Cet article d\u00e9veloppe une description de deux r\u00e9gimes de repr\u00e9sentation au sein du mat\u00e9riel de communication produite par les institutions d’art contemporain en Suisse. En effet, les repr\u00e9sentations sp\u00e9cifiques de la m\u00e9diation montrent une institution qui se distingue des repr\u00e9sentations traditionnelles de cette derni\u00e8re, telles que propos\u00e9es dans sa documentation g\u00e9n\u00e9rale. L’article propose des interpr\u00e9tations de cette pratique diff\u00e9renci\u00e9e et pose la question suivante: la repr\u00e9sentation de la m\u00e9diation pr\u00e9sente-t-elle un \u00abautre visage\u00bb de l\u2019institution, pour donner \u00e0 celle-ci une dimension plus \u00abhumaine\u00bb?<\/p>\n
\u2192Download Text (French)<\/a><\/strong><\/p>\n This article develops a description of two regimes of representation at the center of communication materials produced by contemporary art institutions in Switzerland. The representations specific to mediation present an institution that is distinguished from traditional representations of it, and those proposed in its general documentation. The article proposes interpretations of this differentiated practice and poses the following question: does the representation of gallery education present an \u00abother face\u00bb of the institution, giving it a more \u00abhumane\u00bb dimension?<\/p>\n
\nmicrosillons \u2013 Olivier Desvoignes\/Marianne Guarino-Huet<\/h3>\n
Inhabited, familiar, disrupted.<\/h1>\n
An \u00abother\u00bb institution of contemporary art in representations of gallery education?<\/h2>\n