Pub Date : 2020-08-11DOI: 10.5604/01.3001.0014.3515
Przemysław Mrozowski
Aleksander Gieysztor (1916–1999) was unquestionably one of the most outstanding representatives of the Polish humanities in the 20th century. He considered himself a historian, and his basic workplace was the Historical Institute of the University of Warsaw, while his research focused around mediaeval culture. He became a museum professional slightly against his own will, in the last decades of his career, when taking on the position of the Director of the rebuilt Royal Castle in Warsaw. Despite thinking of himself as a historian, Gieysztor was well prepared to exert the function, since he had always been extremely interested in artistic sources, as important and clear as a historiographer’s narrative or a chronicler’s note. Not only did numerous publications testify to his interest, but he also formulated the programme of the Team for the Research into the Beginnings of the Polish State, which he headed in 1948–1955. Owing to its historical and symbolical significance, the Warsaw Castle took an important position in Gieysztor’s career. He was by Stanisław Lorentz’s side from the very beginning, supporting him in his efforts to have the Castle rebuilt, the project neglected by Poland’s Communist authorities. Having become member of the Civil Committee for Rebuilding the Royal Castle, Gieysztor headed its Archaeological-Historical section. From 1973 he became member of the so-called Castle Curator Board: a team which collegially managed the Castle. Esthetical sensitivity and artistic erudition, as well as a thorough knowledge of old-Polish culture provided Gieysztor with an excellent background to fit with the group of scholars decisive for the shape and educational programme of the reconstructed Castle; later, individually, they allowed him to find satisfaction in the role of the Director heading its furbishing. Gieysztor acknowledged this project to have been his greatest intellectual challenge in the last decades of his academic career. However, he regarded it as his duty: service to society longing for symbols to shape its historical identity.
{"title":"ALEKSANDER GIEYSZTOR, THE FIRST DIRECTOR\u0000OF THE ROYAL CASTLE IN WARSAW","authors":"Przemysław Mrozowski","doi":"10.5604/01.3001.0014.3515","DOIUrl":"https://doi.org/10.5604/01.3001.0014.3515","url":null,"abstract":"Aleksander Gieysztor (1916–1999) was\u0000unquestionably one of the most outstanding representatives\u0000of the Polish humanities in the 20th century. He considered\u0000himself a historian, and his basic workplace was the\u0000Historical Institute of the University of Warsaw, while his\u0000research focused around mediaeval culture. He became\u0000a museum professional slightly against his own will, in the\u0000last decades of his career, when taking on the position of\u0000the Director of the rebuilt Royal Castle in Warsaw. Despite\u0000thinking of himself as a historian, Gieysztor was well\u0000prepared to exert the function, since he had always been\u0000extremely interested in artistic sources, as important and\u0000clear as a historiographer’s narrative or a chronicler’s note.\u0000Not only did numerous publications testify to his interest,\u0000but he also formulated the programme of the Team for the\u0000Research into the Beginnings of the Polish State, which he\u0000headed in 1948–1955. Owing to its historical and symbolical\u0000significance, the Warsaw Castle took an important position\u0000in Gieysztor’s career. He was by Stanisław Lorentz’s side\u0000from the very beginning, supporting him in his efforts to\u0000have the Castle rebuilt, the project neglected by Poland’s\u0000Communist authorities. Having become member of the\u0000Civil Committee for Rebuilding the Royal Castle, Gieysztor\u0000headed its Archaeological-Historical section. From 1973\u0000he became member of the so-called Castle Curator Board:\u0000a team which collegially managed the Castle. Esthetical\u0000sensitivity and artistic erudition, as well as a thorough\u0000knowledge of old-Polish culture provided Gieysztor with\u0000an excellent background to fit with the group of scholars\u0000decisive for the shape and educational programme of the\u0000reconstructed Castle; later, individually, they allowed him\u0000to find satisfaction in the role of the Director heading its\u0000furbishing. Gieysztor acknowledged this project to have\u0000been his greatest intellectual challenge in the last decades\u0000of his academic career. However, he regarded it as his duty:\u0000service to society longing for symbols to shape its historical\u0000identity.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42097844","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 : 2020-08-10DOI: 10.5604/01.3001.0014.3470
M. Zych
The paper presents the results of the academic museum Project called Anthropological reinterpretation of the Siberian collections from the Ethnographic Museum in Cracow that came from Polish 19th-century explorers of Siberia financed by the National Programme for the Development of Humanities (2016–2019). Four major topics of investigation among the collections’ source communities have been presented: Benedykt Dybowski’s collection from Kamchatka, Konstanty Podhorski’s collection from Chukotka, Nenets’ clothing donated by Izydor Sobański, and two cult figurines which reached the Cracow Museum from Jan Żurakowski. The presentation reveals the assumptions of the in-field museology: the method combining the anthropological perspective with museology elements. Furthermore, the digital repository www.etnomuzeum.eu/syberia is discussed; it is the one that makes the collections and research results available online. The paper may prove of interest to professionals curating collections, culture researchers, historians, cultural anthropologists, art historian, conservation services, museology theoreticians.
{"title":"THE SIBERIAN COLLECTION OF THE\u0000ETHNOGRAPHIC MUSEUM IN CRACOW\u0000IN THE LIGHT OF FIELDWORK AND\u0000ANTHROPOLOGICAL REINTERPRETATIONS","authors":"M. Zych","doi":"10.5604/01.3001.0014.3470","DOIUrl":"https://doi.org/10.5604/01.3001.0014.3470","url":null,"abstract":"The paper presents the results of the academic\u0000museum Project called Anthropological reinterpretation\u0000of the Siberian collections from the Ethnographic\u0000Museum in Cracow that came from Polish 19th-century explorers\u0000of Siberia financed by the National Programme for\u0000the Development of Humanities (2016–2019). Four major\u0000topics of investigation among the collections’ source communities\u0000have been presented: Benedykt Dybowski’s collection\u0000from Kamchatka, Konstanty Podhorski’s collection from\u0000Chukotka, Nenets’ clothing donated by Izydor Sobański, and\u0000two cult figurines which reached the Cracow Museum from Jan\u0000Żurakowski. The presentation reveals the assumptions of the\u0000in-field museology: the method combining the anthropological\u0000perspective with museology elements. Furthermore, the\u0000digital repository www.etnomuzeum.eu/syberia is discussed;\u0000it is the one that makes the collections and research results\u0000available online. The paper may prove of interest to professionals\u0000curating collections, culture researchers, historians, cultural\u0000anthropologists, art historian, conservation services, museology\u0000theoreticians.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44718416","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 : 2020-08-10DOI: 10.5604/01.3001.0014.3469
M. Lorenc
The museum definition is of systemic importance for ICOM, since it demarcates the area of activity of this international non-governmental organization grouping museum curators. The answer to the question whether the new museum definition presented at the ICOM General Conference in Kyoto on 1–7 September 2019 reveal a political undertone is sought. The majority of the attendees did not support the put-forth proposal, opting to postpone the vote on its acceptance. What I mean by the ‘political undertone of the new museum definition’ is that the definiens takes into account the fact that museums are institutions tangled up in exerting power and applying symbolic violence. According to the Kyoto definition museums are identified with critical museums, treated as space for public debate directed at the future. This vision did not convince the majority, since it excluded many institutions until now regarded to be museums from the museum category. As such, the Kyoto definition turned out not to be a definition, but a political manifesto of a group of museum curators. Additionally, not being coherent, it proved useless for phrasing legislative acts.
{"title":"POLITICAL UNDERTONE OF THE NEW ICOM\u0000MUSEUM DEFINITION, OR MANEUVERING\u0000A TRANSATLANTIC AMONG ICEBERGS","authors":"M. Lorenc","doi":"10.5604/01.3001.0014.3469","DOIUrl":"https://doi.org/10.5604/01.3001.0014.3469","url":null,"abstract":"The museum definition is of systemic importance\u0000for ICOM, since it demarcates the area of activity of this\u0000international non-governmental organization grouping\u0000museum curators. The answer to the question whether the\u0000new museum definition presented at the ICOM General\u0000Conference in Kyoto on 1–7 September 2019 reveal a political\u0000undertone is sought. The majority of the attendees did not\u0000support the put-forth proposal, opting to postpone the vote\u0000on its acceptance. What I mean by the ‘political undertone of\u0000the new museum definition’ is that the definiens takes into\u0000account the fact that museums are institutions tangled up\u0000in exerting power and applying symbolic violence. According\u0000to the Kyoto definition museums are identified with critical\u0000museums, treated as space for public debate directed at\u0000the future. This vision did not convince the majority, since\u0000it excluded many institutions until now regarded to be\u0000museums from the museum category. As such, the Kyoto\u0000definition turned out not to be a definition, but a political\u0000manifesto of a group of museum curators. Additionally, not\u0000being coherent, it proved useless for phrasing legislative acts.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45729646","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 : 2020-08-04DOI: 10.5604/01.3001.0014.3443
Bartosz Haduch
The purpose of the paper is to show the designer’s perspective on the story and a broader context of the creation of a monograph exhibition dedicated to the oeuvre of Stanisław Wyspiański at the National Museum in Cracow. Composed of two parts: ‘Wyspiański’ and ‘Wyspiański. Unknown’, the Exhibition held between 28 November 2017 and 5 May 2019 was the largest to-date presentation of the works of the versatile artist, while from the point of view of its arrangement, it served as an attempt at finding adequate contemporary expression means to show the multiple and varied character of his oeuvre. A wide range of inspirations are presented: beginning with carefully selected motifs derived from Wyspiański’s art, up to indirect echoing of the activity of some selected artists, mainly affiliated with minimal art. That temporary implementation is thus not analyzed merely in the local context, but also a broader, global one, taking into account carefully selected pieces of world art and architecture, while the paper itself can be regarded as a completion and perpetuation of the no longer existing Exhibition.
{"title":"EXPOSING WYSPIAŃSKI","authors":"Bartosz Haduch","doi":"10.5604/01.3001.0014.3443","DOIUrl":"https://doi.org/10.5604/01.3001.0014.3443","url":null,"abstract":"The purpose of the paper is to show the\u0000designer’s perspective on the story and a broader context\u0000of the creation of a monograph exhibition dedicated to the\u0000oeuvre of Stanisław Wyspiański at the National Museum\u0000in Cracow. Composed of two parts: ‘Wyspiański’ and\u0000‘Wyspiański. Unknown’, the Exhibition held between 28\u0000November 2017 and 5 May 2019 was the largest to-date\u0000presentation of the works of the versatile artist, while\u0000from the point of view of its arrangement, it served as\u0000an attempt at finding adequate contemporary expression\u0000means to show the multiple and varied character of\u0000his oeuvre. A wide range of inspirations are presented:\u0000beginning with carefully selected motifs derived from\u0000Wyspiański’s art, up to indirect echoing of the activity\u0000of some selected artists, mainly affiliated with minimal\u0000art. That temporary implementation is thus not analyzed\u0000merely in the local context, but also a broader, global one,\u0000taking into account carefully selected pieces of world art\u0000and architecture, while the paper itself can be regarded as\u0000a completion and perpetuation of the no longer existing\u0000Exhibition.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46948805","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 : 2020-07-24DOI: 10.5604/01.3001.0014.3323
A. Murawska, Jarosław M. Fraś, Ewa Frąckowiak, A. Rybicki
Changes in the legislation related to museum curators and museology, introduced with small steps in harmony with the Overton Window concept, are discussed; they are leading away from the letter and spirit of the Act on Museums of 21 Nov 1996 and the traditions of Polish museology based on creating collections of museum objects and working on them in various manners. Regulations and legal opinions on the museum curator profession are presented, pointing to the fact that the initially cohesive definitions and provisions are becoming blurred, to the extent of losing their initial sense, and threatening the identity of this professional group, as well as the identity of museums as heritage-preserving organizations. Furthermore, attempts to extend the concept of museum curator to encompass also the institution’s executives or the entire museum staff undertaken in order to depreciate this professional group and deprive it of the impact on the institution’s management have been signalled. A tendency has been observed to deprive the employees fulfilling the museum’s basic activity, museum curators included, of the influence on shaping state policies with respect to museology, this clearly illustrated by the composition of the Council for Museums and National Memorial Sites. Provisions of the labour legislation as regards professions of public trust museum curators aspire to join have been quoted. Mention has also been made of certain activities they have undertaken to prevent the process of de-professionalising the profession of a museum curator in the museum-related legislation, and to subsequently reverse it. The 2016 Bill on Museum Collections and on Museums prepared by the National Section for Museums and Institutions for the Preservation of Historical Monuments of the Solidarity Trade Union has been presented. The main demands of the Bill have been pointed to: the consolidation of the status of museum collections as the main purpose of the museum’s raison d’être, the status of a museum curator as a profession of public trust, and the shift in museum management from technocratic (New Public Management) to modern, aiming to serve the national heritage and people in harmony with the principles of the New Public Service.
{"title":"PROFESSION OF A ‘MUSEUM CURATOR’.\u0000ON LEGAL CHANGES IN THE CONTEXT OF THE\u0000EROSION OF THE ROLE PLAYED BY MUSEUM\u0000CURATORS","authors":"A. Murawska, Jarosław M. Fraś, Ewa Frąckowiak, A. Rybicki","doi":"10.5604/01.3001.0014.3323","DOIUrl":"https://doi.org/10.5604/01.3001.0014.3323","url":null,"abstract":"Changes in the legislation related to museum\u0000curators and museology, introduced with small steps in\u0000harmony with the Overton Window concept, are discussed;\u0000they are leading away from the letter and spirit of the Act\u0000on Museums of 21 Nov 1996 and the traditions of Polish\u0000museology based on creating collections of museum objects\u0000and working on them in various manners. Regulations\u0000and legal opinions on the museum curator profession are\u0000presented, pointing to the fact that the initially cohesive\u0000definitions and provisions are becoming blurred, to the extent\u0000of losing their initial sense, and threatening the identity of\u0000this professional group, as well as the identity of museums\u0000as heritage-preserving organizations. Furthermore, attempts\u0000to extend the concept of museum curator to encompass\u0000also the institution’s executives or the entire museum staff\u0000undertaken in order to depreciate this professional group\u0000and deprive it of the impact on the institution’s management\u0000have been signalled. A tendency has been observed to\u0000deprive the employees fulfilling the museum’s basic activity,\u0000museum curators included, of the influence on shaping state\u0000policies with respect to museology, this clearly illustrated by\u0000the composition of the Council for Museums and National Memorial Sites. Provisions of the labour legislation as regards\u0000professions of public trust museum curators aspire to join\u0000have been quoted. Mention has also been made of certain\u0000activities they have undertaken to prevent the process of\u0000de-professionalising the profession of a museum curator\u0000in the museum-related legislation, and to subsequently\u0000reverse it. The 2016 Bill on Museum Collections and on\u0000Museums prepared by the National Section for Museums\u0000and Institutions for the Preservation of Historical Monuments\u0000of the Solidarity Trade Union has been presented. The main\u0000demands of the Bill have been pointed to: the consolidation\u0000of the status of museum collections as the main purpose of\u0000the museum’s raison d’être, the status of a museum curator\u0000as a profession of public trust, and the shift in museum\u0000management from technocratic (New Public Management)\u0000to modern, aiming to serve the national heritage and people\u0000in harmony with the principles of the New Public Service.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46567570","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 : 2020-07-23DOI: 10.5604/01.3001.0014.3321
Żaneta Gwardzińska
The increase in number of museums not having legal personality and amassing motoring collections has inspired a review of the legal regulations related to historic vehicles, enriched with statistical data on the number of museums in Poland, and published in the Bulletin of Public Information of the Ministry of Culture and National Heritage in 2018–2020. The analysis of the statistical data became the foundations for theoretical and legal considerations on the definition of a historic vehicle, and of the classic vehicle. The whole analysis ends with the de lege lata and the de lege ferenda conclusions aiming to present legislative suggestions that a rational legislator should introduce in order to increase effectiveness of the regulations.
{"title":"INCREASE OF THE NUMBER OF MOTORING\u0000MUSEUMS: IS THERE A NEED FOR A NEW\u0000DEFINITION OF A HISTORIC VEHICLE?","authors":"Żaneta Gwardzińska","doi":"10.5604/01.3001.0014.3321","DOIUrl":"https://doi.org/10.5604/01.3001.0014.3321","url":null,"abstract":"The increase in number of museums not having\u0000legal personality and amassing motoring collections has\u0000inspired a review of the legal regulations related to historic\u0000vehicles, enriched with statistical data on the number of\u0000museums in Poland, and published in the Bulletin of Public\u0000Information of the Ministry of Culture and National Heritage\u0000in 2018–2020. The analysis of the statistical data became the\u0000foundations for theoretical and legal considerations on the\u0000definition of a historic vehicle, and of the classic vehicle. The\u0000whole analysis ends with the de lege lata and the de lege\u0000ferenda conclusions aiming to present legislative suggestions\u0000that a rational legislator should introduce in order to increase\u0000effectiveness of the regulations.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47004962","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 : 2020-06-30DOI: 10.5604/01.3001.0014.2640
T. Nowak
In 2020, we are celebrating 50 years of the Stanisław Sankowski Museum in Radomsko, officially established on 1 July 1970. However, it was already from 1946 that Stanisław Sankowski, a history teacher, had been collecting documents and exhibits related to the region among the students of the First Secondary School in Radomsko. He appealed for them to be collected in the school newsletter and in 1958 in the ‘Gazeta Radomszczańska’ paper. The appeal was successful, and the collections started to grow. At that point there was no mention of a seat for the Museum, so initially, as approved by the school Headmaster, the Museum was housed in the school building. It seemed that it would find a home there for longer, particularly as the school was given a new building. When it turned out there was no separate room available for the exhibition, the school hall was adapted for the Museum exhibits. This, however, was not to the liking of the school authorities; the Deputy Headmaster, who, interestingly, happened to be a historian himself, forbid the works to be continued. For some time the Museum’s activity was suspended, yet finally S. Sankowski decided to move the collected exhibits to his own flat. Excursions, even from around the country, were invited to visit it. Meanwhile, S. Sankowski continuously tried to be allocated some facility where the Museum could be housed. The efforts were accelerated by the mention of the Radomsko Museum in a private flat in a programme on Radio Free Europe. Soon afterwards, the home for the Museum was found: initially, they were 3 rooms in the building of the town authorities, later the whole ground floor, while in the mid-1970s it was allocated almost the whole building of the former 1859 Town Hall. The Museum had enjoyed first successes even before the formal establishment; these were undoubtedly the finds that brought archaeologists to Radomsko and their subsequent discoveries. What needs to be appreciated, though, i s f i rst a n d fo rem o st t h e ed u cat i o n a l effo r t o f S. Sankowski and his promoting activities. Many years later, in 2008, the Radomsko Regional Museum was named after its instigator and creator.
{"title":"I AM THEREFORE ASKING YOU TO STOP\u0000WORKING ON THE MUSEUM. STANISŁAW\u0000SANKOWSKI’S WAY TO ESTABLISHING\u0000A MUSEUM IN RADOMSKO","authors":"T. Nowak","doi":"10.5604/01.3001.0014.2640","DOIUrl":"https://doi.org/10.5604/01.3001.0014.2640","url":null,"abstract":"In 2020, we are celebrating 50 years of the\u0000Stanisław Sankowski Museum in Radomsko, officially\u0000established on 1 July 1970. However, it was already from\u00001946 that Stanisław Sankowski, a history teacher, had\u0000been collecting documents and exhibits related to the\u0000region among the students of the First Secondary School\u0000in Radomsko. He appealed for them to be collected\u0000in the school newsletter and in 1958 in the ‘Gazeta\u0000Radomszczańska’ paper. The appeal was successful,\u0000and the collections started to grow. At that point there\u0000was no mention of a seat for the Museum, so initially,\u0000as approved by the school Headmaster, the Museum\u0000was housed in the school building. It seemed that it\u0000would find a home there for longer, particularly as the\u0000school was given a new building. When it turned out\u0000there was no separate room available for the exhibition,\u0000the school hall was adapted for the Museum exhibits.\u0000This, however, was not to the liking of the school\u0000authorities; the Deputy Headmaster, who, interestingly,\u0000happened to be a historian himself, forbid the works to\u0000be continued. For some time the Museum’s activity was\u0000suspended, yet finally S. Sankowski decided to move the\u0000collected exhibits to his own flat. Excursions, even from\u0000around the country, were invited to visit it. Meanwhile,\u0000S. Sankowski continuously tried to be allocated\u0000some facility where the Museum could be housed.\u0000The efforts were accelerated by the mention of the\u0000Radomsko Museum in a private flat in a programme on Radio Free Europe. Soon afterwards, the home\u0000for the Museum was found: initially, they were\u00003 rooms in the building of the town authorities, later\u0000the whole ground floor, while in the mid-1970s it\u0000was allocated almost the whole building of the\u0000former 1859 Town Hall. The Museum had enjoyed\u0000first successes even before the formal establishment;\u0000these were undoubtedly the finds that brought\u0000archaeologists to Radomsko and their subsequent\u0000discoveries. What needs to be appreciated, though,\u0000i s f i rst a n d fo rem o st t h e ed u cat i o n a l effo r t o f\u0000S. Sankowski and his promoting activities. Many years\u0000later, in 2008, the Radomsko Regional Museum was\u0000named after its instigator and creator.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44133575","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 : 2020-06-30DOI: 10.5604/01.3001.0014.2637
Helen Charman
In 2018 the Victoria and Albert Museum launched a capital project to transform the Museum of Childhood from a museum of the social and material history of childhood to a powerhouse of creativity for the young. This paper therefore takes the reinvention of the MoC as a case study to explore the process of change and the key drivers for inculcating and realising the transformed museum. In particular, the process of co-design with and for young people is considered as a mechanism for change in creating future facing museums that speak to the needs of young people in a rapidly changing and complex world.
{"title":"REINVENTING THE V&A MUSEUM OF CHILDHOOD","authors":"Helen Charman","doi":"10.5604/01.3001.0014.2637","DOIUrl":"https://doi.org/10.5604/01.3001.0014.2637","url":null,"abstract":"In 2018 the Victoria and Albert Museum\u0000launched a capital project to transform the Museum of\u0000Childhood from a museum of the social and material history\u0000of childhood to a powerhouse of creativity for the\u0000young. This paper therefore takes the reinvention of the\u0000MoC as a case study to explore the process of change\u0000and the key drivers for inculcating and realising the transformed\u0000museum. In particular, the process of co-design\u0000with and for young people is considered as a mechanism\u0000for change in creating future facing museums that speak\u0000to the needs of young people in a rapidly changing and\u0000complex world.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41731831","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 : 2020-06-26DOI: 10.5604/01.3001.0014.2491
A. Żakiewicz
Having studied history of art on clandestine Warsaw University courses run in 1943–1944, Irena Jakimowicz (1922–1999) graduated in 1951. In 1945–1991, she worked at the National Museum in Warsaw, initially in the Educational Department, from 1953 in the Polish Graphic Arts Department, out of which in 1958 she selected works executed after 1914, turning them into the Department of Graphic Arts and Contemporary Drawings which she headed as curator. Until early 1982, the Department formed part of the Gallery of Contemporary Art, yet it subsequently gained autonomy as the Cabinet of Graphic Arts and Contemporary Drawings curated by Irena Jakimowicz. Jakimowicz mounted some dozens exhibitions, mainly monographic ones of Polish contemporary artists, e.g. Bronisław Wojciech Linke (1963), Zygmunt Waliszewski (1964), Feliks Topolski (1965), Wacław Wąsowicz (1969), Tadeusz Kulisiewicz (1971), Konstanty Brandel (1977), Henryk Gotlib (1980), Stanisław Ignacy Witkiewicz (1989/1990). All the exhibitions were accompanied by reasoned catalgoues. Furthermore, Jakimowicz authored several cross-sectional, such as ‘Within the Circle of the Rembrandt Tradition’ (1956), ‘From Young Poland to Today’ (1959), ‘Polish Contemporary Graphic Arts 1900–1960’ (1960), ‘The Formists’ (1985), ‘Five Centuries of Polish Prints’ (1997). In 1970, she defended her doctoral dissertation dedicated to the collector Tomasz Zieliński. Moreover, she authored many papers, reviews, and books, e.g. Witkacy – Chwistek – Strzemiński (1976), Witkacy Malarz [Witkacy the Painter] (1985), Jerzy Mierzejewski (1996). She was a wonderful Boss: demanding, but strict with herself, too. Attentive to her employees’ development, she could appreciate and use their abilities to their own benefit and to the benefit of their institution. Those who had the privilege and pleasure of cooperating with her, recall her with admiration saying what a likeable person she was.
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Pub Date : 2020-06-25DOI: 10.5604/01.3001.0014.2479
P. Majewski
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