Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.04
Njabulo Chipangura
In this article, I will examine the history of collecting ethnographic objects at Mutare Museum, moving between the colonial and postcolonial periods in order to show how these time scales structured the ways in which exhibitions are presented. I argue that by removing ethnographic objects from their cultural setting and inserting them into the visual system of the museum, their dynamic web of physical and social meanings was broken. Whilst I acknowledge that Mutare Museum’s system of displaying its ethnographic collection was shaped by colonialism in a way that resulted in the marginalisation of certain communities, I will show how collections in one of the galleries—the Beit Gallery—were transformed to convey new postcolonial meanings. In part, the paper also looks at how the concept of object biography and ethnomuseology assisted in redesigning and changing old exhibitions in the Beit Gallery. This case in point will be illustrated by gleaning through the multi-layered histories of collecting at this museum. Next, I will argue that the particular, ‘old’ manner in which ethnographic objects were displayed conforms to the traditional practice of presenting exclusively for visual observation. Objects would be displayed on the floor in an almost derogatory way—presented as if they were strange and exotic and devoid of any social and historical significance. Yet, this type of scenography did not do justice to the social biography of the collection, which could not be understood in terms of a single unchanging identity, but rather by tracing the succession of meanings attached to the objects as they move through space and time. As a result, communities living around this museum used to periodically contest narratives that were appended on ethnographic collections on display in the Beit Gallery. Therefore, in this article, I will show how we reorganised this exhibition through a collaborative partnership with the source communities where the objects had originated from. The discussion in this paper is premised on the data derived from my involvement in redesigning displays in the Beit Gallery as a curator at Mutare Museum. Later on, I will also address public perceptions of the new installations and gauge whether the exhibition attained the desired effects.
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Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.09
Flaminia Bartolini
In the last couple of years, public attitudes towards Fascist material legacies in Italy have been at the centre of a heated debate in the academic world, which has by now grown to involve the press and social media. This paper will look specifically at how this is reflected in a museum display at a heritage site that was once Mussolini’s residence in Rome. The underlying question of this paper is what role museums as heritage sites play in the renegotiation of a problematic past, and whether they can also have an active role in either supporting or challenging the official narrative. As heritage is socially constructed and defined through present circumstances, the narratives of this particular museum reveal a conflicting past as mirrored by the national narrative. The paper also questions whether public perception of this site has changed over time and considers how the recent transformation into a museum signifies a shift from the post-war interpretation, which may or may not reflect a high-level political agenda.
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Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.12
Irina Hasnaș Hubbard, Iuliana Iordan
"Elephants, Cuckoos, Horses, and Me (Elefanți, cuci, cai și eu) is an exhibit made in Romania in 2017 to draw attention to the absence of a children’s museum in the country. This article is a subjective account of the creation and development of this exhibition, written by two of its curators. It aims to give an example of curatorial and educational museum practices involving the young public’s interaction with artefacts in exhibitions or museums. The Iosif Herțea toy collection was donated recently to the Romanian non-governmental organization Asociația Da’ De Ce (I Wonder Why? Association). The result was an exhibition of original artefacts dedicated to children and their careers. The article traces the evolution of the exhibition concept: adapting the design and wayfinding to different locations; addressing different categories of public; and adding or subtracting artefacts and stories. The exhibition Elephants, Cuckoos, Horses, and Me was displayed in Romania in three different cultural spaces for six months in 2017 and visited by almost 4000 children and adults."
“大象，杜鹃，马和我”(Elefanți, cuci, cai și eu)是2017年在罗马尼亚制作的展览，旨在引起人们对该国缺乏儿童博物馆的关注。这篇文章是由两位策展人对这次展览的创作和发展的主观描述。它旨在提供一个策展和教育博物馆实践的例子，涉及年轻公众与展览或博物馆中的文物互动。Iosif Herțea玩具系列最近被捐赠给罗马尼亚非政府组织Asociația Da ' De Ce(我想知道为什么?)协会)。结果是举办了一个专门为儿童和他们的事业而设的原创手工艺品展览。文章追溯了展览理念的演变:设计和寻路适应不同的地点;针对不同类别的公众;增加或减少人工制品和故事。2017年，“大象、杜鹃、马和我”展览在罗马尼亚三个不同的文化空间展出了6个月，近4000名儿童和成年人参观了展览。
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Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.06
F. Fouché, Mare Mesnil
During an interview from Autumn 2017, in Bucharest, Marianne Mesnil (ethnologist) and Florian Fouché (artist) talk about their experience at the Romanian Peasant Museum in Bucharest. They are discussing about the museum display experienced by Irina Nicolau (1946-2002) and Horia Bernea (1938-2000): the exhibition hall “The Plague”, the curtains from “Village School”, the manifest “The Antidote Museum”, or the concepts of “father-museums” and “mother-museums”, the exhibition hall “Time”. Starting with their reflections on the Peasant Museum, the discussion turns to the exhibition that Florian Fouché had about the museum, entitled “The Antidote Museum” (Centre d’art Passerelle, Brest,2014), but also to the exhibitions that Irina Nicolau had set up in France, Un village dans une malle (Paris, 1991), and another one in Belgium, Roumanie en miroir, mémoires de tiroir (Treignes, 1997). The article is accompanied by photos taken by Florian Fouché of his exhibition.
在2017年秋天布加勒斯特的一次采访中，Marianne Mesnil(民族学家)和Florian fouch(艺术家)谈论了他们在布加勒斯特罗马尼亚农民博物馆的经历。他们讨论的是Irina Nicolau(1946-2002)和Horia Bernea(1938-2000)所经历的博物馆展示:“瘟疫”展厅，“乡村学校”的窗帘，“解毒剂博物馆”的展示，或者“父亲博物馆”和“母亲博物馆”的概念，“时间”展厅。从他们对农民博物馆的反思开始，讨论转向Florian fouch关于该博物馆的展览，名为“解药博物馆”(Centre d 'art Passerelle, Brest,2014)，以及Irina Nicolau在法国举办的展览，Un village dans une malle(巴黎，1991)，以及另一个在比利时举办的展览，Roumanie en miroir, msammoires de tiroir (Treignes, 1997)。文章附有Florian fouch为他的展览拍摄的照片。
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Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.02
Joel Palhegyi
The communist period for Yugoslav Croatia brought about dramatic changes in museum practice and theory between the early 1950s and late 1970s. Driven by questions concerning how to properly develop socialist museums, Croatian museum professionals sought to transform the bourgeois history museum into a truly popular institution that would make Croatia’s cultural legacy accessible to the masses and allow visitors to understand their place in the socialist Yugoslav imaginary. To this end, museum professionals developed two new museum models, the Revolutionary Museum and the Native Place Museum. Revolutionary Museums were charged with memorializing the founding myths of socialist Yugoslavia, chief among them the anti-fascist, communist revolution during World War Two, and the postwar building of socialism. Native Place Museums similarly reinforced the Yugoslav state by exhibiting local history and culture within the larger trajectory of socialist Yugoslavism. Furthermore, these two models were front and center for new museological experimentation intended to create a distinctly socialist museum space that would engage the everyday working-class visitor. Analyzing contemporary museological journals and museum planning documents, I argue that these museum models were successful in implementing much of the new museological theory, but in doing so moved away from one of the fundamental principles of museum practice: the exhibition and explanation of authentic material culture to the museum visitor.
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Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.11
Jasmina Al-Qaisi
Museology has shifted its focus in some places of the world: artefacts and historical objects are being repatriated, returned as permanent loans, institutions are questioning the ownership of indigenous objects, selections are made by kids, and texts are being written by visitors. The following case study discusses the reprioritization of a dynamic imagination around a museum’s purpose in a jejune way, from the perspective of an independent cultural worker, trained in visual communication and schooled in visual ethnography. The text, a non-linear narrative of the visitor's experience, is interspersed with excerpts from a recorded conversation between two visitors of the Werkbundarchiv – Museum der Dinge, Berlin. The Museum of Things does more than try to find a place for the Werkbund “stuff,” it opens up a continuous material dialogue that includes different perspectives on the history of design in the twentieth and twenty-first centuries. Founded in Munich, in 1907, the Deutscher Werkbund or the German Association of Craftsmen was the organisation of artists, artisans and architects that strove to ensure good design and craftsmanship in times of mass-production of goods and architecture. The Made in Germany label is commonly associated with durable products and viable design precisely due to the work of the Deutscher Werkbund, which made efforts to create those associations linked today with German architecture or industrial, commercial, and household German products. A visit to this museum can last forever due to the extra satirical layer, combining ethnographic methods with personal narratives. This text is a sample of a specific visitor experience in an unusual educational institution that, using almost exclusively analogue methods, reaches remarkable levels of interactivity.
博物馆学在世界上的一些地方已经转移了它的重点:人工制品和历史物品正在被遣返，作为永久贷款归还，机构正在质疑土著物品的所有权，孩子们选择，游客们写文字。下面的案例研究从一个独立的文化工作者的角度出发，以一种简单的方式讨论了围绕博物馆目的的动态想象的重新排序，这个文化工作者受过视觉传达和视觉人种学的培训。文本是参观者体验的非线性叙述，穿插着柏林Werkbundarchiv - Museum der Dinge的两位参观者之间的对话摘录。事物博物馆不仅仅是试图为工人联盟的“东西”找到一个地方，它开启了一个持续的材料对话，包括对20世纪和21世纪设计历史的不同观点。1907年在慕尼黑成立的德国工匠协会(Deutscher Werkbund)是艺术家、工匠和建筑师的组织，致力于在商品和建筑大规模生产的时代确保良好的设计和工艺。德国制造的标签通常与耐用的产品和可行的设计联系在一起，正是由于德国工人联盟的工作，他们努力创造了与德国建筑或工业、商业和家用德国产品联系在一起的那些协会。参观这个博物馆可以永远持续下去，因为它额外的讽刺层，结合了民族志方法和个人叙述。这篇文章是在一个不寻常的教育机构，使用几乎完全模拟的方法，达到显著水平的互动性的一个特定的游客体验的样本。
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Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.03
Charline Kopf
How are postcolonial identities curated in non-Western art institutions? How do the latter engage with the question of the restitution of colonial looted artefacts during this turning point where Western museums seem increasingly willing to address claims of repatriation? Focusing on the unfolding debates on restitution and heritage around the new Museum of Black Civilisations (MCN) in Senegal, the article investigates how curatorial approaches aimed at challenging Eurocentrism address questions of identity, authenticity and discourses on the Other. It finds that, contrary to decolonial museum exhibitions in the West, the MCN avoids engaging in claims of restitution as this would reproduce Europe’s key role in defining “authentic” and “traditional” African art. At the same time, this paper shows that the underlying logic aimed to subvert exoticising representations and reconfigure Self-Other relations can uphold an internal dichotomy of cultures that risks lapsing into the same essentialism that is criticised. This is furthermore complicated by the tension between an imaginary of pan-African Black Civilisations and the criticism directed towards the management of artefacts in postcolonial states where nation-building is an ongoing process. In teasing out the challenges of formulating a reconfigured postcolonial future without drawing on culturalist discourses and reinforcing a dichotomy between modernity and tradition, this article adds a radically different perspective to the literature on heritage and museums in relation to colonialism and is also of relevance to those looking at curatorial practices, identity politics and international relations.
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Pub Date : 2018-11-15DOI: 10.57225/martor.2018.23.01
G. Bădescu, S. Bădică, Damiana Oțoiu
Museums are places of conservation but they do not necessarily have to be conservative places. On the contrary, museums are sometimes at the vanguard of cultural innovation, changing the world rather than keeping up with the way the world changes. This thematic issue brings together texts and case-studies of museums challenging the status-quo, opening up instead of closing in, daring instead of being cautious, all the while keeping up the standards of preserving and exhibiting the precious collections in their care.
{"title":"Curating Change in the Museum: Introduction to the Volume","authors":"G. Bădescu, S. Bădică, Damiana Oțoiu","doi":"10.57225/martor.2018.23.01","DOIUrl":"https://doi.org/10.57225/martor.2018.23.01","url":null,"abstract":"Museums are places of conservation but they do not necessarily have to be conservative places. On the contrary, museums are sometimes at the vanguard of cultural innovation, changing the world rather than keeping up with the way the world changes. This thematic issue brings together texts and case-studies of museums challenging the status-quo, opening up instead of closing in, daring instead of being cautious, all the while keeping up the standards of preserving and exhibiting the precious collections in their care.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127722008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-10DOI: 10.57225/martor.2018.23.08
S. Harrington, B. Dimitrijević, Ashraf M. Salama
Among the seven national institutions of the former socialist Yugoslav period that appear to have been assigned to the category of ‘contested’ and ‘unwanted’ heritage, the History Museum of Bosnia and Herzegovina stands out. Originally built as a Museum of Revolution, it bears a legacy of a specific identity and cultural narrative developed in the socialist period, which has been projected in the architecture displaying the hallmarks of early Modernism. Even though the Museum was listed as a national monument by the Commission to Preserve National Monuments in 2012, the building is in an alarmingly advanced state of disrepair, with little indication that such trend will be reversed any time soon.The paper firstly discusses the Museum in the context of current international developments and the aspects related to museum architecture. Secondly, the Museum is observed through a critical heritage lens and within phenomena of a deliberate destruction of heritage in Bosnia and Herzegovina. Since 2003 the Museum has a permanent exhibition The Besieged Sarajevo, illustrating the practical modes of survival during the 1990s war, consisting of artefacts donated by citizens. Other exhibition themes, ranging from the labour movement traditions, the legacy of World War I, life in former Yugoslavia, the Dayton Peace Agreement mapping, and The Obliteration of Cultural Heritage project, posit critical questions for and about the contemporary society in Bosnia and Herzegovina. This work combines two disciplinary fields, architecture and public history, to inquire into selected contemporary activities of the Museum. Its resilience is viewed as representative, symbolic, and symptomatic of an over-reaching cultural, political, and economic condition in the country.
在前南斯拉夫社会主义时期的七个国家机构中，波斯尼亚和黑塞哥维那历史博物馆似乎被分配到“有争议的”和“不受欢迎的”遗产类别中，波斯尼亚和黑塞哥维那历史博物馆脱颖而出。它最初是作为革命博物馆建造的，承载着社会主义时期发展起来的特定身份和文化叙事的遗产，这在建筑中表现出早期现代主义的特征。尽管该博物馆在2012年被美国国家古迹保护委员会(Commission to Preserve national Monuments)列为国家古迹，但这座建筑年久失修的程度令人担忧，而且几乎没有迹象表明这种趋势会在短期内得到扭转。本文首先讨论了当前国际发展背景下的博物馆以及与博物馆建筑相关的方面。其次，博物馆是通过一个批判的遗产镜头和在波斯尼亚-黑塞哥维那故意破坏遗产的现象来观察的。自2003年以来，博物馆举办了一个常设展览“被围困的萨拉热窝”，展示了20世纪90年代战争期间的实际生存模式，其中包括公民捐赠的文物。其他展览主题，包括劳工运动传统、第一次世界大战的遗产、前南斯拉夫的生活、代顿和平协定的测绘和文化遗产的毁灭项目，提出了关于波斯尼亚和黑塞哥维那当代社会的关键问题。该作品结合了建筑和公共历史两个学科领域，探讨了博物馆的当代活动。它的韧性被视为该国文化、政治和经济状况过度扩张的代表性、象征性和症状。
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Pub Date : 1900-01-01DOI: 10.57225/martor.2021.26.08
Ruxandra Petrinca
The Visual Cartographies of the Spaces 2 Mai and Vama Veche exhibit brings together works of visual art in multiple forms, from different artists, spaces, and historical periods. Artefacts from established artists and villagers are displayed together to explore the connection between two seemingly different communities and the enduring charm of Romania’s poshest summer destination.
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