Pub Date : 2022-10-14DOI: 10.5604/01.3001.0016.0471
Monika Murzyn-Kupisz, Dominika Hołuj
Coinciding with a lively topical debate on the presence of textiles, fabrics, clothes, and fashion accessories in museum collections and activities, the paper aims at showing a wide range of projects and initiatives undertaken in recent years by Polish museums. The presented analyses and conclusions are based on the results of the national survey on museum operations in 2019–2021 conducted by the paper’s Authors jointly with the National Institute for Museums and Public Collections in the first quarter of 2022, and allowing to review this phenomenon nationally. The survey’s goal was to consider various formats of the presence of such objects and references to them in museums, both those of a more traditional character (e.g., including fashion-related exhibits in the museum collection, their conservation, studying, displaying in exhibitions), as well as of a newer character (e.g., cooperation with clothing companies and fashion designers, holding fashion shows, workshops, and fashion-related contests).
{"title":"INITIAL DIAGNOSIS OF ACTIVITIES CONNECTED\u0000WITH TEXTILES, CLOTHES, AND FASHION\u0000ACCESSORIES UNDERTAKEN BY POLISH\u0000MUSEUMS","authors":"Monika Murzyn-Kupisz, Dominika Hołuj","doi":"10.5604/01.3001.0016.0471","DOIUrl":"https://doi.org/10.5604/01.3001.0016.0471","url":null,"abstract":"Coinciding with a lively topical debate on the\u0000presence of textiles, fabrics, clothes, and fashion accessories\u0000in museum collections and activities, the paper aims at\u0000showing a wide range of projects and initiatives undertaken\u0000in recent years by Polish museums. The presented analyses\u0000and conclusions are based on the results of the national\u0000survey on museum operations in 2019–2021 conducted\u0000by the paper’s Authors jointly with the National Institute\u0000for Museums and Public Collections in the first quarter of\u00002022, and allowing to review this phenomenon nationally.\u0000The survey’s goal was to consider various formats of\u0000the presence of such objects and references to them in\u0000museums, both those of a more traditional character (e.g.,\u0000including fashion-related exhibits in the museum collection,\u0000their conservation, studying, displaying in exhibitions), as\u0000well as of a newer character (e.g., cooperation with clothing\u0000companies and fashion designers, holding fashion shows,\u0000workshops, and fashion-related contests).\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44374626","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 : 2022-10-14DOI: 10.5604/01.3001.0016.0472
Maria Wąchała-Skindzier
The objective of the research was a survey identification of the presence of the history of Communist Poland, PRL, in museum narrative in 1989–2017. Importantly, this is a repeated, supplemented, and more thorough research versus the one presented in the paper ‘PRL in Museum Narrative over the Last 25 Years’ published in 2014 in the Światowid. Rocznik Muzeum PRL-u (w organizacji) periodical. The research discussed in the present paper forms part of a doctoral dissertation, constituting the research’s second stage. As a result of the conducted research based on survey answers provided by museums and on individual research a database containing 642 exhibitions was created. When processing the data, quantitative analysis was adopted. After data cleaning the following statistical trends were analysed: exhibition duration over the whole research period, percentage of leading themes, percentage of themes in respective cities. The conducted analysis has permitted to observe trends in museum narrative concerning PRL. Also the most popular exhibition duration over the research period has been identified (up to two years and permanent exhibitions). The most popular categories have been named: art history, political history, history of everyday life. Three groups of urban centres where museum narrative is present to a varied degree have been named. The fourth group contains cities in whose museums the topic of PRL has not been tackled over the last 28 years, or such projects cannot be reliably confirmed.
{"title":"EXHIBITIONS DEDICATED TO COMMUNIST\u0000POLAND IN POLISH MUSEUMS IN\u00001989–2017 FROM A QUANTITATIVE\u0000(STATISTICAL) PERSPECTIVE","authors":"Maria Wąchała-Skindzier","doi":"10.5604/01.3001.0016.0472","DOIUrl":"https://doi.org/10.5604/01.3001.0016.0472","url":null,"abstract":"The objective of the research was a survey\u0000identification of the presence of the history of Communist\u0000Poland, PRL, in museum narrative in 1989–2017. Importantly,\u0000this is a repeated, supplemented, and more thorough research\u0000versus the one presented in the paper ‘PRL in Museum\u0000Narrative over the Last 25 Years’ published in 2014 in the\u0000Światowid. Rocznik Muzeum PRL-u (w organizacji) periodical.\u0000The research discussed in the present paper forms part of\u0000a doctoral dissertation, constituting the research’s second stage.\u0000As a result of the conducted research based on survey\u0000answers provided by museums and on individual research\u0000a database containing 642 exhibitions was created. When\u0000processing the data, quantitative analysis was adopted. After\u0000data cleaning the following statistical trends were analysed:\u0000exhibition duration over the whole research period, percentage\u0000of leading themes, percentage of themes in respective cities.\u0000The conducted analysis has permitted to observe trends\u0000in museum narrative concerning PRL. Also the most popular\u0000exhibition duration over the research period has been\u0000identified (up to two years and permanent exhibitions).\u0000The most popular categories have been named: art history,\u0000political history, history of everyday life. Three groups of urban\u0000centres where museum narrative is present to a varied degree\u0000have been named. The fourth group contains cities in whose\u0000museums the topic of PRL has not been tackled over the last\u000028 years, or such projects cannot be reliably confirmed.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42301116","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 : 2022-09-29DOI: 10.5604/01.3001.0016.0224
M. Lorenc
ICOM’s decision to revise the museum definition valid as of 2007 was accounted for with the need to adjust the existing statutory phrasing to meet the challenges museums face in the 21st century. Having adjourned the vote on the new definition at the Extraordinary General Assembly in Kyoto in 2019, the organisation suffered a leadership crisis. In late 2020, in order to reform the management, a new methodology of working on the definition was introduced. Its foundation was to be sought in participatory policy, namely redistribution of authority. Interestingly, this approach was facilitated by the application of remote communication forced by the COVID-19 pandemic. In harmony with the adopted time schedule the extensive and multi-stage process was to climax with the vote on the adoption/ rejection of the new museum definition during the subsequent Extraordinary General Assembly in Prague on 24 August 2022. As a result of the participation in consultations of 126 out of the 178 eligible Committees, the ‘Prague museum definition’ was phrased as a compromise between the 2007 statutory definition valid until then and the ‘Kyoto definition’. On the essential issues, i.e., answering the question: ‘what is a museum?’, it actually retained the earlier regulation: a museum is a not-for-profit permanent institution. This yielded the question about the purposefulness of the works conducted in 2020–2022, based on the new participation paradigm, which the present paper attempts to answer.
{"title":"WITHDRAW FORWARD, PLEASE! ON\u0000PARTICIPATION POLICY IN ICOM’S WORKS\u0000ON THE ‘PRAGUE MUSEUM DEFINITION’","authors":"M. Lorenc","doi":"10.5604/01.3001.0016.0224","DOIUrl":"https://doi.org/10.5604/01.3001.0016.0224","url":null,"abstract":"ICOM’s decision to revise the museum definition\u0000valid as of 2007 was accounted for with the need\u0000to adjust the existing statutory phrasing to meet the challenges\u0000museums face in the 21st century. Having adjourned\u0000the vote on the new definition at the Extraordinary General\u0000Assembly in Kyoto in 2019, the organisation suffered a leadership\u0000crisis. In late 2020, in order to reform the management,\u0000a new methodology of working on the definition was\u0000introduced. Its foundation was to be sought in participatory\u0000policy, namely redistribution of authority. Interestingly,\u0000this approach was facilitated by the application of remote\u0000communication forced by the COVID-19 pandemic. In harmony\u0000with the adopted time schedule the extensive and\u0000multi-stage process was to climax with the vote on the adoption/\u0000rejection of the new museum definition during the\u0000subsequent Extraordinary General Assembly in Prague on\u000024 August 2022. As a result of the participation in consultations\u0000of 126 out of the 178 eligible Committees, the ‘Prague\u0000museum definition’ was phrased as a compromise between\u0000the 2007 statutory definition valid until then and the ‘Kyoto\u0000definition’. On the essential issues, i.e., answering the question:\u0000‘what is a museum?’, it actually retained the earlier regulation:\u0000a museum is a not-for-profit permanent institution.\u0000This yielded the question about the purposefulness of the\u0000works conducted in 2020–2022, based on the new participation\u0000paradigm, which the present paper attempts to answer.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48019023","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 : 2022-09-19DOI: 10.5604/01.3001.0015.9963
M. Szeląg
The paper is dedicated to museum’s commitment to struggling for climate and against climate change. Facing the key imperative conditioning museums’ operation whose sense is defined e.g., by the assumption that there will be ‘some’ future for whose sake it is worth while taking care of museum exhibits and other testimonies to the past and contemporary culture, the climate change we are witnessing makes museums face very special challenges. As institutions of social trust they continue to be regarded a credible source of knowledge, they engage increasingly more in activities aimed at preserving the environment. This can be clearly seen, for example in the exhibitions dedicated to the Anthropocene mounted in museums worldwide over the last decade. The engagement of museums in this respect and this engagement’s object are the topic of the paper. Furthermore, a critical view is presented not only of the people and the institutions they create, or more broadly cultures and civilisations, all of key importance for our planet’s future, but also of the fact that certain topics, as praxis has shown, have remained untouched by museums (e.g., responsibility of global corporations or the ideology of capitalist growth). In this very context questions are also asked to what degree and how much museums can change their practices affecting the climate, if only by renouncing or at least limiting their participation in global tourism and competition for public’s leisure time in the market game for attracting consumers’ attention.
{"title":"MUSEUMS IN THE WORLD WITHOUT THE\u0000FUTURE","authors":"M. Szeląg","doi":"10.5604/01.3001.0015.9963","DOIUrl":"https://doi.org/10.5604/01.3001.0015.9963","url":null,"abstract":"The paper is dedicated to museum’s commitment\u0000to struggling for climate and against climate\u0000change. Facing the key imperative conditioning museums’\u0000operation whose sense is defined e.g., by the assumption\u0000that there will be ‘some’ future for whose sake it is\u0000worth while taking care of museum exhibits and other\u0000testimonies to the past and contemporary culture, the\u0000climate change we are witnessing makes museums face\u0000very special challenges. As institutions of social trust they\u0000continue to be regarded a credible source of knowledge,\u0000they engage increasingly more in activities aimed at preserving\u0000the environment. This can be clearly seen, for example\u0000in the exhibitions dedicated to the Anthropocene\u0000mounted in museums worldwide over the last decade.\u0000The engagement of museums in this respect and this engagement’s\u0000object are the topic of the paper. Furthermore,\u0000a critical view is presented not only of the people and the\u0000institutions they create, or more broadly cultures and civilisations,\u0000all of key importance for our planet’s future, but\u0000also of the fact that certain topics, as praxis has shown,\u0000have remained untouched by museums (e.g., responsibility\u0000of global corporations or the ideology of capitalist growth).\u0000In this very context questions are also asked to what degree\u0000and how much museums can change their practices\u0000affecting the climate, if only by renouncing or at least limiting\u0000their participation in global tourism and competition\u0000for public’s leisure time in the market game for attracting\u0000consumers’ attention.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41727602","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 : 2022-09-16DOI: 10.5604/01.3001.0015.9923
K. Jagodzińska
The contemporary museum debate developing in the context of the need to change the museum definition carried out in ICOM is a debate on the role and responsibility of museums. Museums with a burden of tradition are faced with the challenge to meet contemporary contexts and expectations, while newly-established museums can enter the stage fully aware of the historical contexts, with an agenda reflecting contemporary tasks, and they can chart new perspectives from the very beginning. The case study in the paper focuses on a museum which begins its operation at the time of a heated debate on the new tasks of museums in social life: the Toy Museum in Cracow. The paper tackles several motifs of a very extensive issue, namely museums’ responsibility: who and what should museums show responsibility to? Does responsibility mean presence in the public debate and museum activism? The operation formula of the Toy Museum shows the possible way for private collectors: instead of aspiring to create a traditional place for the collection presentation, they can see how to activate the collection where the supreme goal is not just making the collection available to the public, but making it impact the museum’s environment, which could be caused by that presentation and other programmatic actions connected with the collection.
{"title":"RESPONSIBLE MUSEUM? (ON THE EXAMPLE\u0000OF THE TOY MUSEUM IN CRACOW)","authors":"K. Jagodzińska","doi":"10.5604/01.3001.0015.9923","DOIUrl":"https://doi.org/10.5604/01.3001.0015.9923","url":null,"abstract":"The contemporary museum debate developing\u0000in the context of the need to change the museum\u0000definition carried out in ICOM is a debate on the role and\u0000responsibility of museums. Museums with a burden of tradition\u0000are faced with the challenge to meet contemporary\u0000contexts and expectations, while newly-established museums\u0000can enter the stage fully aware of the historical contexts,\u0000with an agenda reflecting contemporary tasks, and\u0000they can chart new perspectives from the very beginning.\u0000The case study in the paper focuses on a museum which\u0000begins its operation at the time of a heated debate on the\u0000new tasks of museums in social life: the Toy Museum in\u0000Cracow. The paper tackles several motifs of a very extensive\u0000issue, namely museums’ responsibility: who and what\u0000should museums show responsibility to? Does responsibility\u0000mean presence in the public debate and museum activism?\u0000The operation formula of the Toy Museum shows\u0000the possible way for private collectors: instead of aspiring\u0000to create a traditional place for the collection presentation,\u0000they can see how to activate the collection where the\u0000supreme goal is not just making the collection available\u0000to the public, but making it impact the museum’s environment,\u0000which could be caused by that presentation and\u0000other programmatic actions connected with the collection.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43854572","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 : 2022-09-14DOI: 10.5604/01.3001.0015.9878
Iwona Gredka-Ligarska
Mergers of cultural institutions, including museums, quite often arouse controversies and emotions, which we learn about from the media. The employees of the merging institutions involved may feel apprehensive about being secured employment from the new employer. A merger of a museum with another museum or with another cultural institution which is not a museum in legal terms is qualified as a transfer of a work establishment to another employer in the understanding of Art. 231 of the Labour Code. The present paper is dedicated to the legal situation of museum employees of the merged museums. Its major part focuses on the rights of employees related to the transfer of a work establishment to another employer, and the paper answers the question whether employees’ interests are sufficiently protected in such a situation. De lege lata analysis of the employees’ situation yields de lege ferenda conclusions, since it seems that the legal protection of the transferred employees could be consolidated.
{"title":"LEGAL SITUATION OF MUSEUM EMPLOYEES IN\u0000THE CASE OF MERGING MUSEUMS WITH OTHER\u0000CULTURAL INSTITUTIONS","authors":"Iwona Gredka-Ligarska","doi":"10.5604/01.3001.0015.9878","DOIUrl":"https://doi.org/10.5604/01.3001.0015.9878","url":null,"abstract":"Mergers of cultural institutions, including\u0000museums, quite often arouse controversies and emotions,\u0000which we learn about from the media. The employees of the\u0000merging institutions involved may feel apprehensive about\u0000being secured employment from the new employer. A merger\u0000of a museum with another museum or with another cultural\u0000institution which is not a museum in legal terms is qualified\u0000as a transfer of a work establishment to another employer\u0000in the understanding of Art. 231 of the Labour Code. The\u0000present paper is dedicated to the legal situation of museum\u0000employees of the merged museums. Its major part focuses\u0000on the rights of employees related to the transfer of a work\u0000establishment to another employer, and the paper answers\u0000the question whether employees’ interests are sufficiently\u0000protected in such a situation. De lege lata analysis of the\u0000employees’ situation yields de lege ferenda conclusions,\u0000since it seems that the legal protection of the transferred\u0000employees could be consolidated.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44809678","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 : 2022-09-14DOI: 10.5604/01.3001.0015.9877
Robert Domżał
Social responsibility in museums is not an entirely new domain. For many years now activities locating museums among the institutions contributing to creating better social reality have been observed. This new paradigm overcomes the stereotypical perception of cultural institutions as organizations taking care only of tangible and intangible testimony to the past of mankind, at the same time imposing on them the responsibility versus society and the community. The National Maritime Museum (NMM) in Gdansk tries to face these challenges not only by implementing educational and conservation projects, but also by supporting the development of the very Museum and its branches, at the same time directing its activities towards engaging in important social issues, such as eradicating accessibility barriers to heritage facilities, care for the environment, and sustainable development. Among the most recent accomplishments described in the paper let us mention the projects implemented during the COVID-19 pandemic, such as the new visiting format presented on the ‘Dar Pomorza’ Museum Ship. On 11 May 2021, NMM shared with the public the so-called Interactive Spherical Video integrated with modern Oculus goggles, introducing the spectator into interactive augmented reality allowing to become acquainted with the sailing ship from a new perspective, accessible to visitors with impaired mobility. A similar solution, though amidst a different landscape, was proposed in the lobby of the Museum’s main building on Ołowianka Island in Gdansk. Without getting aboard the ‘Sołdek’ Museum Ship, we can peep into its cargo hold and engine room. Furthermore, the paper describes many interesting educational or advertising undertakings which attempt at facing contemporary social challenges.
{"title":"SOCIAL RESPONSIBILITY IN EDUCATIONAL\u0000PROJECTS OF THE NATIONAL MARITIME\u0000MUSEUM IN GDANSK","authors":"Robert Domżał","doi":"10.5604/01.3001.0015.9877","DOIUrl":"https://doi.org/10.5604/01.3001.0015.9877","url":null,"abstract":"Social responsibility in museums is not an entirely\u0000new domain. For many years now activities locating\u0000museums among the institutions contributing to creating\u0000better social reality have been observed. This new paradigm\u0000overcomes the stereotypical perception of cultural\u0000institutions as organizations taking care only of tangible\u0000and intangible testimony to the past of mankind, at the\u0000same time imposing on them the responsibility versus society\u0000and the community.\u0000The National Maritime Museum (NMM) in Gdansk tries\u0000to face these challenges not only by implementing educational\u0000and conservation projects, but also by supporting\u0000the development of the very Museum and its branches,\u0000at the same time directing its activities towards engaging\u0000in important social issues, such as eradicating accessibility\u0000barriers to heritage facilities, care for the environment, and\u0000sustainable development.\u0000Among the most recent accomplishments described in\u0000the paper let us mention the projects implemented during\u0000the COVID-19 pandemic, such as the new visiting format\u0000presented on the ‘Dar Pomorza’ Museum Ship. On\u000011 May 2021, NMM shared with the public the so-called\u0000Interactive Spherical Video integrated with modern Oculus\u0000goggles, introducing the spectator into interactive augmented\u0000reality allowing to become acquainted with the\u0000sailing ship from a new perspective, accessible to visitors\u0000with impaired mobility. A similar solution, though amidst\u0000a different landscape, was proposed in the lobby of the Museum’s main building on Ołowianka Island in Gdansk.\u0000Without getting aboard the ‘Sołdek’ Museum Ship, we can\u0000peep into its cargo hold and engine room. Furthermore,\u0000the paper describes many interesting educational or advertising\u0000undertakings which attempt at facing contemporary\u0000social challenges.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46385064","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 : 2022-09-07DOI: 10.5604/01.3001.0015.9810
Maria Kobielska
The paper is a review of the book by Janusz Byszewski and Beata Nessel-Łukasik Muzeum relacyjne. Przed progiem / za progiem [Relational Museum. Before the Threshold / Beyond the Threshold] inaugurating the ‘Museology: New Places’ series. It discusses in more detail the title project and the assumed relational museum which in its authors’ understanding is characterized by the focus on the relations of a museum as an institution with the local community, based on a rich social programme, co-created with museum’s external actors on an equal-footing basis. Both the volume’s content and its experimental stylistic, with a special focus on its graphic layout are discussed.
这篇论文是对JanuszByszewski和Beata Nessel的书的评论-Łukasik museum relacyjne。获奖项目/ za项目[关系博物馆]。“在门槛之前/超越门槛”开启了“博物馆学:新地方”系列。它更详细地讨论了标题项目和假定的关系博物馆，在作者的理解中，其特点是关注博物馆作为一个机构与当地社区的关系，基于丰富的社会计划，与博物馆的外部参与者在平等的基础上共同创造。这两卷的内容和它的实验性风格，特别关注其图形布局进行了讨论。
{"title":"INVENTING A RELATIONAL MUSEUM","authors":"Maria Kobielska","doi":"10.5604/01.3001.0015.9810","DOIUrl":"https://doi.org/10.5604/01.3001.0015.9810","url":null,"abstract":"The paper is a review of the book by Janusz\u0000Byszewski and Beata Nessel-Łukasik Muzeum relacyjne.\u0000Przed progiem / za progiem [Relational Museum. Before\u0000the Threshold / Beyond the Threshold] inaugurating the\u0000‘Museology: New Places’ series. It discusses in more detail\u0000the title project and the assumed relational museum which\u0000in its authors’ understanding is characterized by the focus\u0000on the relations of a museum as an institution with the local\u0000community, based on a rich social programme, co-created\u0000with museum’s external actors on an equal-footing basis.\u0000Both the volume’s content and its experimental stylistic,\u0000with a special focus on its graphic layout are discussed.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47200977","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 : 2022-08-30DOI: 10.5604/01.3001.0015.9754
L. Lechowicz
In the first period of her career Urszula Czartoryska (1934–1998) dealt mainly with criticism. She predominantly focused on photography and its relations with other artistic phenomena, particularly from the borderline territory where artistic genres meet, covering also film and video. Two books summed up that stage in her writing career: Przygody plastyczne fotografii (1965) and Od pop-artu do sztuki konceptualnej (1973). Czartoryska’s professional domains extended in 1977 when she began work as the Head and Curator of the newly-established Department of Photography and Visual Techniques at the Museum of Art in Lodz, one of the first multimedia departments in world museology (photography, film, video, multimedia installations), forming part of the International Collection of Modern Art (opened to the public in 1931). The work for that institution did not imply only building the Department’s collection, but also involvement in the operations of the whole Museum, its display and publishing activity. It also impacted her writing activity in the sense that it extended to include research studies mainly on multi-motif inter- or interdisciplinary art. Apart from her work as a writer and museum curator, in 1978– 1993, Czartoryska also lectured: at the University of Lodz (1978–1986), Warsaw School of Photography (1985–1993), and at the State College of Fine Arts (today University of Fine Arts) in Poznan (1989–1993). Urszula Czartoryska represented the type of critic, museologist, and researcher opened to multiplicity of relations present in contemporary art, and drawing from numerous methods of its analysis and description.
在她职业生涯的第一阶段，UrszulaCzartoryska（1934–1998）主要处理批评。谢泼德主要关注摄影及其与其他艺术现象的关系，特别是在艺术流派交汇的领域，包括电影和视频。两本书总结了她写作生涯中的这一阶段：《Przygody plastyczne fotografii》（1965）和《Od pop artu do sztuki konceptualnej》（1973），世界博物馆学最早的多媒体部门之一（摄影、电影、视频、多媒体装置），是国际现代艺术收藏馆（1931年向公众开放）的一部分。该机构的工作不仅意味着建立该部门的藏品，还涉及整个博物馆的运营、展览和出版活动。这也影响了她的写作活动，因为它扩展到包括研究研究，主要是多主题的跨学科或跨学科艺术。除了她作为作家和博物馆策展人的工作之外，在1978年至1993年，恰尔托雷斯卡还在罗兹大学（1978年至1986年）、华沙摄影学院（1985年至1993），波兹南国立美术学院（现美术大学）（1989年至1993年）。Urszula Czartoryskar代表了一种评论家、博物馆学家和研究者，他们对当代艺术中存在的多种关系持开放态度，并借鉴了多种分析和描述方法。
{"title":"URSZULA CZARTORYSKA: A WRITER AND\u0000MUSEUM CURATOR","authors":"L. Lechowicz","doi":"10.5604/01.3001.0015.9754","DOIUrl":"https://doi.org/10.5604/01.3001.0015.9754","url":null,"abstract":"In the first period of her career Urszula\u0000Czartoryska (1934–1998) dealt mainly with criticism. She\u0000predominantly focused on photography and its relations\u0000with other artistic phenomena, particularly from the\u0000borderline territory where artistic genres meet, covering\u0000also film and video. Two books summed up that stage\u0000in her writing career: Przygody plastyczne fotografii\u0000(1965) and Od pop-artu do sztuki konceptualnej (1973).\u0000Czartoryska’s professional domains extended in 1977\u0000when she began work as the Head and Curator of the\u0000newly-established Department of Photography and Visual\u0000Techniques at the Museum of Art in Lodz, one of the first\u0000multimedia departments in world museology (photography,\u0000film, video, multimedia installations), forming part of the\u0000International Collection of Modern Art (opened to the public\u0000in 1931). The work for that institution did not imply only\u0000building the Department’s collection, but also involvement\u0000in the operations of the whole Museum, its display and\u0000publishing activity. It also impacted her writing activity\u0000in the sense that it extended to include research studies\u0000mainly on multi-motif inter- or interdisciplinary art. Apart\u0000from her work as a writer and museum curator, in 1978–\u00001993, Czartoryska also lectured: at the University of Lodz\u0000(1978–1986), Warsaw School of Photography (1985–1993),\u0000and at the State College of Fine Arts (today University of\u0000Fine Arts) in Poznan (1989–1993). Urszula Czartoryska\u0000represented the type of critic, museologist, and researcher\u0000opened to multiplicity of relations present in contemporary\u0000art, and drawing from numerous methods of its analysis\u0000and description.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47943771","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 : 2022-08-30DOI: 10.5604/01.3001.0015.9745
A. Wolska
The Zofia and Jan Włodek Foundation in Cracow takes care e.g., of the photographic legacy of its patron Prof. Jan Zdzisław Włodek. Its most valuable element is a collections of 240 coloured positives on Autochrome plates manufactured by Lumière and Agfa- -Farbenplatten; it is one of the largest sets of photographs of this type taken by a single author which has been preserved in Poland. In 2020–2021, thanks to the financing from the Ministry of Culture and National Heritage, the collection underwent conservation and was digitized, following which it was made available to broad groups of viewers on the www.szukajwarchiwach.pl and www. zbioryspoleczne.pl portals. The unique photo technology used for their production constituted a real challenge in the set’s conservation and digitizing; moreover, attempts were made at an experimental digitizing of the selected autochromes with the use of directed bright-field. In order to promote the knowledge of the set, its author, and the works he conducted, videos and exhibitions were prepared, The whole project was quite challenging to a relatively small NGO. The key to its success was the cooperation of experts who proved to be flexible and creative in their approach to this particular task and peculiar conditions in which the project was implemented.
{"title":"JAN ZDZISŁAW WŁODEK’S AUTOCHROMES:\u0000DIGITIZING FROM AN INTERDISCIPLINARY\u0000PERSPECTIVE","authors":"A. Wolska","doi":"10.5604/01.3001.0015.9745","DOIUrl":"https://doi.org/10.5604/01.3001.0015.9745","url":null,"abstract":"The Zofia and Jan Włodek Foundation in\u0000Cracow takes care e.g., of the photographic legacy of\u0000its patron Prof. Jan Zdzisław Włodek. Its most valuable\u0000element is a collections of 240 coloured positives on\u0000Autochrome plates manufactured by Lumière and Agfa-\u0000-Farbenplatten; it is one of the largest sets of photographs\u0000of this type taken by a single author which has been\u0000preserved in Poland. In 2020–2021, thanks to the financing\u0000from the Ministry of Culture and National Heritage, the\u0000collection underwent conservation and was digitized,\u0000following which it was made available to broad groups\u0000of viewers on the www.szukajwarchiwach.pl and www.\u0000zbioryspoleczne.pl portals. The unique photo technology\u0000used for their production constituted a real challenge in\u0000the set’s conservation and digitizing; moreover, attempts\u0000were made at an experimental digitizing of the selected\u0000autochromes with the use of directed bright-field. In order\u0000to promote the knowledge of the set, its author, and the\u0000works he conducted, videos and exhibitions were prepared,\u0000The whole project was quite challenging to a relatively\u0000small NGO. The key to its success was the cooperation of\u0000experts who proved to be flexible and creative in their\u0000approach to this particular task and peculiar conditions in\u0000which the project was implemented.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49624445","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}
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