Museum as temple or forum pm & hse moscow

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Museums are in a new paradigm where participatory practice, social relevancy, access and reflective representation are at stake.

Transcript of Museum as temple or forum pm & hse moscow

  • 1. MuseumasTempleorForum?Pilot-ProjectinMuseumStudiesPolytechnicalMuseumMoscowHigherSchoolofEconomicsReinwardtAcademyRubenSmit

2. Please, define your ownmeaningful museumdefinition!Muse u m as Temple? 3. Museums, zoos, libraries are typical expressionsof the Age of Enlightenment 4. The long 19th Century (1889 1914) is the age of NationBuilding Nation Building it isnot accidental that museumswere founded and built in thisera. 5. First Impressions Never Lie Solets look at the prototype ofmuseum architecture; the neo-classicalstyle refers of course tothe temples of the classicalancient Greek and Romancultures. 6. Ashmolean Museum, Oxford(Newly constructed 1854, C.R. Cockerell) 7. Fitzwilliam Museum, Cambridge1837- 41, George Basevi 8. British Museum, LondonRobert Smirke 1823-47 9. Field Museum, Chicago1893, Charles Atwood 10. Das Altes Museum, Berlin1823-1830, Karl F. Schinkel 11. Metropolitan Museum of Art,New York Facade 1902, R.M. Hunt 12. The National Gallery, London1832-38, William Wilkins 13. The National Gallery, London1832-38, William Wilkins 14. Sainsbury Wing (NG)1988-9, Venturi Scott Brown 15. Rijksmuseum1885, Pierre J.H. Cuypers 16. New Rijksmuseum, AmsterdamMaart 2013 Cruz en Ortis 17. Guggenheim, NYC1959, Frank Lloyd Wright 18. Centre Pompidou1976, Rogers en Piano 19. Nouveau Louvre1989, I.M. Pei 20. Bonnefantenmuseum, Maastricht1995, Aldo Rossi 21. Groninger Museum1995, Alessandro Mendini 22. NEMO Science Centre,Amsterdam1997, Renzo Piano 23. Jewish Museum, Berlin2001, Daniel Liebeskind 24. Jewish Museum, Berlin2001, Daniel Liebeskind 25. New Wing Royal Ontario Museum2006, Daniel Liebeskind 26. A m u s e u m is . .? 27. museum noun, a building in which objects of interest orsignificance are stored and exhibitedCompact Oxford English Dictionary 28. A museum is a non-profit, permanent institutionin the service of society and its development,open to the public, which acquires, conserves,researches, communicates and exhibits thetangible and intangible heritage of humanity andits environment for the purposes of education,study and enjoyment.ICOM- definition 29. 'A museum is an institution which collects,documents, preserves, exhibits and interpretsmaterial evidence and associated information forthe public benefit'Museums Association - old definition 30. 'Museums enable people to explore collectionsfor inspiration, learning and enjoyment. They areinstitutions that collect, safeguard and makeaccessible artefacts and specimens, which theyhold in trust for society.Museums Association Definition Adopted: 1998 31. Our mission is to help people determine theirplace in the world and define their identities, soenhancing their self-respect and their respect forothers.Tynes & Wear Museums, Newcastle (U.K.) 32. David Fleming CEO Loverpool Museumsh>p:// 33. H o w did we get th ere? 34. heritagefunctionsinstitutionssocietyNew' Museology Peter van Mensch 35. Crises are from all timesWhen I was young I witnessed the double oil crisis 36. In those days the then director of the BrooklynMuseum, Duncan Cameron, published an article:The Museum, a Temple or the Forum 37. In our daily life we ourselves judge objects outsidemuseums primarily on their more practical qualities like:price, materiality, durability, usability, design, etc 38. Cameron stated that with the selection andpresentation of objects museums fully and structurallychange the meaning of these objects. 39. Once collected by themuseum, the object receivesan aura of almost sacralapproval. 40. FurthermoreCameron statedthat museumcollections as suchare being used asbenchmarks tohelp to define thevisitors personalview on the world. 41. To whom does this museum belong? Visitors see these objects as material witnesses ofideas, dreams, wishes and feelings of current or pasttimes. 42. Cameron is not that explicit,but he states that the museumis actually similar to an identitymaking machine. Furthermore Cameron voiceshis criticism on museumpractice of his days and seesthree contraditions: 43. 17th en 18th centuryprivate-collections1st PARADOX Now-a-days public-collectionsof thedemocraticmuseum 44. Acting curators whocollect, select, andpresent within their ownacademic paradigm.2nd PARADOX Current visitors do notnecessarily have anacademic back ground 45. Museum value systemof collecting is oftenelitist: high-bourgeois oraristocratic is preferredto popular culture.3rd PARADOX Current visitors from allsocial strata of society 46. Every crisis leads toprofessional innovation 47. Professionalization of the museum field with a focus onvisitors and audience development (strengthening ofprofessional development, setting up specific vocationalstudy programmes, etc...) 48. Internal professionalization through setting up ofeducational and visitors services in museums thatgained more influence and impact. 49. Strengthening of visitors service in museums:information desks, routing and way finding, museumcaf, museum restaurant, museum shop... 50. Appliance of audience focussed presentationtechniques within exhibitions. 51. Development of attractive temporary exhibitons. 52. Accomplishing ambitious refurbishment programmes. 53. Architectional adjustments with a democraticinfrastructure. 54. Setting up of additional programmes (outreach,workshops, events, etc) 55. Using New Media andthrough that sharing ofknowledge. Becoming partof the knowledge networksociety (e.g. museum 2.0). 56. Rationalisation collections: de-accessioning,reinterpreting and reframing (e.g. GLBT), strategiccollecting (e.g. representation). 57. Inclusive Museum as ameans for cultural change 58. Inclusive Museum Access Physical Intellectual Psychological Representation Participation 59. Inclusive Museum Access Physical Intellectual Psychological 60. Inclusive Museum Access Physical Intellectual Psychological Representation 61. Social Inclusion Access Physical Intellectual Psychological RepresentationTATE Unlock Art: Role of Women in Arth>p:// 62. Social Inclusion Access Physical Intellectual Psychological Representation ParticipationNinaSimonh4p:// 63. NinaSimonclipfrom:h4ps:// 64. Richard Sandell, see also: 65. Starting strategic allianceswith third parties (focus-groups,schools, othercultural institutions, artists,media, etc). 66. Save Haven for public debates and discussions aboutculture, human rights en social relationships.h>p://