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With ongoing war in the Donbas, war narratives and war images saturate public media in Ukraine, the discourse contaminated by ideological remnants of the Soviet World War II cult and by fake news. Art that deals with war wounds can subvert the familiar visual language of war propaganda, where the suffering of victims is a mere pretext for touting the inevitable triumph of the heroes. Currently in Ukraine, the most prolific art in this regard is produced by women-artists who address the trauma of war through painting and installations that offer highly personalized accounts. Often touching upon extreme circumstances, their art is about tolerance, both in terms of endurance and of the mutual understanding necessary for cohabitation. Alevtyna (Alevtina) Kakhidze’s ongoing performance creates an opportunity to comprehend the war in the Donbas from multiple perspectives, including that of a gardener. She associates the tending of plants with her mother who died on occupied territory, refusing to leave her garden. Mariia (Maria) Kulikovs'ka’s sculptures serve as shooting targets for separatists in the occupied centre of contemporary art in Donetsk. Vlada Ralko’s paintings of tortured bodies become a metaphor for scars garnered by a war that remains close to home. Paintings and sculptures by Maryna Skuharieva (Skugareva) and Anna Zviahintseva (Zvyagintseva) address the ruin of representation inflicted by war, and the conceptual performance by Liia (Lia) Dostlieva and Andrii Dostliev contemplates the healing process of war wounds. Neither making spectacle from the “pain of others” nor deeming it unrepresentable, this art seeks emphatic alternatives to traditional war narratives.

Keywords: tolerance, empathy, differential grievability of lives, unrepresentability, war spectacle, Russian-Ukrainian conflict

This reflection leans on the report of a movement of the center of gravity of the museums from the collector’s items towards the visitors. This passage is both marked by the increase and the diversity of the forms of the participation of the publics within the institution. The concept of mediation suggests a holistic approach which welcomes under its dome a constellation of practices, considering all the museum functions and all the dimensions - physiological, emotional, playful and cognitive - of the real-life museum experience before, during and after the visit in the real or virtual space. However, the definitional fuzziness which characterizes cultural mediation in museum environment makes difficult its effectivness. For that reason, it requires a theoretical support allowing better framing of the strategies of intervention with the publics. So here’s the question: are theoretical approaches applied in education sciences, in particular constructivism and the socioconstructivism, facilitating the normalization of the practices of mediation in museum environment without corrupting its nature?

Keywords: educación, education, éducation, museum, musée, museo, constructivisme, constructivism, constructivismo, médiation culturelle, mediación cultural, cultural mediation

To attack the rules is to outmaneuver the friends and foes at the lower level of the game of policies and alliances. The rules are at the higher level of the context of that game, the historical and cultural context of warring Viet Nam. What makes Viet Nam unique is its social organization based on a loosely knitted network of villages through deep and strong relations capable of repelling intruders and invading neighbors, both moving and still like the moon underneath. Here, the chinese civilization has made a new nation assimilating the model and resisting the domination. Elsewhere, the be same chinese civilisation has made another chinese provinces. History of Viet Nam is written by an advancing front of modest and primitive villages from a delta to the next, from the gulf of Tonkin to the gulf of Siam, « vietnamizing » the nature and the peoples on its passage by the plow and the sword. South Viet Nam was cambodian land a century ago and the french colonial administration put an end to the siamese-vietnamese « condominium » over Cambodia after a short 0 to 0 fight between Siam and Viet Nam, the first claiming its western part of the vietnamese colony de facto and de jure. Cambodia was then ruled by a vietnamese general governor assisted by two lieutenant governors. The present vietnamese occupation of Cambodia, in this perspective, may be both a « prelude » to the continuation of this advancing front of villages, the confrontation between Viet Nam and Thailand (fancy and hegemonostic name for Siam since 1939) for the leadership of South East Asia and a « fugue » for warring Viet Nam to solve its political and economical problems, a country and people forged in war and for war during these four decades. The vietnamese claim of the Mekong river as a link may be translated in german word as « Anschluss » or reunification.