This research project is located in an intermediate space between non-formal educational experiences and the observation of contemporary art. It is proposed to get traditional analysis methods engaged with reports of individual experiences, using the whole imagery of memories that each individual brings along.The center of the research is the figure of the mediator, the person who is in charge in the museum space to accompany a group on a visit/journey to the universe of images that are there. Interested in understanding the evolution of this field of work in contemporary art museums, and how it is perceived today, we continuously seek questioning the use of a personal practice of that profession/activity.
A new visit to a museum always involves a contact with the artwork that is on hold there, passively, waiting for the look of those with a genuine interest in it. Those looks can cause the resurrection of ideas, meanings, dreams, and by all these possibilities, each new look awakens a new sense: The aesthetics of the past is reinterpreted daily, provoked with new desires, hit by new aspirations.

From these privileged encounters, what happens to the work of art? Does it remain intact, or does it absorb the energies which pass by?

Museums today are sites that can provide an enormous bank of imagery resource, which enable to re-enact or re-use the memories of others – images that wouldn’t belong to no one but the artist if they were not displayed. How does each single person get engaged with a work of art? How rich can this be, if we extend the idea of memory to one of trauma, fascination or romance, and re-interpret these lives in the light of our own?

We propose to carry out a set of experimental measures that will seek to realise what can be done in relevant amendments to the practice of mediation now put into practice by museums of contemporary art. Using this potential intrinsic to each of the visitors, who are repressed or asleep, ensuring that the audience is a group of people with distinct and special features.

AAVV. (2012) “Atlas of transformation”, Prague, ed. Tranzit.cz; AAVV. “Questioning history – Imagining the past in contemporary art”, Reflect #7, ed. NAi paublishers, Rotterdam, BENNETT, Tony, (1995), “The birth of the museum: history, theory, politics”, ed. Routledge, London, UK; BOURRIAUD, Nicolas, (2002) “Relational Aesthetics”, ed. les présses du réel; BILLING, Johanna, LIND, Maria & NILSSON, Lars, (2007) “Taking the matter into common hands: on contemporary art and collaborative practises”, ed. Black Dog Publishing; BISHOP, Claire, (2006), “Participation”, Whitechapel & The MIT Press; CRIMP, Douglas, (1995), “On the Museum’s Ruins”, ed. The MIT Press, October Vol. 13 (1980), pp. 41-57 DIDI – HUBERMAN, Georges, (2011), “Atlas: Como llevar el mundo a cuestas?”, ed. Museu Nacional Centro de Arte Reina Sofia, Madrid; DOHERTY, Claire (edited by), (2004), “From studio to situation”, ed. Black Dog Publishing, UK; FLETCHER, Harrel & JULY, Miranda, (2007), “Learning To Love You More”, ed. Prestel, Germany; FRASER, Andrea, (2005), “Museum Highlights: the writings of Andrea Fraser”, The MIT Press; GIBBONS, Joan, (2007), “Contemporary art and memory: images of recollection and remembrance”, ed. I.B. Tauris & Co; GRAHAM, Beryl & COOK, Sarah, (2012), “Rethinking curating: art after new media”, The MIT Press, U.K.; HOOPER – GREENHILL, Eilean, (2007), “Museums and education: purpose, pedagogy, performance”, ed. Routledge, London, UK; H. SILVERMAN, Lois, (2010), “The Social work of Museums”, ed. Routledge, USA; RANCIÈRE, Jaques,(1991), "The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation" (Stanford University Press); O’NEILL, Paul (edited by), (2010) “Curating and the educational turn”, ed. De Appel; THEA, Carole, (2009), “On Curating: interviews with 10 international curators”, Distributed art publishers, inc.; THOMSON, Nato, (edited by), (2012), “Living as Form: Socially engaged art from 1991 – 2011”, ed. The MIT Press, N.Y;