Pub Date : 2021-08-25DOI: 10.5604/01.3001.0015.2413
Rafał Golat
Supervision of museums should be perceived taking into account both specific regulations: addressed directly to museums, particularly in the Act on Museums, as well as general regulations assuming supervision mechanisms in different respects, e.g., construction process or HR. This complex perspective: systemic and normative, is essential not only with respect to the supervision in a narrow basic meaning of the term, associated in the first place with an inspection of the supervised entity and application of respective executive actions, e.g., undertaken in the form of administrative decisions, but also the supervision in a broader perspective, understood as a whole range of support provided to a museum, including issuing recommendations, evaluations, and opinions important for its operation. In the context of ‘external’ supervision implemented by appropriate organs and entities, the following are of basic importance: the museum’s organiser (founder) supervision, constituting one of the organiser’s basic statutory responsibilities, as well as the supervision of the minister responsible for culture and preservation of national heritage, with respect to e.g., the preservation and care of historic monuments and museum operations; additionally, it is the matter of conservation supervision performed by Voivodeship Conservators of Historic Monuments as organs specialized in the preservation and care of historic monuments, the latter constituting, e.g., museum collections. As for the ‘internal’ supervision aspects, the role of museum councils, obligatory in public museums (state ones or organised by local governments), needs to be emphasized. Their statutory responsibility is to e.g., supervise how museums fulfil their responsibilities with respect to the collection and the public, in particular how they fulfil the goals as specified in Art.1 of the Act on Museums. The questions of supervision are also important for non-public museums (their founders) which in the event of violating either the Act’s provisions or their own charter have to be prepared that supervisory activities might be applied to them, up to the ban on their further operations.
{"title":"SUPERVISION OF MUSEUM ACTIVITY","authors":"Rafał Golat","doi":"10.5604/01.3001.0015.2413","DOIUrl":"https://doi.org/10.5604/01.3001.0015.2413","url":null,"abstract":"Supervision of museums should be perceived\u0000taking into account both specific regulations: addressed\u0000directly to museums, particularly in the Act on Museums,\u0000as well as general regulations assuming supervision\u0000mechanisms in different respects, e.g., construction process\u0000or HR. This complex perspective: systemic and normative,\u0000is essential not only with respect to the supervision in\u0000a narrow basic meaning of the term, associated in the\u0000first place with an inspection of the supervised entity\u0000and application of respective executive actions, e.g.,\u0000undertaken in the form of administrative decisions, but\u0000also the supervision in a broader perspective, understood\u0000as a whole range of support provided to a museum,\u0000including issuing recommendations, evaluations, and\u0000opinions important for its operation.\u0000In the context of ‘external’ supervision implemented by\u0000appropriate organs and entities, the following are of basic\u0000importance: the museum’s organiser (founder) supervision,\u0000constituting one of the organiser’s basic statutory responsibilities,\u0000as well as the supervision of the minister responsible\u0000for culture and preservation of national heritage, with respect\u0000to e.g., the preservation and care of historic monuments\u0000and museum operations; additionally, it is the matter\u0000of conservation supervision performed by Voivodeship\u0000Conservators of Historic Monuments as organs specialized in\u0000the preservation and care of historic monuments, the latter\u0000constituting, e.g., museum collections.\u0000As for the ‘internal’ supervision aspects, the role of museum\u0000councils, obligatory in public museums (state ones or\u0000organised by local governments), needs to be emphasized.\u0000Their statutory responsibility is to e.g., supervise how museums\u0000fulfil their responsibilities with respect to the collection\u0000and the public, in particular how they fulfil the goals as\u0000specified in Art.1 of the Act on Museums.\u0000The questions of supervision are also important for\u0000non-public museums (their founders) which in the event\u0000of violating either the Act’s provisions or their own charter\u0000have to be prepared that supervisory activities might\u0000be applied to them, up to the ban on their further operations.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46280373","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 : 2021-08-09DOI: 10.5604/01.3001.0015.1742
K. Jagodzińska
In the 21st century, participation is one of the key words related to the operations of museums and debate around them. The public are encouraged to co-create museum projects: exhibitions, programmes that accompany exhibitions, studies; they play the role of consultants and advisors (youth councils, clubs, consultancy teams). Museums are more and more widely ‘opening’ to embrace the public. Never before has the position of visitors been as significant. An overview of participatory programmes in Polish museums is provided. They are classified and characterized by the Author who places them within the philosophy of museum operations, particularly with respect to the altering role of museums, currently debated over within ICOM, with the context of the new museum definition in mind; furthermore, she presents the initial conclusions drawn from the implementation of such projects for museums. In the paper the material from interviews conducted as part of the Atlas of Museum Participation Project implemented with a grant from the Ministry of Culture and National Heritage has been used.
{"title":"PARTICIPATION OF THE PUBLIC IN POLISH\u0000MUSEUMS","authors":"K. Jagodzińska","doi":"10.5604/01.3001.0015.1742","DOIUrl":"https://doi.org/10.5604/01.3001.0015.1742","url":null,"abstract":"In the 21st century, participation is one of the\u0000key words related to the operations of museums and debate\u0000around them. The public are encouraged to co-create\u0000museum projects: exhibitions, programmes that accompany\u0000exhibitions, studies; they play the role of consultants and\u0000advisors (youth councils, clubs, consultancy teams). Museums\u0000are more and more widely ‘opening’ to embrace the public.\u0000Never before has the position of visitors been as significant.\u0000An overview of participatory programmes in Polish museums\u0000is provided. They are classified and characterized by\u0000the Author who places them within the philosophy of museum\u0000operations, particularly with respect to the altering\u0000role of museums, currently debated over within ICOM, with\u0000the context of the new museum definition in mind; furthermore,\u0000she presents the initial conclusions drawn from the\u0000implementation of such projects for museums.\u0000In the paper the material from interviews conducted\u0000as part of the Atlas of Museum Participation Project\u0000implemented with a grant from the Ministry of Culture and\u0000National Heritage has been used.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42988116","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 : 2021-08-09DOI: 10.5604/01.3001.0015.1752
Adam Barbasiewicz
It is the legal regulations related to civil turnover specified in the Act of 25 May 2017 on the Restitution of Polish Heritage Assets (consolidated text, Journal of Laws 2019, Item 1591) in the context of the activity of museums and other institutions running a museum activity that is the topic of the paper. They speak of legal activities including ownership transfer or charge on Poland’s heritage assets pertaining to public collections, or the ban on acquiring assets from a person unauthorized to dispose of them or manage them by prescription, as well as of the non-limitation of claims for their release. The Author analyses the central concept of the quoted Act: that of the national heritage assets of the Polish Republic pertaining to public collections, while discussing in detail both criteria that are related to it: subject- and ownership-related ones. He points to the fact that the definition of public collections it contains is extremely broad, covering not only public collections in the colloquial meaning of the term, but also the collections of the majority of private museums, as well as non-museum collections of private entities and persons, as long as they have applied public financing. In the further part of the paper, the civil-law regulations specified in the Act are discussed, with special emphasis on the requested form of the legal actions including the transfer of ownership or burden (in writing with a certified date) suggesting that this can apply also to deposit or lending contracts. He also discusses the praxis and judicature with respect to the in writing with a certified date pointing to the possible lack of the awareness of the contract parties that the object of the contract pertains to a public collection in compliance with the provisions of the Act, and that the special contract format should be kept. In this context the Author presents some practical solutions allowing to avoid certain negative consequences. In the conclusion it is emphasized that the regulation contains certain concepts which might inspire essential interpretative doubts having impact on the application of the discussed regulations.
{"title":"REGULATIONS WITH RESPECT TO CIVIL\u0000TURNOVER IN THE ACT ON THE RESTITUTION\u0000OF POLISH HERITAGE ASSETS AND THEIR\u0000APPLICATION TO MUSEUMS’ OPERATION","authors":"Adam Barbasiewicz","doi":"10.5604/01.3001.0015.1752","DOIUrl":"https://doi.org/10.5604/01.3001.0015.1752","url":null,"abstract":"It is the legal regulations related to civil\u0000turnover specified in the Act of 25 May 2017 on the\u0000Restitution of Polish Heritage Assets (consolidated text,\u0000Journal of Laws 2019, Item 1591) in the context of the\u0000activity of museums and other institutions running\u0000a museum activity that is the topic of the paper. They\u0000speak of legal activities including ownership transfer or\u0000charge on Poland’s heritage assets pertaining to public\u0000collections, or the ban on acquiring assets from a person\u0000unauthorized to dispose of them or manage them by\u0000prescription, as well as of the non-limitation of claims\u0000for their release. The Author analyses the central concept of the quoted\u0000Act: that of the national heritage assets of the Polish\u0000Republic pertaining to public collections, while discussing\u0000in detail both criteria that are related to it: subject- and\u0000ownership-related ones. He points to the fact that the\u0000definition of public collections it contains is extremely\u0000broad, covering not only public collections in the colloquial\u0000meaning of the term, but also the collections of the majority\u0000of private museums, as well as non-museum collections of\u0000private entities and persons, as long as they have applied\u0000public financing.\u0000In the further part of the paper, the civil-law regulations\u0000specified in the Act are discussed, with special emphasis\u0000on the requested form of the legal actions including the\u0000transfer of ownership or burden (in writing with a certified\u0000date) suggesting that this can apply also to deposit or lending\u0000contracts. He also discusses the praxis and judicature\u0000with respect to the in writing with a certified date pointing\u0000to the possible lack of the awareness of the contract parties\u0000that the object of the contract pertains to a public collection\u0000in compliance with the provisions of the Act, and that the\u0000special contract format should be kept. In this context the\u0000Author presents some practical solutions allowing to avoid\u0000certain negative consequences.\u0000In the conclusion it is emphasized that the regulation contains\u0000certain concepts which might inspire essential interpretative\u0000doubts having impact on the application of the\u0000discussed regulations.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42690863","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 : 2021-08-06DOI: 10.5604/01.3001.0015.0682
Ewa Korpysz
Having fought a long and tough battle against COVID-19, on 11 April 2021, Mirosław Nowak PhD, a theologian, art historian, museum curator, Archdiocese Conservator, and the Director of the Warsaw Archdiocese Museum, passed away. In 1982–1987, Fr. Mirosław studied art history at the History Department of the University of Warsaw, at the same time studying philosophy and theology at the Higher Metropolitan Seminary in Warsaw. Having taken holy orders in 1990, throughout his life he was able to successfully harmonize his ministry with the profession of an art historian. With his research focused on Baroque art, in 2006, he defended his doctoral dissertation on the Chapel of Blessed Ceslaus in the Wrocław church of the Dominicans. Fr. Mirosław Nowak performed many Diocese-wide functions, with 2013 being for him breakthrough: it was then that he became Director of the Warsaw Archdiocese Museum. Under him, the Museum was moved to a new extensive home in the centre of Warsaw’s Old Town; he mounted a permanent exhibition, and created an energetic cultural centre of high impact. At the Museum, he organized lectures, shows, authors’ presentations, concerts, and conferences. Fr. Nowak established contacts with other museums in Poland and abroad; he organized around 40 temporary exhibitions, among which the biggest and most interesting was that dedicated to the Silesian master of the Baroque Michael Willmann, The Warsaw Archdiocese Museum will painfully miss a good human and an excellent director.
{"title":"MUSEUM CURATOR BY VOCATION. CANON\u0000MIROSŁAW NOWAK PHD (1961–2021): DIRECTOR\u0000OF THE WARSAW ARCHDIOCESE MUSEUM","authors":"Ewa Korpysz","doi":"10.5604/01.3001.0015.0682","DOIUrl":"https://doi.org/10.5604/01.3001.0015.0682","url":null,"abstract":"Having fought a long and tough battle\u0000against COVID-19, on 11 April 2021, Mirosław Nowak PhD,\u0000a theologian, art historian, museum curator, Archdiocese\u0000Conservator, and the Director of the Warsaw Archdiocese\u0000Museum, passed away. In 1982–1987, Fr. Mirosław studied art\u0000history at the History Department of the University of Warsaw,\u0000at the same time studying philosophy and theology at the\u0000Higher Metropolitan Seminary in Warsaw. Having taken holy\u0000orders in 1990, throughout his life he was able to successfully\u0000harmonize his ministry with the profession of an art historian.\u0000With his research focused on Baroque art, in 2006, he defended\u0000his doctoral dissertation on the Chapel of Blessed Ceslaus in\u0000the Wrocław church of the Dominicans. Fr. Mirosław Nowak\u0000performed many Diocese-wide functions, with 2013 being for\u0000him breakthrough: it was then that he became Director of the\u0000Warsaw Archdiocese Museum. Under him, the Museum was\u0000moved to a new extensive home in the centre of Warsaw’s\u0000Old Town; he mounted a permanent exhibition, and created\u0000an energetic cultural centre of high impact. At the Museum,\u0000he organized lectures, shows, authors’ presentations, concerts,\u0000and conferences. Fr. Nowak established contacts with other\u0000museums in Poland and abroad; he organized around 40\u0000temporary exhibitions, among which the biggest and most\u0000interesting was that dedicated to the Silesian master of the\u0000Baroque Michael Willmann, The Warsaw Archdiocese Museum\u0000will painfully miss a good human and an excellent director.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49474820","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 : 2021-08-06DOI: 10.5604/01.3001.0015.0686
M. Pstrocka-Rak, G. Rak
It is the biggest museum of IT technologies in Poland: Museum of the History of Computers and IT in Katowice (MHKI) that the paper is dedicated to. The trend to create this kind of museums has been observed in technologically- advanced countries for over 20 years. It is connected with the shift in perceiving technological accessories of a daily life, which have been gradually incorporated into the circle of cultural heritage, and subsequently covered with institutional protection. Founders of such museums generally rank among private entities and private individuals motivated by their passion to preserve and popularize technological heritage among the present and future generations. What IT museums worldwide have in common is the rarely encountered in classical museology model of allowing visitors a direct interaction with the exhibits. At the same time, these museums are market operators, which, apart from culture- -forming activity, forces them to achieve their autonomy and financial stability first of all owing to the visitor turnout and partnership contracts with outside entities: companies and the media. All these issues were the topic of an extensive interview with MHKI’s Director which provides the material for the paper. The acquired information may serve as a source of knowledge and inspiration for potential founders of other IT heritage museums to be established in Poland.
{"title":"IT CULTURAL HERITAGE: PRESERVATION\u0000AND MAKING IT AVAILABLE AS SEEN FROM\u0000THE PERSPECTIVE OF THE MUSEUM OF THE\u0000HISTORY OF COMPUTERS AND IT IN KATOWICE","authors":"M. Pstrocka-Rak, G. Rak","doi":"10.5604/01.3001.0015.0686","DOIUrl":"https://doi.org/10.5604/01.3001.0015.0686","url":null,"abstract":"It is the biggest museum of IT technologies\u0000in Poland: Museum of the History of Computers and IT in\u0000Katowice (MHKI) that the paper is dedicated to. The trend\u0000to create this kind of museums has been observed in technologically-\u0000advanced countries for over 20 years. It is connected\u0000with the shift in perceiving technological accessories\u0000of a daily life, which have been gradually incorporated into\u0000the circle of cultural heritage, and subsequently covered\u0000with institutional protection. Founders of such museums\u0000generally rank among private entities and private individuals\u0000motivated by their passion to preserve and popularize technological\u0000heritage among the present and future generations.\u0000What IT museums worldwide have in common is the rarely\u0000encountered in classical museology model of allowing visitors\u0000a direct interaction with the exhibits. At the same time, these\u0000museums are market operators, which, apart from culture-\u0000-forming activity, forces them to achieve their autonomy and\u0000financial stability first of all owing to the visitor turnout and\u0000partnership contracts with outside entities: companies and\u0000the media. All these issues were the topic of an extensive interview\u0000with MHKI’s Director which provides the material for\u0000the paper. The acquired information may serve as a source of\u0000knowledge and inspiration for potential founders of other IT\u0000heritage museums to be established in Poland.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47634563","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 : 2021-06-29DOI: 10.5604/01.3001.0015.0031
Magdalena Howorus-Czajka
It is the representation of death in the monuments by Wiktor Tołkin found at the former concentration camps: Stutthof (at Sztutowo) and Majdanek (in Lublin) that is discussed. As an art historian, the Author confronts Tołkin’s monuments with the theorical framework related to the aesthetics of death representations in martyrology museums. The monuments were created in the late 1960s. The Author has studied how the monuments coincide with the contemporary exhibition strategies used in Holocaust-dedicated museums.
{"title":"BETWEEN REAL AND SYMBOLIC SPACE. DEATH\u0000REPRESENTATION IN WIKTOR TOŁKIN’S\u0000MARTYROLOGY MONUMENTS","authors":"Magdalena Howorus-Czajka","doi":"10.5604/01.3001.0015.0031","DOIUrl":"https://doi.org/10.5604/01.3001.0015.0031","url":null,"abstract":"It is the representation of death in the monuments\u0000by Wiktor Tołkin found at the former concentration\u0000camps: Stutthof (at Sztutowo) and Majdanek (in Lublin)\u0000that is discussed. As an art historian, the Author confronts\u0000Tołkin’s monuments with the theorical framework related\u0000to the aesthetics of death representations in martyrology\u0000museums. The monuments were created in the late 1960s.\u0000The Author has studied how the monuments coincide with\u0000the contemporary exhibition strategies used in Holocaust-dedicated museums.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43310109","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 : 2021-06-29DOI: 10.5604/01.3001.0015.0032
Kamila Kłudkiewicz
Elizabeth Edwards, a British researcher into the relations among photography, history, and anthropology, used the term of non-collections to define numerous photographs of unidentified status which can be found in contemporary museums. They are not collector’s items, such as e.g., artistic photography or unique specimens of the first photography techniques. What she rather means are various items: prints, slides, photo-mechanic reproductions, postcards, namely objects once produced on a mass scale, with copies present in many institutions worldwide, thus being neither unique nor extraordinary. They present works from a museum collection, historic pieces of local art, or universally known works of world art. They exist in a hierarchical relation with other classes of museum objects, yet they are often pushed to the margin of curator’s practice and kept as ‘archives’, namely outside the system of the museum collection. They can sometimes be found in museum archival sections, in other instances in libraries, yet it is on more rare occasions that we come across them in photo departments. However, owing to the research into archival photographs conducted in the last decade (the studies of afore-mentioned Elizabeth Edwards and also Constanza Caraffa as well as the teams cooperating with the latter), such collections are experiencing a certain revival. Forming part of this research, the paper focuses on the collections of reproductions produced at the turn of the 20th century in museums in Toruń, Poznań, and Szczecin, which were German at the time; the reproductions later found their way to and continue being kept in Polish institutions.
{"title":"NON-COLLECTIONS? OLD COLLECTIONS\u0000OF REPRODUCTIONS AND DOCUMENTING\u0000PHOTOGRAPHS IN MUSEUMS: SELECTED\u0000EXAMPLES","authors":"Kamila Kłudkiewicz","doi":"10.5604/01.3001.0015.0032","DOIUrl":"https://doi.org/10.5604/01.3001.0015.0032","url":null,"abstract":"Elizabeth Edwards, a British researcher into the\u0000relations among photography, history, and anthropology,\u0000used the term of non-collections to define numerous photographs\u0000of unidentified status which can be found in contemporary\u0000museums. They are not collector’s items, such as e.g.,\u0000artistic photography or unique specimens of the first photography\u0000techniques. What she rather means are various items:\u0000prints, slides, photo-mechanic reproductions, postcards, namely\u0000objects once produced on a mass scale, with copies present\u0000in many institutions worldwide, thus being neither unique\u0000nor extraordinary. They present works from a museum\u0000collection, historic pieces of local art, or universally known works\u0000of world art. They exist in a hierarchical relation with other\u0000classes of museum objects, yet they are often pushed to the\u0000margin of curator’s practice and kept as ‘archives’, namely outside\u0000the system of the museum collection. They can sometimes\u0000be found in museum archival sections, in other instances\u0000in libraries, yet it is on more rare occasions that we come\u0000across them in photo departments. However, owing to the research\u0000into archival photographs conducted in the last decade\u0000(the studies of afore-mentioned Elizabeth Edwards and also\u0000Constanza Caraffa as well as the teams cooperating with the latter),\u0000such collections are experiencing a certain revival. Forming\u0000part of this research, the paper focuses on the collections of reproductions\u0000produced at the turn of the 20th century in museums\u0000in Toruń, Poznań, and Szczecin, which were German at the\u0000time; the reproductions later found their way to and continue\u0000being kept in Polish institutions.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46942566","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 : 2021-06-28DOI: 10.5604/01.3001.0015.0008
Jarosław Robert Kudelski
During WW II, numerous precious art works from Polish public and private collections were looted, displaced and taken out of Poland. In view of the value of some of those pieces, the invaders’ authorities decided to have them transferred to German museums, and this is what happened to the coronation insignia of King Augustus III and his spouse Maria Josepha. German officials took over the regalia which were property of the National Museum in Warsaw already in 1939. Some time after, they were transferred to Cracow, the capital of the General Government. Several months later the insignia returned to Warsaw. In 1941, Dr Hans Lammers, Chief of the Reich Chancellery, requested them. On Adolf Hitler’s decision they were to be transferred to Dresden’s Grünes Gewölbe; in order to be transported there they were taken from Warsaw in 1942. By the end of the war, they were evacuated to a repository of artworks in the cellars of the Königstein Fortress. After WW II had ended, they were relocated, together with other cultural goods, to Moscow. It was only in 1960 that the Soviet regime returned the precious regalia to Poland.
{"title":"WWII VICISSITUDES OF THE INSIGNIA OF KING\u0000AUGUSTUS III","authors":"Jarosław Robert Kudelski","doi":"10.5604/01.3001.0015.0008","DOIUrl":"https://doi.org/10.5604/01.3001.0015.0008","url":null,"abstract":"During WW II, numerous precious art works\u0000from Polish public and private collections were looted,\u0000displaced and taken out of Poland. In view of the value of\u0000some of those pieces, the invaders’ authorities decided\u0000to have them transferred to German museums, and this is\u0000what happened to the coronation insignia of King Augustus\u0000III and his spouse Maria Josepha. German officials took over\u0000the regalia which were property of the National Museum\u0000in Warsaw already in 1939. Some time after, they were\u0000transferred to Cracow, the capital of the General Government.\u0000Several months later the insignia returned to Warsaw. In\u00001941, Dr Hans Lammers, Chief of the Reich Chancellery, requested\u0000them. On Adolf Hitler’s decision they were to be\u0000transferred to Dresden’s Grünes Gewölbe; in order to be\u0000transported there they were taken from Warsaw in 1942.\u0000By the end of the war, they were evacuated to a repository\u0000of artworks in the cellars of the Königstein Fortress. After\u0000WW II had ended, they were relocated, together with other\u0000cultural goods, to Moscow. It was only in 1960 that the\u0000Soviet regime returned the precious regalia to Poland.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44214408","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 : 2021-06-23DOI: 10.5604/01.3001.0014.9723
J. Lubiak
The monumental publication Avant-garde Museum (ed. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) juxtaposes and analyses four museum projects: Museums of Artistic Culture in Soviet Russia, the activity of the Société Anonyme in the USA, Poland’s ‘a.r.’ Group, and the Kabinett der Abstrakten, the selection criterion being that each was conceived by Avantgarde artists; additionally, in the projects’ assumptions the artists were to run the implementation of the projects. The publication has been divided into three sections: research papers, source texts, and the catalogue of documents and works. The study of the Avant-garde museum projects spans over four areas: the concept, collection, organization, and display. However, these issues are not isolated in the research, but more purposefully integrated. The main goal of the study is to show how the Avant-garde institutionalized itself. This very thesis is reflected upon in the present paper. Just like the consequences of this publication: e.g., entering the Avant-garde into the canon of art history and sanctifying its output as an unquestionable value.
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Pub Date : 2021-06-22DOI: 10.5604/01.3001.0014.9599
Żaneta Gwardzińska
The discussed issue relates to one of the legal aspects of the operations of open-air museums, namely them running agricultural activity. The specificity of this group of museums and their character make them not only museums in the understanding of the Act on Museums of 21 November 1996, but also farms to which regulations of broadly conceived agricultural law apply. What is more, the animals raised at museums require regular veterinary care, and its provision should be secured by the institutions’ directors. These are all questions that do not stem directly from the Act on Museums, hence, among others, numerous problems faced by museum curators. The paper is accompanied by tables and diagrams containing the results of a survey conducted by the Author among curators from open-air museums meant to display the legal challenges they have to face on a daily basis in their works. The paper constitutes a pioneer study of these problems, since they have not as yet been analysed in Polish literature.
{"title":"AGRICULTURAL ACTIVITY RUN BY OPEN-AIR\u0000MUSEUMS IN POLAND","authors":"Żaneta Gwardzińska","doi":"10.5604/01.3001.0014.9599","DOIUrl":"https://doi.org/10.5604/01.3001.0014.9599","url":null,"abstract":"The discussed issue relates to one of the\u0000legal aspects of the operations of open-air museums,\u0000namely them running agricultural activity. The specificity\u0000of this group of museums and their character make\u0000them not only museums in the understanding of the Act\u0000on Museums of 21 November 1996, but also farms to\u0000which regulations of broadly conceived agricultural law\u0000apply. What is more, the animals raised at museums\u0000require regular veterinary care, and its provision should\u0000be secured by the institutions’ directors. These are all\u0000questions that do not stem directly from the Act on\u0000Museums, hence, among others, numerous problems\u0000faced by museum curators.\u0000The paper is accompanied by tables and diagrams containing\u0000the results of a survey conducted by the Author\u0000among curators from open-air museums meant to display\u0000the legal challenges they have to face on a daily basis\u0000in their works. The paper constitutes a pioneer study of\u0000these problems, since they have not as yet been analysed\u0000in Polish literature.\u0000\u0000","PeriodicalId":36577,"journal":{"name":"Muzealnictwo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43847391","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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