Pub Date : 2022-07-01DOI: 10.3167/armw.2022.100110
Marília Xavier Cury, Rebeca Ribeiro Bombonato
The article analyzes experiences in archaeology and ethnology museums in Brazil that promote collaborative actions with Indigenous peoples involving studies of collections, exhibitions, preventive conservation, and collection management policies. We reflect on how these practices supplant thoughts and practices of the past concerning Indigenous rights, especially those related to the dialogic relations between Indigenous people and museum professionals, and the inherent conflicts, disputes and negotiations involved in decision-making. We rely on published articles, documentation of exhibitions, and testimonies from Indigenous people to understand the development of and contributions to collaborative processes, presenting reflections on experiments that point us to circumstances and possibilities of joint/shared activities from representation to self-representation as expressions of the active participation of Indigenous peoples in museums.
{"title":"Representation and Self-representation","authors":"Marília Xavier Cury, Rebeca Ribeiro Bombonato","doi":"10.3167/armw.2022.100110","DOIUrl":"https://doi.org/10.3167/armw.2022.100110","url":null,"abstract":"The article analyzes experiences in archaeology and ethnology museums in Brazil that promote collaborative actions with Indigenous peoples involving studies of collections, exhibitions, preventive conservation, and collection management policies. We reflect on how these practices supplant thoughts and practices of the past concerning Indigenous rights, especially those related to the dialogic relations between Indigenous people and museum professionals, and the inherent conflicts, disputes and negotiations involved in decision-making. We rely on published articles, documentation of exhibitions, and testimonies from Indigenous people to understand the development of and contributions to collaborative processes, presenting reflections on experiments that point us to circumstances and possibilities of joint/shared activities from representation to self-representation as expressions of the active participation of Indigenous peoples in museums.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"5 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79951347","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}
How to Practice Decoloniality in Museums: Practicing Decoloniality in Museums: A Guide with Global Examples, Csilla E. Ariese and Magdalena Wróblewska (Amsterdam: Amsterdam University Press, 2021)Listening to Art as the Voice of Our Time: The Online In-Conversation Series Indigenizing the (Art) Museum (Wapatah Centre for Indigenous Visual Knowledge/OCAD University, Toronto)National Museums in Africa: Some Reflections from the Continent: National Museums in Africa: Identity, History and Politics, Edited by Raymond Silverman, George Abungu, and Peter Probst (London: Routledge 2022)From Paddock to Peace Garden: Heritage Politics and the Development of the Japanese Memorial Site at FeatherstonShadows, Strings & Other Things: The Enchanting Theater of Puppets
如何在博物馆实践非殖民化:在博物馆实践非殖民化:全球实例指南，cilla E. Ariese和Magdalena Wróblewska(阿姆斯特丹:阿姆斯特丹大学出版社，2021)倾听艺术作为我们时代的声音:在线对话系列(艺术)博物馆本土化(瓦帕塔土著视觉知识中心/OCAD大学，多伦多)非洲国家博物馆:来自大陆的一些反思:非洲国家博物馆:《身份、历史和政治》，由雷蒙德·西尔弗曼、乔治·阿邦古和彼得·普罗布斯特编辑(伦敦:劳特利奇出版社，2022年出版)，《从围场到和平花园:遗产政治和在费瑟斯通的日本纪念遗址的发展:影子、弦和其他东西:木偶的迷人剧院》
{"title":"Review Essays","authors":"Vibe Nielsen, Henrietta Lidchi, J. Mataga, Annelise Schroeder, Gwyneira Isaac, Riley Rogerson","doi":"10.3167/armw.2022.100120","DOIUrl":"https://doi.org/10.3167/armw.2022.100120","url":null,"abstract":"How to Practice Decoloniality in Museums: Practicing Decoloniality in Museums: A Guide with Global Examples, Csilla E. Ariese and Magdalena Wróblewska (Amsterdam: Amsterdam University Press, 2021)Listening to Art as the Voice of Our Time: The Online In-Conversation Series Indigenizing the (Art) Museum (Wapatah Centre for Indigenous Visual Knowledge/OCAD University, Toronto)National Museums in Africa: Some Reflections from the Continent: National Museums in Africa: Identity, History and Politics, Edited by Raymond Silverman, George Abungu, and Peter Probst (London: Routledge 2022)From Paddock to Peace Garden: Heritage Politics and the Development of the Japanese Memorial Site at FeatherstonShadows, Strings & Other Things: The Enchanting Theater of Puppets","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"5 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75617181","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.2022.100121
Simon Hilton-Smith, M. E. Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nālani Wilson-Hokowhitu, Fei Chen, Y. Zheng, Xiaorui Guan
[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)
{"title":"Exhibition Reviews","authors":"Simon Hilton-Smith, M. E. Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nālani Wilson-Hokowhitu, Fei Chen, Y. Zheng, Xiaorui Guan","doi":"10.3167/armw.2022.100121","DOIUrl":"https://doi.org/10.3167/armw.2022.100121","url":null,"abstract":"[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"36 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76676416","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.2022.100112
Craig Barker, Helena Robinson, J. Flexner, Anna Lawrenson, Alex Burchmore
The following conversation took place on 18 May 2021 during a panel discussion to coincide with marking the six months since the opening of the Chau Chak Wing Museum at the University of Sydney, along with the annual occurrence of International Museum Day.
{"title":"The Future of Museums","authors":"Craig Barker, Helena Robinson, J. Flexner, Anna Lawrenson, Alex Burchmore","doi":"10.3167/armw.2022.100112","DOIUrl":"https://doi.org/10.3167/armw.2022.100112","url":null,"abstract":"The following conversation took place on 18 May 2021 during a panel discussion to coincide with marking the six months since the opening of the Chau Chak Wing Museum at the University of Sydney, along with the annual occurrence of International Museum Day.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"32 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90003849","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.2022.100115
Simon Jean-Nabbache
On 10 January 2022, the French Senate adopted a proposed law on the circulation and return of cultural objects owned by public collections (Sénat 2022). This may be considered the first step toward repatriation legislation. This law needs to be analyzed, voted on, and possibly amended by the National Assembly before it comes back to the Senate and is finally approved. Assuming the law will be finally voted in, this will be a milestone in the process of clarifying the role and the status of human remains in museums collections.
{"title":"Toward Repatriation of Human Remains as a Postcolonial Museum Practice","authors":"Simon Jean-Nabbache","doi":"10.3167/armw.2022.100115","DOIUrl":"https://doi.org/10.3167/armw.2022.100115","url":null,"abstract":"On 10 January 2022, the French Senate adopted a proposed law on the circulation and return of cultural objects owned by public collections (Sénat 2022). This may be considered the first step toward repatriation legislation. This law needs to be analyzed, voted on, and possibly amended by the National Assembly before it comes back to the Senate and is finally approved. Assuming the law will be finally voted in, this will be a milestone in the process of clarifying the role and the status of human remains in museums collections.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"16 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84335470","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.2022.100104
E. Leischner
In this article, I argue that recontextualizing Indigenous cultural heritage through institutional acquisition and cataloging can also be understood as a jurisdictional strategy that upholds the supremacy of US and Canadian legal regimes over Indigenous laws. To do this, I share what I have learned from participating in a Nation-led, community-based research project with the Nuxalk First Nation Ancestral Governance Office, in what is currently British Columbia, Canada. Our work together focused on reinvigorating the Nation’s laws, teachings, and protocols through the evolution of their own database of Nuxalk objects, still held in museum collections worldwide. I discuss this project and how it illustrates the legal context inherent to understanding much Nuxalk material culture. Next, bringing together literature on organizing knowledge in museums, settler colonial theories of dispossession, and archival copyright law, I look at how accessioning Indigenous objects into settler collections in the US and Canada is enacting another legal process, “written on top of” the legal meanings objects hold for the Nuxalk Nation, and reframing them as objects the museum has legitimate control and possession over. I close by reflecting on the strategies Nuxalk people, and other Indigenous artists and scholars, are undertaking to challenge the normative power of museum authority through interventions that are grounded in Indigenous governance and sovereignty.
{"title":"What Happens to Indigenous Law in the Museum?","authors":"E. Leischner","doi":"10.3167/armw.2022.100104","DOIUrl":"https://doi.org/10.3167/armw.2022.100104","url":null,"abstract":"In this article, I argue that recontextualizing Indigenous cultural heritage through institutional acquisition and cataloging can also be understood as a jurisdictional strategy that upholds the supremacy of US and Canadian legal regimes over Indigenous laws. To do this, I share what I have learned from participating in a Nation-led, community-based research project with the Nuxalk First Nation Ancestral Governance Office, in what is currently British Columbia, Canada. Our work together focused on reinvigorating the Nation’s laws, teachings, and protocols through the evolution of their own database of Nuxalk objects, still held in museum collections worldwide. I discuss this project and how it illustrates the legal context inherent to understanding much Nuxalk material culture. Next, bringing together literature on organizing knowledge in museums, settler colonial theories of dispossession, and archival copyright law, I look at how accessioning Indigenous objects into settler collections in the US and Canada is enacting another legal process, “written on top of” the legal meanings objects hold for the Nuxalk Nation, and reframing them as objects the museum has legitimate control and possession over. I close by reflecting on the strategies Nuxalk people, and other Indigenous artists and scholars, are undertaking to challenge the normative power of museum authority through interventions that are grounded in Indigenous governance and sovereignty.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"4 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90967915","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.2022.100113
Henrietta Lidchi
The attack on Benin City by British forces in 1897 has evolved into a symbol in the twenty-first century of the contested legacy of taking in military colonial conflicts. This revolves around questions of legitimacy of retention and, in a more focused manner, on the question of military looting. A number of scholars have written about the looting activities of British and other European forces concerning Yuanmingyuan (Tythacott 2018), Tibet (Carrington 2003; Harris 2012), and Benin City (Bodenstein 2018, 2020/1, 2022; Eyo 1997; Hicks 2020; Igbare 1970, 2007; Lundén 2016; Plankensteiner 2007; Ratté 1972; Shyllon 2019) to mention but a few. Some historians have provided an overview of the system that British land and naval forces operated to expropriate, and manage the expropriation of, artworks during colonial conflicts in the nineteenth century and prior (Finn 2018; Hevia 1994; Hill 1999; Spiers 2020). As noted in other publications (Lidchi and Allan 2020b; Lidchi and Hartwell 2022), colonial military conventions and codes that historically governed the taking of objects changed over the centuries, and this renders them somewhat opaque regarding what was being allowed and disallowed and how this was implemented. These governance structures, understood and applied by British army and naval forces, as well as such entities as the presidency armies of the East India Company, were obviously part of the “extractive statecraft” (Finn 2018: 17) of British governments that deployed a range of economic and military strategies to constrain and, in many cases, humiliate those who resisted while expanding the boundaries of trade and empire.
{"title":"Reappraising Expropriations","authors":"Henrietta Lidchi","doi":"10.3167/armw.2022.100113","DOIUrl":"https://doi.org/10.3167/armw.2022.100113","url":null,"abstract":"The attack on Benin City by British forces in 1897 has evolved into a symbol in the twenty-first century of the contested legacy of taking in military colonial conflicts. This revolves around questions of legitimacy of retention and, in a more focused manner, on the question of military looting. A number of scholars have written about the looting activities of British and other European forces concerning Yuanmingyuan (Tythacott 2018), Tibet (Carrington 2003; Harris 2012), and Benin City (Bodenstein 2018, 2020/1, 2022; Eyo 1997; Hicks 2020; Igbare 1970, 2007; Lundén 2016; Plankensteiner 2007; Ratté 1972; Shyllon 2019) to mention but a few. Some historians have provided an overview of the system that British land and naval forces operated to expropriate, and manage the expropriation of, artworks during colonial conflicts in the nineteenth century and prior (Finn 2018; Hevia 1994; Hill 1999; Spiers 2020). As noted in other publications (Lidchi and Allan 2020b; Lidchi and Hartwell 2022), colonial military conventions and codes that historically governed the taking of objects changed over the centuries, and this renders them somewhat opaque regarding what was being allowed and disallowed and how this was implemented. These governance structures, understood and applied by British army and naval forces, as well as such entities as the presidency armies of the East India Company, were obviously part of the “extractive statecraft” (Finn 2018: 17) of British governments that deployed a range of economic and military strategies to constrain and, in many cases, humiliate those who resisted while expanding the boundaries of trade and empire.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"26 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83132203","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 : 2021-07-01DOI: 10.3167/armw.2021.090105
Anna Bottesi
Today many ethnographic museums are questioning the hierarchical power relationships implicit in the act of representing the cultures of others. In this article I analyze the way that the curator of the South American section of the Weltmuseum Wien chose to deal with the exhibition of sacred and secret objects, that is, those things that only specific categories of individuals are allowed to view. If we exclude storage as a possible solution, what is the proper way to treat artifacts such as these? How should the expectations of an audience attracted to the idea of the exotic, and perhaps forbidden, be satisfied? How can this challenge be transformed into an opportunity to reflect about what we have, or have not, the right to do?
{"title":"Are Museums Allowed to Keep a Secret?","authors":"Anna Bottesi","doi":"10.3167/armw.2021.090105","DOIUrl":"https://doi.org/10.3167/armw.2021.090105","url":null,"abstract":"Today many ethnographic museums are questioning the hierarchical power relationships implicit in the act of representing the cultures of others. In this article I analyze the way that the curator of the South American section of the Weltmuseum Wien chose to deal with the exhibition of sacred and secret objects, that is, those things that only specific categories of individuals are allowed to view. If we exclude storage as a possible solution, what is the proper way to treat artifacts such as these? How should the expectations of an audience attracted to the idea of the exotic, and perhaps forbidden, be satisfied? How can this challenge be transformed into an opportunity to reflect about what we have, or have not, the right to do?","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"113 2","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72443534","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 : 2021-07-01DOI: 10.3167/armw.2021.090102
Michael Armand P. Canilao
This article uses the early twentieth-century Ilongot ethnographic fieldwork and the death of anthropologist William Jones in the Philippines as a vista into what the scholar of colonialism, Ann Stoler, refers to as ruination (Stoler 2013). I argue that the case of William Jones provides an important glimpse into colonial projects in two ways. First, it illustrates the intersection of anthropological expeditions and colonialism. Second, it argues that the colonial project itself produces archives, and in turn, colonial subjects through the making and reading of these archives. I argue for the use of incidental intelligence (Scott 1982) in navigating archival regenerative debris fields. Using archival data including court documents, fieldwork notes, and diaries, the article shows how colonial relationships are shaped, contested, and racialized. At the center of this process for the making of archives and the shaping of colonial subjects is Jones’ fieldwork as well as “his people,” the Ilongots, who are romanticized headhunters.
{"title":"Ruination and the William Jones Affair","authors":"Michael Armand P. Canilao","doi":"10.3167/armw.2021.090102","DOIUrl":"https://doi.org/10.3167/armw.2021.090102","url":null,"abstract":"This article uses the early twentieth-century Ilongot ethnographic fieldwork and the death of anthropologist William Jones in the Philippines as a vista into what the scholar of colonialism, Ann Stoler, refers to as ruination (Stoler 2013). I argue that the case of William Jones provides an important glimpse into colonial projects in two ways. First, it illustrates the intersection of anthropological expeditions and colonialism. Second, it argues that the colonial project itself produces archives, and in turn, colonial subjects through the making and reading of these archives. I argue for the use of incidental intelligence (Scott 1982) in navigating archival regenerative debris fields. Using archival data including court documents, fieldwork notes, and diaries, the article shows how colonial relationships are shaped, contested, and racialized. At the center of this process for the making of archives and the shaping of colonial subjects is Jones’ fieldwork as well as “his people,” the Ilongots, who are romanticized headhunters.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"1 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78572264","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 : 2021-07-01DOI: 10.3167/armw.2021.090110
Ken Arnold, T. Söderqvist
This conversation between the founding and current directors of the multi-award-winning Medical Museion at the University of Copenhagen was held online, COVID-19-style, in the spring of 2021. We have different backgrounds and instincts. One of us is an academic historian of science, who almost accidentally ended up also running a museum. The other has spent decades working in museums, and then found himself hired as a university professor. Here we discuss the evolution of Medical Museion over the last two decades—the Museion concept, the integration of research and curatorship, the interaction of art and science, the balance between historical contextualization and aesthetic “presence,” the Faustian pact with foundations, and so forth—plus some visions for its future development.
{"title":"Reawakening the Curious Muses","authors":"Ken Arnold, T. Söderqvist","doi":"10.3167/armw.2021.090110","DOIUrl":"https://doi.org/10.3167/armw.2021.090110","url":null,"abstract":"This conversation between the founding and current directors of the multi-award-winning Medical Museion at the University of Copenhagen was held online, COVID-19-style, in the spring of 2021. We have different backgrounds and instincts. One of us is an academic historian of science, who almost accidentally ended up also running a museum. The other has spent decades working in museums, and then found himself hired as a university professor. Here we discuss the evolution of Medical Museion over the last two decades—the Museion concept, the integration of research and curatorship, the interaction of art and science, the balance between historical contextualization and aesthetic “presence,” the Faustian pact with foundations, and so forth—plus some visions for its future development.","PeriodicalId":40959,"journal":{"name":"Museum Worlds","volume":"19 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84730167","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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