Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873502
Mar Gaitán, Ester Alba
Abstract In this text, we present the contributions of the Spain-based project Rereadings. Museum Itineraries from a Gender Perspective, which aims to present to the public the collections of 11 Valencian museums, of various kinds and under different types of ownership, from a gender and queer perspective. Rereadings uses virtual itineraries and QR codes to contribute to the study of gender. Thus, technology is used as a basis for information dissemination, analysis, and debate. The struggle against androcentrism and heteropatriarchy has generated a greater inclusion of women, other genders, and diverse sexualities in traditional museum discourse. New technologies function as one of the fundamental pillars of the project; their purpose is to disseminate museum itineraries as works in progress, and to promote education and access. Rereadings offers a forum for public discussion that questions androcentrism and the Western sexand gender-based binary system, while increasing the visibility and acceptance of alternative and transgender identities.
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Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873498
Kate Drinane
Abstract This article will discuss the fundamental importance of community-led, organic research methodologies when uncovering and revealing LGBTQIA+ identities within the Irish national collection. Using the National Gallery of Ireland as a case study, the paper highlights the importance of this research in an Irish context. The representation of the LGBTQIA+ community in historical and cultural institutions in Ireland has grown in the past four years. This is partly due to the Marriage Equality Referendum passing in favour of equal marriage in 2015. With this increased acceptance from the people of Ireland, more members of the community are actively reflecting on their place in society and history. To best direct this communal reflection, a cyclical research methodology was applied to uncovering previously overlooked LGBTQIA+ representation in the Gallery’s collection. Initial research into key works was disseminated via public LGBTQIA+ tours of the collection. Tour participants’ feedback and ideas were gathered over several months and guided further research. This community-led approach has yielded a new directory of some 30 works and artists that will be shared on the Gallery’s website for the general public to access. Engaging with the LGBTQIA+ community when carrying out this research has been of fundamental importance. Until recently, this community in Ireland has been largely ignored by historians, researchers, and curators. To reveal, commemorate, and celebrate queer stories and sources from these times, the voices of the existing community are essential. The foundation of the LGBTQIA+ Research Network and plans for an island-wide database will ensure that these voices will no longer be ignored.
{"title":"Finding the Rainbow Needle in the Research Haystack","authors":"Kate Drinane","doi":"10.1080/13500775.2020.1873498","DOIUrl":"https://doi.org/10.1080/13500775.2020.1873498","url":null,"abstract":"Abstract This article will discuss the fundamental importance of community-led, organic research methodologies when uncovering and revealing LGBTQIA+ identities within the Irish national collection. Using the National Gallery of Ireland as a case study, the paper highlights the importance of this research in an Irish context. The representation of the LGBTQIA+ community in historical and cultural institutions in Ireland has grown in the past four years. This is partly due to the Marriage Equality Referendum passing in favour of equal marriage in 2015. With this increased acceptance from the people of Ireland, more members of the community are actively reflecting on their place in society and history. To best direct this communal reflection, a cyclical research methodology was applied to uncovering previously overlooked LGBTQIA+ representation in the Gallery’s collection. Initial research into key works was disseminated via public LGBTQIA+ tours of the collection. Tour participants’ feedback and ideas were gathered over several months and guided further research. This community-led approach has yielded a new directory of some 30 works and artists that will be shared on the Gallery’s website for the general public to access. Engaging with the LGBTQIA+ community when carrying out this research has been of fundamental importance. Until recently, this community in Ireland has been largely ignored by historians, researchers, and curators. To reveal, commemorate, and celebrate queer stories and sources from these times, the voices of the existing community are essential. The foundation of the LGBTQIA+ Research Network and plans for an island-wide database will ensure that these voices will no longer be ignored.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2020.1873498","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42916915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873496
V. Jourdain
Abstract Through her experiences as a queer feminist artist and cultural worker, V. Jourdain shares some of her artistic and curatorial practices in Quebec and France. Comparing the two cultures' consideration of LGBTQI+ minorities, she illuminates a few strategies for changing practices in art and artistic labour in two French-speaking communities. In this article, V. Jourdain shares her experience in research, creation, and passing down memory by opening up a dialogue between feminist frameworks, contemporary art and LGBTQI+ archives.
{"title":"Memory Gaps and Hollow Bodies. LGBTQI+ Inclusivity in the Visual Arts: Experiences in France and Quebec","authors":"V. Jourdain","doi":"10.1080/13500775.2020.1873496","DOIUrl":"https://doi.org/10.1080/13500775.2020.1873496","url":null,"abstract":"Abstract Through her experiences as a queer feminist artist and cultural worker, V. Jourdain shares some of her artistic and curatorial practices in Quebec and France. Comparing the two cultures' consideration of LGBTQI+ minorities, she illuminates a few strategies for changing practices in art and artistic labour in two French-speaking communities. In this article, V. Jourdain shares her experience in research, creation, and passing down memory by opening up a dialogue between feminist frameworks, contemporary art and LGBTQI+ archives.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2020.1873496","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48371591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873500
Uliana Zanetti
Abstract Most museums claim to foster the democratisation of their collections through top-down educational programmes. However, it is possible to challenge this perspective and, instead, encourage self-empowerment in lieu of imitation, hosting, and fostering cultural contributions offered by different communities that cultivate independent paths toward creating identities and institutional recognition. Although ‘discrimination’ seems to be a constitutive feature of museums, in that their entire structure is based on exclusion/inclusion processes at multiple levels, their structure offers unlimited possibilities to enact different approaches. If we consider museums as hypertexts that enable continuous re-readings, we can adopt them as generative spaces for critical and innovative practices. Several events that took place at the Modern Art Museum of Bologna (MAMbo) over the past decade show different approaches to tackling discrimination in museums. Each offered a range of reflections and activities concerning specific topics: the audience of sightless people in contemporary art museums (Collezioni mai viste, 2008), women’s art (Autoritratti, 2013 ), and gender representations (Performing Gender, 2015). Each event was developed as a research action project and carried out by groups strongly committed to contemporary art, respectively representing communities of sightless people, women, and LGBTQI+. Framing specificity as a tool for more diverse forms of representation, museums might question their own history, collections, practices and contexts, cooperating with existing communities representing cultural diversity to foster new narratives and enable the creation of new sources for different discourses and histories to be told.
大多数博物馆声称通过自上而下的教育计划来促进其藏品的民主化。然而，挑战这种观点是有可能的，相反，鼓励自我赋权，而不是模仿、主持和促进不同社区提供的文化贡献，这些贡献为创造身份和制度认可开辟了独立的道路。尽管“歧视”似乎是博物馆的一个构成特征，因为它们的整个结构是基于多个层面的排斥/包容过程，但它们的结构为制定不同的方法提供了无限的可能性。如果我们把博物馆看作是可以不断重复阅读的超文本，我们就可以把它们作为批判性和创新实践的生成空间。过去十年在博洛尼亚现代艺术博物馆(MAMbo)举行的几次活动显示了解决博物馆歧视问题的不同方法。每个展览都提供了一系列关于特定主题的思考和活动:当代艺术博物馆中的盲人观众(Collezioni mai visit, 2008)，女性艺术(Autoritratti, 2013)和性别表现(Performing gender, 2015)。每个活动都是作为一个研究行动项目，由致力于当代艺术的团体分别代表盲人群体、女性群体和LGBTQI+群体开展。博物馆可能会质疑自己的历史、藏品、实践和背景，与代表文化多样性的现有社区合作，培育新的叙事，并为不同的话语和历史创造新的来源。
{"title":"Queer Self-Representation Inside the Museum","authors":"Uliana Zanetti","doi":"10.1080/13500775.2020.1873500","DOIUrl":"https://doi.org/10.1080/13500775.2020.1873500","url":null,"abstract":"Abstract Most museums claim to foster the democratisation of their collections through top-down educational programmes. However, it is possible to challenge this perspective and, instead, encourage self-empowerment in lieu of imitation, hosting, and fostering cultural contributions offered by different communities that cultivate independent paths toward creating identities and institutional recognition. Although ‘discrimination’ seems to be a constitutive feature of museums, in that their entire structure is based on exclusion/inclusion processes at multiple levels, their structure offers unlimited possibilities to enact different approaches. If we consider museums as hypertexts that enable continuous re-readings, we can adopt them as generative spaces for critical and innovative practices. Several events that took place at the Modern Art Museum of Bologna (MAMbo) over the past decade show different approaches to tackling discrimination in museums. Each offered a range of reflections and activities concerning specific topics: the audience of sightless people in contemporary art museums (Collezioni mai viste, 2008), women’s art (Autoritratti, 2013 ), and gender representations (Performing Gender, 2015). Each event was developed as a research action project and carried out by groups strongly committed to contemporary art, respectively representing communities of sightless people, women, and LGBTQI+. Framing specificity as a tool for more diverse forms of representation, museums might question their own history, collections, practices and contexts, cooperating with existing communities representing cultural diversity to foster new narratives and enable the creation of new sources for different discourses and histories to be told.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2020.1873500","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44106276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873510
M. Dolores
Abstract How and why do we, as queer people, occupy and create community-based artistic spaces? What sorts of performative forces and dynamics are activated once we adopt the name ‘museum’? Is AMOQA (Athens Museum of Queer Arts), whose creation is discussed in the present article, a ‘museum’ or a social centre? How can we imagine alternative ways of blending art, activism and politics? For example, how do the politics of drag and hacking relate to the making of a queer feminist space? These are some of the questions this article addresses as it explores the creation of AMOQA in relation to the messy binaries of public/private, proper/improper, high culture/low culture, and useful/obsolete. By examining the intersections between these binaries, we wish to tell the story of AMOQA as a performative collective endeavour, as a character in drag, as a sort of ‘hacking’ intervention.
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Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873497
Gerard Koskovich, Don Romesburg, Amy Sueyoshi
Abstract The Gay, Lesbian, Bisexual, Transgender Historical Society in San Francisco is an internationally recognised, community-based queer public history institution founded in 1985. In its early years, its work focused largely on recovering and preserving archival records, periodicals, photographs, art and artefacts documenting the histories of lesbian, gay, bisexual, transgender and queer people and cultures in Northern California. The society also sponsored programmes and occasional small exhibitions in borrowed spaces before finally creating a standalone pop-up museum in the city’s historically gay Castro District in 2008-2009, followed by a still-operating museum in a storefront in the same neighbourhood in 2011. In the following conversation, three of the GLBT Historical Society’s long-time stakeholders and frequent curators address the history, mission, theory, practice, and impact of the institution.
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Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873527
Olga Zabalueva
T recent books on issues of gender and sexuality in museum theory and practice frame the ‘queer turn’ in museums, complementing one another and following from Gender, Sexuality, and Museums: A Routledge Reader (Levin 2010). These new volumes, Museums, Sexuality, and Gender Activism, edited by Adair and Levin, and Queering the Museum, authored by Sullivan and Middleton, go far beyond LGBTQI+ issues, however, providing new perspectives and analytical lenses for the museum profession and museum studies in general.
{"title":"Re-imagining Museum Studies: Review of Museums, Sexuality, and Gender Activism and Queering the Museum","authors":"Olga Zabalueva","doi":"10.1080/13500775.2020.1873527","DOIUrl":"https://doi.org/10.1080/13500775.2020.1873527","url":null,"abstract":"T recent books on issues of gender and sexuality in museum theory and practice frame the ‘queer turn’ in museums, complementing one another and following from Gender, Sexuality, and Museums: A Routledge Reader (Levin 2010). These new volumes, Museums, Sexuality, and Gender Activism, edited by Adair and Levin, and Queering the Museum, authored by Sullivan and Middleton, go far beyond LGBTQI+ issues, however, providing new perspectives and analytical lenses for the museum profession and museum studies in general.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2020.1873527","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43843177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873508
Lucía Egaña Rojas
Abstract This article will address experiences centred around relationships—which are often conflictive—between sexual dissidents and museums, in particular outside the Anglophone world. In it, I address certain projects that I have worked on personally and collectively as an artist, and offer reflections that are undoubtedly conditioned by my own status as a migrant and sexually dissident person who collaborates with a museum in Barcelona. In this regard, the article is not a theoretical one, but rather a personal reflection intended to analyse my experiences situationally, and to identify ways for museums and dissidents to relate that take on and circumvent power relations, the logic of mere representation, and ‘extractive practices’ that have marked these relationships to date.
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Pub Date : 2020-11-27DOI: 10.1080/13500775.2021.1873489
R. Chantraine, Bruno Brulon Soares
MUSEUM international Introduction T he struggles of lesbian, gay, bisexual, transgender, queer and intersex individuals and groups to express their differences, demand social justice and reclaim a place in history1 are not new ones. In the 1960s, the earliest demonstrations from LGBTQI+ activists against police repression in the public space were centred around demands for visibility, equal rights and social representation. Today, more than 50 years after the landmark Stonewall riots in June 1969, we can say that several groups and organised movements around the world use cultural tactics and memory-based projects as important tools in their demands for equal rights and inclusiveness in the public sphere (see Sandell 2017). These affirmative strategies of LGBTQI+ minorities have substantially increased since the mid-1980s, in a movement that was spurred in part by the global spread of the HIV/ AIDS epidemic. Among the tragic consequences of this historical event was the death of thousands of gay men, as well as other marginalised groups, such as drug users, sex workers, trans people, migrants, etc.—due to governmental neglect as denounced by the ACT UP movements around the globe2. From these terrible events emerged a sense of cultural loss among LGBTQI+ people, but also the rise of a collective awareness that restoring this culture as well as breaking the chain of viral transmission was imperative. It was in this context, in 1985, that the GLBT Historical Society (San Francisco) and the Schwules Museum (Berlin) both presented in this issue, were created.
{"title":"Introduction and Editorial","authors":"R. Chantraine, Bruno Brulon Soares","doi":"10.1080/13500775.2021.1873489","DOIUrl":"https://doi.org/10.1080/13500775.2021.1873489","url":null,"abstract":"MUSEUM international Introduction T he struggles of lesbian, gay, bisexual, transgender, queer and intersex individuals and groups to express their differences, demand social justice and reclaim a place in history1 are not new ones. In the 1960s, the earliest demonstrations from LGBTQI+ activists against police repression in the public space were centred around demands for visibility, equal rights and social representation. Today, more than 50 years after the landmark Stonewall riots in June 1969, we can say that several groups and organised movements around the world use cultural tactics and memory-based projects as important tools in their demands for equal rights and inclusiveness in the public sphere (see Sandell 2017). These affirmative strategies of LGBTQI+ minorities have substantially increased since the mid-1980s, in a movement that was spurred in part by the global spread of the HIV/ AIDS epidemic. Among the tragic consequences of this historical event was the death of thousands of gay men, as well as other marginalised groups, such as drug users, sex workers, trans people, migrants, etc.—due to governmental neglect as denounced by the ACT UP movements around the globe2. From these terrible events emerged a sense of cultural loss among LGBTQI+ people, but also the rise of a collective awareness that restoring this culture as well as breaking the chain of viral transmission was imperative. It was in this context, in 1985, that the GLBT Historical Society (San Francisco) and the Schwules Museum (Berlin) both presented in this issue, were created.","PeriodicalId":45701,"journal":{"name":"MUSEUM INTERNATIONAL","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/13500775.2021.1873489","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46797566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873499
F. Croizet
Abstract Prior to the emergence of social and critical museology, a normativist discourse suffused with a white, male, heterosexual, bourgeois perspective prevailed within museums. Any discourse that did not fit into that legitimising pattern would simply be silenced and forgotten. Accordingly, the memory of the LGBTQI+ community was excluded from the museums of the city of Buenos Aires. Nevertheless, from a strongly activist and self-administrative standpoint, various members of the queer community managed to safeguard documentation and objects relating to their past living conditions, which are marked by injustice, struggle and discrimination of all kinds. In the heat of successive debates surrounding the Equal Marriage Act (2010) and the Sexual Identity Act (2012), the visibility of the art and history of the collective increased and entered the agendas of the media and the museum. This article gives an account of the heterogeneous museum ecosystem of the Argentine capital in terms of inclusion of the memories of the LGBTQI+ community, both in collections policy and exhibition programming.
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