a methodological aid for teaching. The practical part of this thesis deals with the implementation of an educational documentary video with the theme of folk baroque. The thesis also describes the creation of a supplementary animation program, which is completed by an artistic output in the form of artistic techniques of frottage.

The purpose of this work is study of mediation as a new methodological approach to interaction with audience of art museum. The first chapter is devoted to complex analysis of the spectrum of socio-cultural conditions that led to a change of visitor’s role in the museum communication and an emergence of a new vision of museum’s mission. A general characteristic is given of a new approach that focuses on the audience as a center of museum's activities and thus makes a search of new methods of interaction with the public a problem of current interest. The second chapter explores the concept of "cultural mediation": different connotations of the term are given and inconsistencies in its use are removed; an author’s definition of the concept is offered. In the third chapter key characteristics of mediation as a specific method of interaction with the public are analyzed, and this method is compared to the traditional forms of gallery education (guided tours, lessons). The task of applied research is to develop a curriculum of training of mediators for the 3rd Ural Industrial Biennale of Contemporary Art. The list of professional competences and goals of training for a mediator is formed based on the analysis of the experience of mediators at the Manifesta 10 Biennial and the study of the professional documents of the European associations of mediators. Additionally, the main principle of studying and representing works of art is explained, which is the basis of mediators training. / Целью работы является исследование медиации как нового методологического подхода к взаимодействию с аудиторией художественного музея. Первая глава посвящена обобщению и системному анализу спектра социо-культурных предпосылок, приведших к изменению роли зрителя в музейной коммуникации и возникновению нового представления о миссии музея. Дается общая характеристика нового подход, акцентирующего роль аудитории как центра деятельности музея и делающего актуальной проблему поиска новых методов взаимодействия со зрителем. Во второй главе исследуется понятие «культурной медиации»: разбираются различные коннотации термина и снимаются разночтения в его использовании, предлагается авторское определение понятия. В третьей главе анализируется специфика медиации как метода работы с публикой на музейной экспозиции, выявляются его отличия от традиционных форм образовательной деятельности в художественном музее (экскурсия, музейно-педагогическое занятие). Прикладной задачей работы является разработка учебной программы подготовки медиаторов для 3-ей Уральской индустриальной биеннале современного искусства. На основе анализа опыта медиаторов на Манифесте 10 и изучения профессиональных документов европейских ассоциаций медиаторов выделяются профессиональные компетенции и задачи подготовки медиатора для выставки современного искусства. Раскрывается принцип взаимодействия медиатора с произведениями (содержанием экспозиции) и их репрезентации, ложащийся в основу его профессиональной подготовки.