Pub Date : 2020-01-01DOI: 10.46284/mkd.2020.8.4.11
Jacek Dworzecki, I. Nowicka, A. Urbanek, Adam Kwiatkowski
The issue of national heritage is an inseparable element of the existence of every nation. The article presents the legal regulations aimed at the protection of cultural heritage in Poland, as well as statistical data relating to crime in this area. The solutions adopted by the Polish police in the field of the identifying and combating of crime against cultural property and national heritage are also described. Furthermore, the article highlights the most serious crime against the national heritage that has occurred in Poland in recent years. The subject article was prepared on the basis of the analysis of literature, existing legislation and two interviews with Polish police officers.
{"title":"Protection of national heritage in the light of the applicable law and the actions provided in this area by police in Poland","authors":"Jacek Dworzecki, I. Nowicka, A. Urbanek, Adam Kwiatkowski","doi":"10.46284/mkd.2020.8.4.11","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.11","url":null,"abstract":"The issue of national heritage is an inseparable element of the existence of every nation. The article presents the legal regulations aimed at the protection of cultural heritage in Poland, as well as statistical data relating to crime in this area. The solutions adopted by the Polish police in the field of the identifying and combating of crime against cultural property and national heritage are also described. Furthermore, the article highlights the most serious crime against the national heritage that has occurred in Poland in recent years. The subject article was prepared on the basis of the analysis of literature, existing legislation and two interviews with Polish police officers.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"8 1","pages":"177-198"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478255","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}
The paper examines the problem of change in Central-Eastern European museum education in the globalising world. The main objective is to answer the question of whether museums located in peripheral regions of semi-peripheral states introduce patterns developed in global core-states or maintain the approach invented during the former political period. Its main assumption is that globalisation is a discursive process engaging global, national and local cultural elements, leading to reshaping of local patterns. The paper is based on 14 in-depth interviews conducted with curators working at local museums of the Subcarpathian and Košice regions, supported by four interviews carried out with museum workers of national museums in Warsaw and Bratislava.
{"title":"Museum education in semi-peripheries: social, cultural and economic aspects of the globalisation of Polish and Slovak heritage institutions","authors":"Dominik Porczyński, L. Vargová","doi":"10.46284/mkd.2020.8.2.3","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.2.3","url":null,"abstract":"The paper examines the problem of change in Central-Eastern European museum education in the globalising world. The main objective is to answer the question of whether museums located in peripheral regions of semi-peripheral states introduce patterns developed in global core-states or maintain the approach invented during the former political period. Its main assumption is that globalisation is a discursive process engaging global, national and local cultural elements, leading to reshaping of local patterns. The paper is based on 14 in-depth interviews conducted with curators working at local museums of the Subcarpathian and Košice regions, supported by four interviews carried out with museum workers of national museums in Warsaw and Bratislava.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"1 1","pages":"31-54"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70477766","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 process of building local communities with shared cultural values, museums, libraries and community centres are key agents in civil society. When these institutions project specific notions and ideal types of identity and citizenship, they have the potential to produce changes in people’s behaviour. It is only natural that political bodies are interested in these processes. On 16 September 2016, the Ministry of Human Capacities of the Hungarian Government launched an EU-funded project with the primary aim of strengthening social cohesion within the region. As a part of this project, we surveyed 59 professionals working in Hungarian museums, libraries and community centres, using the Delphi method, to gain insights about their capacities, needs, and visions. This article presents the results of the first round of analysis. Respondents’ answers were analysed using NVivo qualitative data analysis software, which resulted in a thematic map showing the main problems professionals in these sectors are struggling with, and highlighting the kinds of visions they had for their institutions’ future. The study clearly shows that the cultural sector is plagued by financial problems, and that there is a strong need for reform when it comes to the professional training of workers in these fields. Regarding the future, visions are centred around cultural institutions increasingly becoming community spaces, thinktanks, and ideas workshops that consciously guide community formation.
{"title":"Values, strengths and futures of museums, libraries and community centres as seen by experts in the field: First round results of a Delphi study","authors":"J. Tóth","doi":"10.46284/mkd.2020.8.2.4","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.2.4","url":null,"abstract":"In the process of building local communities with shared cultural values, museums, libraries and community centres are key agents in civil society. When these institutions project specific notions and ideal types of identity and citizenship, they have the potential to produce changes in people’s behaviour. It is only natural that political bodies are interested in these processes. On 16 September 2016, the Ministry of Human Capacities of the Hungarian Government launched an EU-funded project with the primary aim of strengthening social cohesion within the region. As a part of this project, we surveyed 59 professionals working in Hungarian museums, libraries and community centres, using the Delphi method, to gain insights about their capacities, needs, and visions. This article presents the results of the first round of analysis. Respondents’ answers were analysed using NVivo qualitative data analysis software, which resulted in a thematic map showing the main problems professionals in these sectors are struggling with, and highlighting the kinds of visions they had for their institutions’ future. The study clearly shows that the cultural sector is plagued by financial problems, and that there is a strong need for reform when it comes to the professional training of workers in these fields. Regarding the future, visions are centred around cultural institutions increasingly becoming community spaces, thinktanks, and ideas workshops that consciously guide community formation.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"1 1","pages":"55-75"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70477957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.46284/mkd.2020.8.4.10
A. Pawłowska
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
{"title":"African Art: The Journey from Ethnological Collection to the Museum of Art","authors":"A. Pawłowska","doi":"10.46284/mkd.2020.8.4.10","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.10","url":null,"abstract":"This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"8 1","pages":"161-176"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478184","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}
K. Żyła, J. Montusiewicz, S. Skulimowski, Rahim Kayumov
The geographical dispersion of the Silk Road generates a number of problems with the availability of its heritage for visitors. ICT can at least partially address these problems. This article discusses the concept of extending the Silk Road museums’ offer with virtual reality (VR) technologies, which has been tested based on a virtual exhibition, developed through a long-term cooperation between Lublin University of Technology and museums in Samarkand in the field of 3D digitization and dissemination of their exhibitions. A survey of a group of spectators was conducted and its results are discussed. It revealed that VR is a promising technology, widely accepted among spectators and well suited for the specificity of the Silk Road museums, and it could be used primarily to complement traditional exhibitions.
{"title":"VR technologies as an extension to the museum exhibition: A case study of the Silk Road museums in Samarkand","authors":"K. Żyła, J. Montusiewicz, S. Skulimowski, Rahim Kayumov","doi":"10.46284/mkd.2020.8.4.6","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.6","url":null,"abstract":"The geographical dispersion of the Silk Road generates a number of problems with the availability of its heritage for visitors. ICT can at least partially address these problems. This article discusses the concept of extending the Silk Road museums’ offer with virtual reality (VR) technologies, which has been tested based on a virtual exhibition, developed through a long-term cooperation between Lublin University of Technology and museums in Samarkand in the field of 3D digitization and dissemination of their exhibitions. A survey of a group of spectators was conducted and its results are discussed. It revealed that VR is a promising technology, widely accepted among spectators and well suited for the specificity of the Silk Road museums, and it could be used primarily to complement traditional exhibitions.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"8 1","pages":"73-93"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478778","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}
{"title":"Review of the exhibition: “Als Ich Can”, 10 July - 6 January 2020, Kunstkammer, Kunsthistorisches Museum, Viena","authors":"Oskar J. Rojewski","doi":"10.46284/mkd.2020.8.2.7","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.2.7","url":null,"abstract":"","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"1 1","pages":"117-119"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70477717","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}
There are approximately ten historical synagogue buildings left in Ukraine today which continue, to varying extents, to preserve their original wall paintings and decoration. A number of these were only recently discovered. The attempts underway, beginning in the early 2000s, to preserve as well as uncover old paintings often produce the opposite effect, destroying authentic works. The cultural significance of these historical landmarks requires that they be included in a single international register, along with supervision and an agreed upon preservation program designed individually for each. Synagogue wall paintings will inevitably perish unless ways of transferring this heritage are sought that will move these works to a different and more reliable “medium of cultural memory”. Different, innovative approaches to museum preservation and ways of presenting these works to public view are called for. Among the tried and tested options are: reconstructing old synagogue interiors which contain wall or ceiling paintings; using motifs taken from the original paintings in new works being produced for the Jewish community; and work on exhibition projects, catalogues and two-dimensional reconstruction models.
{"title":"Synagogue Decorations in Present-Day Ukraine: Practice in Preservation of Cultural and Artistic Heritage","authors":"E. Kotlyar, L. Sokolyuk, T. Pavlova","doi":"10.46284/mkd.2020.8.4.8","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.8","url":null,"abstract":"There are approximately ten historical synagogue buildings left in Ukraine today which continue, to varying extents, to preserve their original wall paintings and decoration. A number of these were only recently discovered. The attempts underway, beginning in the early 2000s, to preserve as well as uncover old paintings often produce the opposite effect, destroying authentic works. The cultural significance of these historical landmarks requires that they be included in a single international register, along with supervision and an agreed upon preservation program designed individually for each. Synagogue wall paintings will inevitably perish unless ways of transferring this heritage are sought that will move these works to a different and more reliable “medium of cultural memory”. Different, innovative approaches to museum preservation and ways of presenting these works to public view are called for. Among the tried and tested options are: reconstructing old synagogue interiors which contain wall or ceiling paintings; using motifs taken from the original paintings in new works being produced for the Jewish community; and work on exhibition projects, catalogues and two-dimensional reconstruction models.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478943","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}
Professional standards of museum work are defined by the clearly formulated International Council of Museums (ICOM) Code of Ethics and by the activity of professional organisations on both national and international levels. The goal to establish the general requirements for the education of museum workers was mainly pursued by the ICOM and some of its committees. Since museum pedagogy has developed into an independent discipline and museum pedagogue (educator) has became a full-value profession, the specialised commissions within individual professional organisations and the efforts of individual researchers have helped to gradually transform these general requirements into specific standards of museum pedagogy. These standards reflect both the scope of activities and necessary competencies of museum pedagogues, and the expected quality of education practice in museums (best practice). The varied views of professional standards for museum pedagogues in the international context represent a source of inspiration in the sphere of Czech museum pedagogy, which is undergoing a dynamic development in several areas of its activities (educational practice, consolidated legislative position) and gradually formulating its own professional standards.
{"title":"Professional standards in museum pedagogy in the international context","authors":"Lucie Jagošová","doi":"10.46284/mkd.2020.8.4.3","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.3","url":null,"abstract":"Professional standards of museum work are defined by the clearly formulated International Council of Museums (ICOM) Code of Ethics and by the activity of professional organisations on both national and international levels. The goal to establish the general requirements for the education of museum workers was mainly pursued by the ICOM and some of its committees. Since museum pedagogy has developed into an independent discipline and museum pedagogue (educator) has became a full-value profession, the specialised commissions within individual professional organisations and the efforts of individual researchers have helped to gradually transform these general requirements into specific standards of museum pedagogy. These standards reflect both the scope of activities and necessary competencies of museum pedagogues, and the expected quality of education practice in museums (best practice). The varied views of professional standards for museum pedagogues in the international context represent a source of inspiration in the sphere of Czech museum pedagogy, which is undergoing a dynamic development in several areas of its activities (educational practice, consolidated legislative position) and gradually formulating its own professional standards.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"8 1","pages":"35-47"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478423","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}
The study deals with uniform buttons in the collection of the Waldes Museum of Buttons and Fasteners in Prague-Vršovice, which was founded at the initiative of Prague industrialist and philanthropist Jindřich Waldes. Over the course of the museum’s existence, from 1916 to 1945, the collection came to include more than 350 uniform buttons. This study tries to capture the significance of the collection at the Waldes Museum, both as exhibits in themselves, and as study material connected with the museum’s publication work or the building of a specialised archive and library on the other. It also presents selected exhibits from the collection in question, together with other associated objects and specialised materials. The study draws on expert consideration of the preserved collection, original publications and materials from the Waldes Museum Archive and specialised literature.
{"title":"Uniform buttons within the context of the collection of the Waldes Museum of Buttons and Fasteners","authors":"K. Hrušková","doi":"10.46284/mkd.2020.8.4.1","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.1","url":null,"abstract":"The study deals with uniform buttons in the collection of the Waldes Museum of Buttons and Fasteners in Prague-Vršovice, which was founded at the initiative of Prague industrialist and philanthropist Jindřich Waldes. Over the course of the museum’s existence, from 1916 to 1945, the collection came to include more than 350 uniform buttons. This study tries to capture the significance of the collection at the Waldes Museum, both as exhibits in themselves, and as study material connected with the museum’s publication work or the building of a specialised archive and library on the other. It also presents selected exhibits from the collection in question, together with other associated objects and specialised materials. The study draws on expert consideration of the preserved collection, original publications and materials from the Waldes Museum Archive and specialised literature.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"1 1","pages":"5-21"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478606","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}
This paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż.
{"title":"How to exhibit a human mummy in a former monastery? The case of the body of Michael Willmann (1630–1706)","authors":"Andrzej Kozieł","doi":"10.46284/mkd.2020.8.4.7","DOIUrl":"https://doi.org/10.46284/mkd.2020.8.4.7","url":null,"abstract":"This paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":"8 1","pages":"95-109"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478894","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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