Curator: The Museum Journal最新文献

In recent years, multimodal exhibition practices in which sound appears as a fundamental element have exponentially increased in museums. This phenomenon is based on the recognition that sound is a noteworthy mode to elicit significant museum experiences. Among the various genres, those of sound art and ambiance distinctively convey the idea of social space. In these genres, the spatialization of sound emerges as an outstanding articulator of an idea of space as being socially built according to an understanding that largely transcends Cartesian and Euclidean models. In this study, I discuss the potentialities of sound to construct a space for museum exhibitions based on the idea of space as being socially constructed, as postulated by Lefebvre and Martina Low. The discussion will be supported by the analysis of the exhibitions The Disharmony of Spheres and Stranger than Kindness: The Nick Cave Exhibition.

COVID-19 has highlighted the need for museums to develop policies and practices that allow them to be more responsive to audiences' during a crisis, in many cases pushing them to explore new technologies and approaches. Based on an analysis of the National Museum of Australia and its digital engagement throughout the 2019/2020 bushfire season and the COVID-19 pandemic, this paper identifies a lack of literature to support the need for digital channels to be incorporated in institutional crisis planning. Referencing “Momentous”, a purpose-built website, and two Facebook groups, “Fridge Door Fire Stories” and “Bridging the Distance,” we explore the content shared on these platforms by users and place this in conversation with the reflections of the cultural workers who created and maintained these online platforms. We suggest digital technologies help communities to take a more active role in negotiating how the museum represents their experiences.

The scanning of paleontological collections is increasingly important for morphological studies and science outreach. In addition to ensuring data sharing, digitization contributes to preserving morphological information in case of damage to the original specimens. In this communication, we aim to report digital versions of the holotypes from the Vertebrate Paleontology Collection at the Museu Paraense Emilio Goeldi, Brazil. For this purpose, eighteen holotypes of Early/Middle Miocene Teleostei from Pirabas Formation, northern Brazil, were scanned using microtomography, and cybertypes were proposed. The CT-Scan data were stored in a virtual repository, can be freely accessed, and are available for future studies on the morphology of these specimens. Furthermore, these specimens are tiny and fragile, and digital versions can be an alternative to safely handling them. Finally, the digitization of important specimens, at least of holotypes, needs to be a standard practice in museum collections over the next years.

In this article, I study curating as a way of producing documents. By looking back retrospectively to the array of documents produced during my art projects and reviewing theoretical approaches relevant to the development of archival documentation, I will discuss how art documents can be constitutive of both knowledge and relations. Art documents help to account of and multiply the knowledge that is mobilized during the making of an exhibition, but they also have performative efficacy as connectors—contributing to reach different audiences, to involve diverse participants, and to bring together dissimilar things. Curation activities demand a proactive documentation and archiving since documents play a key role in consolidating the aesthetic value and relational potential of artworks. As a result, an important part of curation has to be dedicated to documentation.

In Andrade and Duarte Cândido (2022), there was few errors in author names and Biography.

Rita Morais de Andrade ([email protected]) ia an Associate Professor at Universidade Federal de Goiás, Brazil. Ph.D. in Cultural History, MA in History of Textiles and Dress. Leader of Research Group Indumenta: dress and textiles studies in Brazil (UFG/CNPq) @indumenta.br/@ritamoraisandrade.

Manuelina Maria Duarte Cândido ([email protected]) Professor and head of the Museology Service at the University of Liège (Belgium) and of the Postgraduate Program in Social Anthropology at Universidade Federal de Goiás (Brazil). Member of the board of ICOFOM LAC 2018–2023.

The correct Author bios should be:

Rita Morais de ANDRADE ([email protected]) is an Associate Professor at Universidade Federal de Goias, Brazil. Ph.D. in Cultural History, MA in History of Textiles and Dress. Leader of Research Group Indumenta: dress and textiles studies in Brazil (UFG/CNPq) @indumenta.br/@ritamoraisandrade.

Manuelina Maria DUARTE CÂNDIDO ([email protected]) Professor and head of the Museology Service at the University of Liège (Belgium) and of the Postgraduate Program in Social Anthropology at Universidade Federal de Goias (Brazil). Member of the board of ICOFOM LAC 2018–2023.

The May 2020 murder of George Floyd by Minneapolis police led many institutions to write and share statements opposing racism, committing to change, and claiming solidarity with the Black community. The authors saw an opportunity to compile data and assess the commitment of our field to racial equity by taking the statements at face value, examining them, and performing a content analysis. In our view, most statements of solidarity would represent a museum's best effort at reaching out to Black communities and communities of color, and at articulating the value it placed on its relationship with those communities. This assessment of “best effort” tells us that there is moderate progress toward the racial equity and justice that has been a hot topic for decades, but the findings suggest that only a fraction of U.S. museums are publicly facing their complicity in White supremacy culture, from the make-up of their boards and staff to the dominant content found in collections, exhibitions, and programs. The authors challenge this status, provide new resources as yet another starting point to help invite museums identify and examine the racism that lies within their institutions, and call for a more genuine commitment to the difficult but necessary steps to eliminate systemic inequity.

This paper explores how the Museum of New Zealand Te Papa Tongarewa and Alexander Turnbull Library (a division of the National Library of New Zealand Te Puna Mātauranga o Aotearoa) responded to the outpouring of grief in the wake of the Christchurch terror attacks on 15 March 2019. This case study highlights how both institutions, at the invitation of the Wellington Islamic Centre (through the International Muslim Association of New Zealand) collected the hundreds of tributes left at Kilbirnie Mosque in Wellington. This particular acquisition required a shift from a museological object-centred approach to an archival approach, enabling us to privilege the integrity of the whole. The authors consider the meanings and impacts of such spontaneous memorials; and discuss both the benefits and limitations of collecting material culture generated by ‘first wave’ responses to mass trauma. This case study also demonstrates what can be achieved through collaboration, drawing on aspects of professional practice and theory from across the GLAM (Galleries, Libraries, Archives and Museums) sector.

This article describes the quest for authenticity in the reconstruction of music, sound, light and logic in the installation work Blikk (The Gaze) by Irma Salo Jæger, Sigurd Berge and Jan Erik Vold. My work on this installation was undertaken at the behest of the National Museum for Art and Architecture in Oslo, Norway, who planned for the installation to be part of the exhibition when the doors opened to their new building in June 2022, following several years of construction. Blikk is described here in context with other works from the same period with which it shares some characteristics, and also with a view on the commissioning institution that represented and promoted radical artistic and curatorial innovation at the time. This frames my discussion of the different authenticity concerns that emerged during the restoration and reconstruction process. In fact, as the project grew from relatively trivial restoration to more involved reconstruction, weighing different authenticity types became the central element of the effort. I have used written, visual and sounding sources in descriptions on how I have balanced these concerns, and the discussion has been supplemented with information on the music technology available to the artists in 1970.

In Bodei and Harber (2022), there was few errors in author's biography.

Silvia BODEI ([email protected]; [email protected]) is an architect (IUAV, Venice) and doctor in Architecture (UPC, Barcelona). She is currently Senior Lecturer at UKZN in Durban (South Africa). She has authored several research papers and publications on modern architecture, industrial heritage and Italian, Spanish and South African architecture and urban design.

The correct Author bio should be:

Silvia Bodei ([email protected]) is an architect (IUAV, Venice) and doctor in Architecture (UPC, Barcelona). She was Senior Lecturer at University of KwaZulu-Natal in Durban-South Africa (November 2017-June 2022) and is currently Researcher at Polytechnic University of Milan (Politecnico di Milano) in Italy since July 2022. She has authored several research papers and publications on modern architecture, industrial heritage and Italian, Spanish and South African architecture and urban design.