This paper follow some of my experiences of mediation within the Art Gallery as moments of learning in a non-school educational space, where I was both artist and mediator. I think them from the experiences with two art exhibitions, one individual and another collective, where the exhibition of my artistic works with themes of gender and sexuality were presented at the Capibaribe Gallery of the Federal University of Pernambuco in the years 2016 and 2018 respectively. In the space of the gallery with the moment of mediation a dialogical learning is carried out from both narratives created by the visitors and me as an artist, as well as the questions that arose from this dialogue. The article deals with the work of art as an open work (Pareyson, 2001), which continues its process in the contact with its respective viewers, materializing in a form of experience (Dewey, 2010). In arts mediation the work leaves the context of the private, the intimate of the artist and goes to the public, the open reading of the art object in a mediation that takes into account its specificities and its context are important, but the relation with the image can constitute a learning relationship that does not necessarily need to be in the traditional spaces of education. That is, in this case, the classroom and teaching programs are not the only form of learning. “The cultural turn extends the senses we give to the ways of learning. In the discourse of cultural pedagogies, we are, first, subjects, 'real characters' for whom learning to learn is a daily matter, essential for understanding and creating representations of our desires, fears, dreams, expectations.” (Tourinho & Martins, 2015, p.33). And within the viewers' discourses it is interesting to note how the work can reveal personal issues showing that “any artifact is capable of generating learning, that is, one can create pedagogies, ways of teaching and possibilities of learning from any cultural artifact”. (Tourinho & Martins, 2015, p.34). Within this threefold relation: cultural mediator / artist, spectator and work, we can perceive how cultural mediation allows a moment of learning. A moment in which not only allows, through the open reading of the work, to weave other narratives from the image but also “constitutes as revealing the subjectivity of the other once it is there because every look - and the account of what we look at - is imbued with cultural and biographical marks.” (Hernandez, 2011, p.33). Experiences such as these happen all the time during an exhibition and grow exponentially if we think about how often these processes repeat themselves, as well as what they trigger in the viewers' discussions with other people with whom they coexist. Thus, these relationships within visual culture “articulate as a crossroads of rhizomatic accounts (without a pre-established order) that allows us to inquire about cultural ways of looking at their effects on each of us.” (Hernandez, 2011, 34).

In October of 2016 I realized my first individual exhibition in the Capibaribe Gallery of the Federal University of Pernambuco, in Brazil. The presented drawings discussed narrative, although they were arranged in an order that seemed to tell a story all were untitled, in this way stimulating the viewers to create their narratives from the images. I acted as a mediator / artist within the exhibition space once a week and collected many narratives. The dialogues with the viewers of the exhibition revealed narratives that were often divergent from my own as artists, but as mediator I encouraged the creation of new narratives in dialogue with our perceptions about the work of art. There was a two-way mode of learning, one by which the viewers knew my narratives and another by which I knew their narratives, which were often brought by sensitive memories, a book they read, an event in their life, and so on. In another exhibition two years later: the collective exhibition called TRAMAÇÕES that had as theme sexuality and gender, I tried to go on with my experiences of picking up narratives more insidiously. I built an installation with watercolors that discussed gender and sexuality as well as scattered pieces of texts that accompanied my artist's sketchbook in a random, post-its format. Finally, I left post-its empty between the images and the texts and put a pen around so that the viewers could interact with the work. The viewers wrote and / or drawn freely in the empty post-its. The final result was a complete dialogical installation that pulls out the question: What effect those discourses in post-it’s had in both me as an artist and the viewers? Did us learn something?

Politics and art always march together. Even if a work of art meant to do nothing, it is doing something. Society have their ways to perceive social groups and the representation of those groups were constructed by several discourses in power relations (Foucault, 1988). As a transsexual artist, I made clear my transgender status in the texts left in the installation. With that the dialogue within the post-its came in two ways: confrontation and empowerment. Some messages spoke of support, of political struggle, of gender, and of identity. Others questioned the purpose of the installation itself, as well as the exhibition, and questioned also the phrases written by the other viewers. In that place of dialogue was created a form of anonymous discussion that is very similar to some mechanisms of the social medias. Examining the panel / installation after this experience reveals dialogical spaces and political conflict that are fruitful for a debate, thus for learning something out of it. At a time when post-truth has an influence on political life the sensible (Rancière, 2005) has his presence in learning processes because it is political the way people feel about others and social groups, these feelings create difference and diversity. They constitute a form of learning that was often denied in the educational politics. Though these sensible experiences, that can be out of formal spaces of education, we all can learn something new about us and about others.

Foucault, M. (1988) A história da sexualidade vol. 1: A vontade de saber. (13.ed.) Rio de Janeiro: Graal. Pareyson, L. (2001). Os Problemas da Estética. São Paulo: Martins Fontes. Rancière, J. (2005). A partilha do Sensível: Estética e política. São Paulo: EXO experimental org. Dewey, J. (2010). Arte como Experiência. São Paulo: Martins Fontes. Hernandez, F. A cultura visual como um convite à deslocalização do olhar. In: Martins, R., & Tourinho, I. (Org.). (2011). Educação da cultura visual: conceitos e contextos. Santa Maria: editoraufsm. P. 31-50. Tourinho, I., & Martins, R. (2015). Entre percalços e desejos: sobre a insurgência e possibilidades das pedagogias culturais. Textura, 17, 26