Pub Date : 2023-07-01DOI: 10.3167/armw.2023.110106
David C. Harvey
Recent years have seen an increasing prominence of anthropogenic climate change issues within museums. While climate change itself has become a central theme for many exhibitions, some museums are, themselves, under threat from climate change. Within many industrial museums, however, there has been surprisingly little critical self-reflection, leaving themes of climate change both central and unsaid. Developing cases studies of Ironbridge Gorge (Shropshire, UK) and Heartlands (Cornwall, UK), this essay explores how certain museums have celebrated, often uncritically, the capacity for humans to alter the climate. Drawing parallels with how postcolonial theory has prompted critical self-reflection, the article examines how the climate crisis provides an imperative for museums both to explore their role in climate injustice and to seize a critical opportunity to make a contribution towards sustainable decarbonization. The article, therefore, calls for contemporary museum ambitions towards decolonization to be matched by activities that have an ambition towards decarbonization.
{"title":"Climate Change and the Museum","authors":"David C. Harvey","doi":"10.3167/armw.2023.110106","DOIUrl":"https://doi.org/10.3167/armw.2023.110106","url":null,"abstract":"Recent years have seen an increasing prominence of anthropogenic climate change issues within museums. While climate change itself has become a central theme for many exhibitions, some museums are, themselves, under threat from climate change. Within many industrial museums, however, there has been surprisingly little critical self-reflection, leaving themes of climate change both central and unsaid. Developing cases studies of Ironbridge Gorge (Shropshire, UK) and Heartlands (Cornwall, UK), this essay explores how certain museums have celebrated, often uncritically, the capacity for humans to alter the climate. Drawing parallels with how postcolonial theory has prompted critical self-reflection, the article examines how the climate crisis provides an imperative for museums both to explore their role in climate injustice and to seize a critical opportunity to make a contribution towards sustainable decarbonization. The article, therefore, calls for contemporary museum ambitions towards decolonization to be matched by activities that have an ambition towards decarbonization.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"35 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365404","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 : 2023-07-01DOI: 10.3167/armw.2023.110112
L. Florido-Benítez
Museum studies is an academic and practical field of research that provides new challenges and opportunities to researchers thanks to the extraordinary growth of museums worldwide in the last 20 years (McCarthy and Brown 2022). There is, however, a need for more research on museum economics, including tourism (Silberberg and Lord 2015). The tourism industry has become the cornerstone of the economy for most of the world's tourist destinations thanks to the aviation industry, especially in the capital cities of developed countries where large airports are localized, as well as providing a high level of connectivity in the rest of the country. Tourism is highly dependent on the aviation sector (Florido-Benítez 2022a; 2022b). The World Tourism Organization (UNWTO) indicates that air travel is the most popular choice of travel for leisure tourism (UNWTO 2020; 2021), and inside the tourism industry, museums represent a growing attraction for international tourists (Nowacki and Kruczek 2021). They help drive the tourism and aviation sectors, and play a cultural and economic role in their communities (Florido-Benítez 2023; Maxim 2017). City museums around the world empower their visitors to consider their roles as active city comakers (Grincheva 2022). “Superstar museums,” which are a “must see” for tourists and have achieved cult status (Frey 1998), depend on digital and physical positioning in the media (Plaza et al. 2022).
{"title":"Air Connectivity and Proximity of Large Airports as an Added Value for Museums","authors":"L. Florido-Benítez","doi":"10.3167/armw.2023.110112","DOIUrl":"https://doi.org/10.3167/armw.2023.110112","url":null,"abstract":"Museum studies is an academic and practical field of research that provides new challenges and opportunities to researchers thanks to the extraordinary growth of museums worldwide in the last 20 years (McCarthy and Brown 2022). There is, however, a need for more research on museum economics, including tourism (Silberberg and Lord 2015). The tourism industry has become the cornerstone of the economy for most of the world's tourist destinations thanks to the aviation industry, especially in the capital cities of developed countries where large airports are localized, as well as providing a high level of connectivity in the rest of the country. Tourism is highly dependent on the aviation sector (Florido-Benítez 2022a; 2022b). The World Tourism Organization (UNWTO) indicates that air travel is the most popular choice of travel for leisure tourism (UNWTO 2020; 2021), and inside the tourism industry, museums represent a growing attraction for international tourists (Nowacki and Kruczek 2021). They help drive the tourism and aviation sectors, and play a cultural and economic role in their communities (Florido-Benítez 2023; Maxim 2017). City museums around the world empower their visitors to consider their roles as active city comakers (Grincheva 2022). “Superstar museums,” which are a “must see” for tourists and have achieved cult status (Frey 1998), depend on digital and physical positioning in the media (Plaza et al. 2022).","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"7 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365639","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 : 2023-07-01DOI: 10.3167/armw.2023.110107
Leticia Pérez-Castellanos
This article aims to deepen theoretical and practical engagement with the work of cultural participation in museums from the perspective of early outreach experiences in Mexico. The ideas and practices concerning museums’ social role and their commitment to communities have been consolidating for decades, from conceiving the museum as being “at the service of society” to museum and society working hand in hand. Using La Casa del Museo (1972–1980) as a case in point, this article shows how early experiences and thoughts in Latin America—often unknown to the English-speaking world—contributed to this change of perspectives. Moreover, from a theoretical point of view, it offers a review of cultural participation, its potential contributions as well as its problems and limitations, including the author's model of Holistic Cultural Participation. From a practical perspective, the article shows how this project worked on the outskirts of Mexico City in the seventies and its long-term effects.
本文旨在从墨西哥早期外联经验的角度，深化博物馆文化参与工作的理论和实践。几十年来，有关博物馆的社会角色及其对社区的承诺的理念和实践一直在不断巩固，从认为博物馆 "为社会服务 "到博物馆与社会携手合作。本文以《博物馆之家》（La Casa del Museo，1972-1980 年）为例，展示了拉丁美洲的早期经验和思想是如何促成这一观点转变的--英语世界往往对此一无所知。此外，从理论角度看，文章回顾了文化参与、其潜在的贡献及其问题和局限性，包括作者提出的 "整体文化参与 "模式。从实践角度看，文章介绍了该项目在七十年代墨西哥城郊区的运作情况及其长期影响。
{"title":"Revisiting Cultural Participation in Museums","authors":"Leticia Pérez-Castellanos","doi":"10.3167/armw.2023.110107","DOIUrl":"https://doi.org/10.3167/armw.2023.110107","url":null,"abstract":"This article aims to deepen theoretical and practical engagement with the work of cultural participation in museums from the perspective of early outreach experiences in Mexico. The ideas and practices concerning museums’ social role and their commitment to communities have been consolidating for decades, from conceiving the museum as being “at the service of society” to museum and society working hand in hand. Using La Casa del Museo (1972–1980) as a case in point, this article shows how early experiences and thoughts in Latin America—often unknown to the English-speaking world—contributed to this change of perspectives. Moreover, from a theoretical point of view, it offers a review of cultural participation, its potential contributions as well as its problems and limitations, including the author's model of Holistic Cultural Participation. From a practical perspective, the article shows how this project worked on the outskirts of Mexico City in the seventies and its long-term effects.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"28 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365174","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 : 2023-07-01DOI: 10.3167/armw.2023.110104
M. Sagiya, Plan Shenjere-Nyabezi
Worldwide, community museums can play an important role in regenerating and safeguarding Indigenous living cultures. The aim of this article is to explore and examine the complex socio-cultural context of the Nambya Community Museum (NCM), located in Hwange district, north-western Zimbabwe. Over the past 18 years, a web of multiple stakeholders has struggled to find common ground on what and whose cultural heritage the NCM should represent. As a result, many often conflicting views and attitudes held by different stakeholders have emerged concerning the present or future status and the purpose of the NCM. In this article we deploy multivocality theory, and rely on qualitative data collected during a large-scale archeological and heritage management research project to present and discuss a wide range of conceptual and practical issues confronting the NCM. We situate this case study within current global conversations about the ideal museum of the present and the future.
{"title":"“The Museum is for All Cultures”","authors":"M. Sagiya, Plan Shenjere-Nyabezi","doi":"10.3167/armw.2023.110104","DOIUrl":"https://doi.org/10.3167/armw.2023.110104","url":null,"abstract":"Worldwide, community museums can play an important role in regenerating and safeguarding Indigenous living cultures. The aim of this article is to explore and examine the complex socio-cultural context of the Nambya Community Museum (NCM), located in Hwange district, north-western Zimbabwe. Over the past 18 years, a web of multiple stakeholders has struggled to find common ground on what and whose cultural heritage the NCM should represent. As a result, many often conflicting views and attitudes held by different stakeholders have emerged concerning the present or future status and the purpose of the NCM. In this article we deploy multivocality theory, and rely on qualitative data collected during a large-scale archeological and heritage management research project to present and discuss a wide range of conceptual and practical issues confronting the NCM. We situate this case study within current global conversations about the ideal museum of the present and the future.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"28 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365752","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}
In the almost four years since The Arctic: While the Ice Is Melting opened (October 2019), we have experienced a global pandemic and now find ourselves teetering on the edge of catastrophic ice melt. With exhibits, elaborate installations, ceiling projections, and interactive stations, this award-winning exhibition frames Indigenous communities and the work of non-Indigenous researchers through the omnipresence of ice and ice melt around the Arctic, encompassing Alaska, Inuit Nunangat (Canada), Kalaallit Nunaat (Greenland), Iceland, Svalbard and Norway, Sweden, Finland, and Russia. It is expansive in its thematic outlook and asks us to think about an Arctic without ice and the implications of this for Indigenous societies and cultures. With the exhibition extended throughout 2023, and given the latest news on predicted summer sea ice levels, the urgency of its message is perhaps now even more palpable.
{"title":"Exhibition Reviews","authors":"Isabelle Gapp, Rose Taylor, Ching-yueh Hsieh, Jingjing Zhou, Caroline Colbran, Emily Poore","doi":"10.3167/armw.2023.110119","DOIUrl":"https://doi.org/10.3167/armw.2023.110119","url":null,"abstract":"In the almost four years since The Arctic: While the Ice Is Melting opened (October 2019), we have experienced a global pandemic and now find ourselves teetering on the edge of catastrophic ice melt. With exhibits, elaborate installations, ceiling projections, and interactive stations, this award-winning exhibition frames Indigenous communities and the work of non-Indigenous researchers through the omnipresence of ice and ice melt around the Arctic, encompassing Alaska, Inuit Nunangat (Canada), Kalaallit Nunaat (Greenland), Iceland, Svalbard and Norway, Sweden, Finland, and Russia. It is expansive in its thematic outlook and asks us to think about an Arctic without ice and the implications of this for Indigenous societies and cultures. With the exhibition extended throughout 2023, and given the latest news on predicted summer sea ice levels, the urgency of its message is perhaps now even more palpable.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"7 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365523","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 : 2023-07-01DOI: 10.3167/armw.2023.110103
Megan Mulder
Since its closure in 2001, the San diorama at the South African Museum has dominated much of South Africa's critical museology. In recent years, there has been a significant drive for more sustained engagement with particular San communities by museums in Cape Town. This article utilizes the experiences of practitioners at the South African Museum and !Khwa ttu San Heritage Centre to ask questions about how knowledge is produced in the space that the closure of the diorama left behind, reflecting, in particular, on the epistemological contours of San participation in exhibitionary practice.
{"title":"“What Am I Supposed To Say?”","authors":"Megan Mulder","doi":"10.3167/armw.2023.110103","DOIUrl":"https://doi.org/10.3167/armw.2023.110103","url":null,"abstract":"Since its closure in 2001, the San diorama at the South African Museum has dominated much of South Africa's critical museology. In recent years, there has been a significant drive for more sustained engagement with particular San communities by museums in Cape Town. This article utilizes the experiences of practitioners at the South African Museum and !Khwa ttu San Heritage Centre to ask questions about how knowledge is produced in the space that the closure of the diorama left behind, reflecting, in particular, on the epistemological contours of San participation in exhibitionary practice.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"1 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139366105","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 : 2023-07-01DOI: 10.3167/armw.2023.110115
Chang Xu, Tara Fagan
In the twenty-first century, it is imperative for museums to strive towards the dual objective of educating and entertaining audiences, while effectively adapting to rapid advancements in technology (Merritt 2014). This pursuit has resulted in the emergence of the term “edutainment” to describe museums that amalgamate educational and entertainment functions (Rahimi et al. 2022). Technological interventions have played a pivotal role in facilitating this convergence as they enable the integration of diverse digital resources and tools, fostering interactive and immersive learning experiences for learners while connecting to the taonga (treasures) that museums care for.
{"title":"Empowering Learners through the Integration of Museum Experiences and Digital Technologies","authors":"Chang Xu, Tara Fagan","doi":"10.3167/armw.2023.110115","DOIUrl":"https://doi.org/10.3167/armw.2023.110115","url":null,"abstract":"In the twenty-first century, it is imperative for museums to strive towards the dual objective of educating and entertaining audiences, while effectively adapting to rapid advancements in technology (Merritt 2014). This pursuit has resulted in the emergence of the term “edutainment” to describe museums that amalgamate educational and entertainment functions (Rahimi et al. 2022). Technological interventions have played a pivotal role in facilitating this convergence as they enable the integration of diverse digital resources and tools, fostering interactive and immersive learning experiences for learners while connecting to the taonga (treasures) that museums care for.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"30 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364799","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}
As greater numbers of community groups experience social disconnect, museums need to find better methods of engagement in order to remain relevant. We know that museums are no longer neutral spaces; in fact, they have a role to play in activism, which means they can shift their mission to support local communities celebrate and protect their Indigenous heritage (Drubay and Singhal 2020; Message 2018; Shelton 2013). What follows is a meditation by researchers in Aotearoa New Zealand who engage with Pacific-Indigenous concepts and museum practice in unique ways. Our big idea is to see “Oceania through Indigenous eyes” (Lagi-Maama 2019: 291) and, in particular, the eyes of Nālani Wilson-Hokowhitu with mo‘okū‘auhau to Kalapana, Hawai‘i, and Moloka‘i Nui a Hina; Maree Mills with whakapapa to Tongariro, Taupō, and Ngāti Tūwharetoa; and Rachel Yates, who hails from Vaisala, Sāmoa. As a collective, their curatorial talano kaōrero/mo‘olelo/stories connect to current debates in the museum world where local problems need local solutions. In this instance, Wilson-Hokowhitu and Mills share the ideas that shaped their mahi at Waikato Museum Te Whare Taonga o Waikato in Hamilton, and Yates has just finished a COVID-19 project as Curator of Pacific Cultures at the Museum of New Zealand Te Papa Tongarewa in Wellington.
{"title":"Indigenous Wāhine Talking Critically in the Museum Space","authors":"Joanna Cobley, Nālani Wilson-Hokowhitu, Maree Mills, Rachel Yates","doi":"10.3167/armw.2022.100116","DOIUrl":"https://doi.org/10.3167/armw.2022.100116","url":null,"abstract":"As greater numbers of community groups experience social disconnect, museums need to find better methods of engagement in order to remain relevant. We know that museums are no longer neutral spaces; in fact, they have a role to play in activism, which means they can shift their mission to support local communities celebrate and protect their Indigenous heritage (Drubay and Singhal 2020; Message 2018; Shelton 2013). What follows is a meditation by researchers in Aotearoa New Zealand who engage with Pacific-Indigenous concepts and museum practice in unique ways. Our big idea is to see “Oceania through Indigenous eyes” (Lagi-Maama 2019: 291) and, in particular, the eyes of Nālani Wilson-Hokowhitu with mo‘okū‘auhau to Kalapana, Hawai‘i, and Moloka‘i Nui a Hina; Maree Mills with whakapapa to Tongariro, Taupō, and Ngāti Tūwharetoa; and Rachel Yates, who hails from Vaisala, Sāmoa. As a collective, their curatorial talano kaōrero/mo‘olelo/stories connect to current debates in the museum world where local problems need local solutions. In this instance, Wilson-Hokowhitu and Mills share the ideas that shaped their mahi at Waikato Museum Te Whare Taonga o Waikato in Hamilton, and Yates has just finished a COVID-19 project as Curator of Pacific Cultures at the Museum of New Zealand Te Papa Tongarewa in Wellington.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"1 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76492614","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 : 2022-07-01DOI: 10.3167/armw.2022.100106
A. Caiado
This work addresses how the history of the Portuguese colonial war and its mnemonic productions are (non)represented in the Portuguese Armed Forces museums (Army, Air Force, and Navy). Through an analysis of the textual and visual contents of the exhibitions, activity reports, and institutional communication texts; site visits; and interviews with the museums’ staff, I seek to identify and examine the contexts of creation of these spaces and the production of the exhibitions’ content. I conclude that these spaces manifest the complexity of addressing the colonial war and colonial pasts and communicating “difficult pasts” in military museums. When the topic is addressed, the exhibitions tend to focus on the Portuguese perspective of the conflict and elide its colonial nature. I advocate a reformulation of the colonial war musealization, in order to avoid the normalization of warfare and provide more plural and complex perspectives on this historical phenomenon.
{"title":"The Representation of “Difficult Pasts” in Military Museums","authors":"A. Caiado","doi":"10.3167/armw.2022.100106","DOIUrl":"https://doi.org/10.3167/armw.2022.100106","url":null,"abstract":"This work addresses how the history of the Portuguese colonial war and its mnemonic productions are (non)represented in the Portuguese Armed Forces museums (Army, Air Force, and Navy). Through an analysis of the textual and visual contents of the exhibitions, activity reports, and institutional communication texts; site visits; and interviews with the museums’ staff, I seek to identify and examine the contexts of creation of these spaces and the production of the exhibitions’ content. I conclude that these spaces manifest the complexity of addressing the colonial war and colonial pasts and communicating “difficult pasts” in military museums. When the topic is addressed, the exhibitions tend to focus on the Portuguese perspective of the conflict and elide its colonial nature. I advocate a reformulation of the colonial war musealization, in order to avoid the normalization of warfare and provide more plural and complex perspectives on this historical phenomenon.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"1 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79801655","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 : 2022-07-01DOI: 10.3167/armw.2022.100114
Joana Formosinho
The Critical Zones project is a multipronged intervention toward what it calls earthly politics—transforming human engagement with Earth’s processes. The project centers on an exhibition at the ZKM Center for Art and Media Karlsruhe, Germany—an institution known for its experiments in culture-making at the intersection of art, science, and politics. French academic Bruno Latour has long collaborated with the ZKM and its director, Peter Weibel. Critical Zones is their most recent collaboration, co-curated with Bettina Korintenberg and Martin Guinard.
{"title":"The Many Faces of Gaia’s Response-ability","authors":"Joana Formosinho","doi":"10.3167/armw.2022.100114","DOIUrl":"https://doi.org/10.3167/armw.2022.100114","url":null,"abstract":"The Critical Zones project is a multipronged intervention toward what it calls earthly politics—transforming human engagement with Earth’s processes. The project centers on an exhibition at the ZKM Center for Art and Media Karlsruhe, Germany—an institution known for its experiments in culture-making at the intersection of art, science, and politics. French academic Bruno Latour has long collaborated with the ZKM and its director, Peter Weibel. Critical Zones is their most recent collaboration, co-curated with Bettina Korintenberg and Martin Guinard.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"1 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82110292","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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