Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956780
Yael Kreplak, François Mairesse
Abstract Gaël de Guichen is a key figure in the world of conservation and collection storage. His career has taken him from the Lascaux cave in France's Vézère Valley to the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) in Rome, Italy. At the latter, he developed the concept of ‘preventive conservation' and set up numerous study programmes for heritage preservation, including the RE-ORG method, which has since become an international standard in collection storage. In his words, ‘a museum's storage room is the place where unexhibited collections are brought together in optimal conditions, ready to be displayed in galleries, studied by specialists, and, if possible, seen by the public.’ In this interview, he tells us how he came to this definition and what it implies. His journey, however, is part of a larger story: one that also paves the way for the future of collection storage around the world.
摘要Gaël de Guichen是保护和收藏领域的关键人物。他的职业生涯将他从法国韦兹河谷的拉斯科洞穴带到了意大利罗马的国际文化财产保护和修复研究中心（ICCROM）。在后者，他提出了“预防性保护”的概念，并制定了许多遗产保护研究计划，包括RE-ORG方法，该方法已成为藏品储存的国际标准。用他的话说，“博物馆的储藏室是在最佳条件下将未展出的藏品汇集在一起的地方，准备在画廊展出，由专家研究，如果可能的话，还可以让公众看到。”在这次采访中，他告诉我们他是如何得出这个定义的，以及它意味着什么。然而，他的旅程是一个更大故事的一部分：这也为世界各地藏品存储的未来铺平了道路。
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Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956773
Bako Rasoarifetra
Abstract In June 2019, Madagascar was chosen as a host country for a RE-ORG programme, a method developed by ICCROM and UNESCO and applied transnationally to help museums to improve the management of their collections in storage. This activity, initiated by UNESCO, was financed by the government of Japan and carried out by the Ministry of Communication and Culture in Madagascar. In December 1995, the Rova of Antananarivo, which housed the historic Queen’s Palace, was destroyed by a fire. Thirty per cent of the collections saved from the flames were transferred to the Prime Minister’s Andafiavaratra Palace, now a museum. For over two decades, the unexhibited collections were stored in unstructured rooms that did not comply with principles of preventive conservation. Putting theory into practice, the RE-ORG method was applied to the royal collections at the Andafiavaratra Museum in 2019. The project primarily involved the reorganisation of the storage rooms and training during two weeks for Malagasy museum staff. A unique approach was taken: the 26 participants from 12 museums returned to their respective museums when their training was completed with the intention to reorganise or create their own storage facilities. The RE-ORG project in Madagascar led the ICOM National Committee to a general review of Malagasy museums. This case study shows how improving storage areas in Malagasy museums led to greater awareness among the local museum community and visitors on the importance of preserving cultural heritage.
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Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956764
Bély Hermann Abdoul-Karim Niangao
Abstract The Musée National de Burkina Faso - MNB (National Museum of Burkina Faso) was one of the first museums founded in West Africa in the wake of regional independence movements. Having long borne the consequences of geographical and institutional nomadism, the museum is now built on an area of 29 hectares in the heart of Burkina Faso's capital, Ouagadougou. Although today its storage rooms seem to meet standards for the conservation of collections, further efforts need to be made. This case study develops a historical approach to understanding the evolution of the National Museum and its collections, particularly through the lens of storage management. It leads to new perspectives around the museum, particularly with regard to the inclusion of Living Human Treasures to its programmes. In addition, in a national context marked by multiple terrorist attacks that have led to the destruction of heritage, the role of the National Museum in the conservation of movable heritage from other museums deserves to be questioned.
摘要:布基纳法索国家博物馆(muse National de Burkina Faso, MNB)是西非地区独立运动后成立的首批博物馆之一。由于长期受到地理和制度上的游牧的影响，该博物馆现在建在布基纳法索首都瓦加杜古中心的一块29公顷的土地上。虽然今天它的储藏室似乎达到了收藏的标准，但还需要进一步的努力。本案例研究发展了一种历史的方法来理解国家博物馆及其藏品的演变，特别是通过存储管理的视角。它为博物馆带来了新的视角，特别是关于将活着的人类宝藏纳入其项目。此外，在多次恐怖袭击导致遗产遭到破坏的国家背景下，国家博物馆在保护来自其他博物馆的可移动遗产方面的作用值得质疑。
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Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956753
Liz Hide, Danna Pemberton
Abstract Can a new storage facility drive a strategic transformation for a museum? What opportunities does an off-site ‘behind the scenes’ facility provide for developing a museum’s stakeholder relationships and its public engagement role; furthermore, what impact can it have on the social needs of a new community? The Colin Forbes Building is a 650-square-metre facility opened in 2019 by the Sedgwick Museum of Earth Sciences, University of Cambridge, UK, located around 4.5 kilometres from the main museum site in central Cambridge. When fully populated it will provide high-quality, environmentally controlled storage for more than 80 per cent of the Sedgwick’s rock and fossil collections and its unique historic archive. In this case study, we describe how a project conceived to improve storage is now driving a much wider range of strategic initiatives. The project is part of a new Strategic Plan for the Sedgwick Museum, adopted in 2019 and instigated by an external review of the museum’s activities, new leadership and extensive consultation. With the building project itself nearly completed, the challenge lay in mobilising this new facility to contribute to delivery of the aforementioned Strategic Plan. By equipping and presenting it as a dynamic centre for collections-based research we are enabling active development of the Sedgwick’s relationship with the scientific research community. Furthermore, it will enable the Sedgwick to deliver public engagement in ways that enhance the existing ‘traditional’ museum offer. The facility’s location on the edge of a major new community currently under construction on the north-west outskirts of Cambridge, enables us to engage meaningfully with a much wider public and university audience in an area of the city that currently has very little cultural provision. In the context of the Covid-19 pandemic, we review approaches and achievements, and reflect on how the project can continue to support strategic transformation in the post-pandemic period.
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Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956755
Marie-Charlotte Calafat
Abstract The Mucem has been registered as a national public institution in France since February 2013. It inherited the French holdings of the Musée d’Ethnographie du Trocadéro (1881) and the Musée National des Arts et Traditions Populaires (created in 1937, opened in 1975, and closed in 2005). Its Centre for Conservation and Resources (CCR), located in Marseille’s Belle de Mai neighbourhood, was designed by the architectural firm Corinne Vezzoni and Associates. Housing one million objects and documents across 8,000 square metres of storage space (itself divided into 17 rooms), the CCR has four areas that are open to the public: a Viewing Room, a Reading Room, an Exhibition Room, and a 900-square-metre Storage Room. The CCR was designed not only with collection management in mind, but also to assist with mediation and promotion. Through an overview of the collections and the space in which they are housed, this article and case study reflects on the museum’s past seven years of operation.
摘要The Mucem自2013年2月起在法国注册为国家公共机构。它继承了法国收藏的Trocadéro民族志博物馆（1881年）和国家艺术与传统博物馆（创建于1937年，1975年开放，2005年关闭）。其保护与资源中心（CCR）位于马赛的Belle de Mai社区，由建筑公司Corinne Vezzoni and Associates设计。CCR有四个向公众开放的区域：阅览室、阅览室、展览室和900平方米的储藏室，在8000平方米的存储空间（本身分为17个房间）中容纳了100万件物品和文件。CCR的设计不仅考虑到了收款管理，还旨在协助调解和推广。通过对藏品及其存放空间的概述，本文和案例研究回顾了博物馆过去七年的运营。
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Pub Date : 2021-01-02DOI: 10.1080/13500775.2021.1956783
T. Beltrame
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Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873522
Rita Grácio, Andreia C. Coutinho, Laura Falé, Maribel Sobreira
Abstract This paper takes part in the ongoing debate around how museums have begun to address LGBTQI+ and feminist issues in the 21st century. While Portugal is a particularly interesting country to consider, given that it has passed some of the most advanced legislation on LGBTQI+ rights in Europe (Santos 2012), this progressivism is not reflected in Portuguese museum practices, given that gender museology has been slow to emerge (Vaquinhas 2014). After briefly contextualising initiatives addressing gender in Portuguese art museums, we present as a case study Trazer a margem para o centro (Bringing the Margin to the Centre), a series of three talks hosted by the Berardo Collection Museum, which is considered Portugal’s primary modern and contemporary art museum. Unlike previous initiatives in art museums, which were museum-led, the series of talks was led by the small intersectional feminist collective FACA. A sociologist (Rita Grácio) and the three members of FACA (Andreia Coutinho, Laura Falé and Maribel Sobreira) designed and conducted the three talks that constitute the initiative Bringing the Margin to the Centre. Grácio designed and conducted the qualitative study of the audiences that attended Bringing the Margin to the Centre. This study consisted of participant observation at the event series, at which an adapted version of the Personal Meaning Mapping technique (Falk and Storksdieck 2005) was applied; semi-structured phone interviews with participants were then conducted after the event (Falk and Dierking 2011). The main findings show this event raised awareness among cisgender visitors with heteronormative perspectives and provided a space for counter-narratives of the queer community, showing the role of collective curatorial activism and museums in promoting gender equality and inclusiveness, if acting as gate-leakers, rather than as gatekeepers. Hence, museums can provide lessons to other organisations interested in promoting diversity and inclusion.
摘要本文参与了正在进行的关于博物馆如何在21世纪开始解决LGBTQI+和女权主义问题的辩论。虽然葡萄牙是一个特别值得考虑的国家，因为它已经通过了一些欧洲最先进的关于LGBTQI+权利的立法（桑托斯，2012年），但这种进步主义并没有反映在葡萄牙博物馆的实践中，因为性别博物馆学的出现一直很慢（Vaquinhas，2014年）。在简要介绍了葡萄牙艺术博物馆中解决性别问题的举措后，我们以案例研究的形式介绍了Trazer a margem para o centro（将边缘带到中心），这是由贝拉多收藏博物馆主办的一系列三场讲座，贝拉多收藏馆被认为是葡萄牙主要的现代和当代艺术博物馆。与之前由博物馆领导的艺术博物馆倡议不同，这一系列讲座由小型跨部门女权主义团体FACA领导。社会学家（Rita Grácio）和FACA的三名成员（Andreia Coutinho、Laura Falé和Maribel Sobreira）设计并主持了三场会谈，这三场会谈构成了“将边际带到中心”倡议。Grácio设计并对参加《将边缘带到中心》的观众进行了定性研究。这项研究包括参与者在系列活动中的观察，其中应用了个人意义映射技术的改编版本（Falk和Storksdieck，2005）；活动结束后，对参与者进行了半结构化的电话采访（Falk和Dierking，2011年）。主要研究结果表明，这一事件提高了具有非规范视角的顺性别游客的意识，并为酷儿群体的反叙事提供了空间，显示了集体策展活动和博物馆在促进性别平等和包容性方面的作用，如果它们是泄密者，而不是守门人。因此，博物馆可以为其他有兴趣促进多样性和包容性的组织提供经验教训。
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Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873515
Aylime Aslı Demir
Abstract This article aims to rethink the concept of unpredictability – one that natural law theoreticians such as Thomas Hobbes have in the past read through negative connotations of suspiciousness, uncertainty, contingency or anti-orderliness - through the lens of art and LGBTQI+ activism. Instead of demanding more certainty, security and authoritarianism in an era when we are confronted with radical uncertainties, this article aims to explore the potentialities of unpredictable activism; more specifically, it explores the unpredictable actions that Turkey-based LGBTI & Queer activists have staged in response to various attacks in the past few years. In so doing, it reads the concept of unpredictability in a positive way, and unveils its potential in the realm of political activism.
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Pub Date : 2020-11-27DOI: 10.1080/13500775.2020.1873495
Dinh Thi nhung
Abstract The fact that there are only a few queer museums operating globally raises questions around the heteronormativity inherent in—and the invisibility of—the LGBTQI+ community in museums and mainstream institutions. This is true in Vietnam, where no museums have yet agreed to host an LGBTQI+ exhibition, despite growing interest. This lack of representation has led certain activists to seek alternative spaces wherein they can create unstraight exhibitions. The Unstraight Museum (UM), a Swedish NGO, has collaborated with local activists and NGOs across the world to create such exhibitions. Thanks to the UM, the author had the opportunity to use her organisation's collection to stage the Cabinet exhibition in 2015. She was later involved in collecting and exhibiting materials with the UM in Cambodia and Myanmar. This article presents the author's methods and perspectives on planning and executing these exhibitions. The digital and physical exhibitions of Southeast Asian materials in Sweden are also discussed to elucidate the international context of the author's work. Questions remain, however, around local sustainability and autonomy.
{"title":"Reflections on the Making of the Unstraight Exhibitions","authors":"Dinh Thi nhung","doi":"10.1080/13500775.2020.1873495","DOIUrl":"https://doi.org/10.1080/13500775.2020.1873495","url":null,"abstract":"Abstract The fact that there are only a few queer museums operating globally raises questions around the heteronormativity inherent in—and the invisibility of—the LGBTQI+ community in museums and mainstream institutions. This is true in Vietnam, where no museums have yet agreed to host an LGBTQI+ exhibition, despite growing interest. This lack of representation has led certain activists to seek alternative spaces wherein they can create unstraight exhibitions. The Unstraight Museum (UM), a Swedish NGO, has collaborated with local activists and NGOs across the world to create such exhibitions. Thanks to the UM, the author had the opportunity to use her organisation's collection to stage the Cabinet exhibition in 2015. She was later involved in collecting and exhibiting materials with the UM in Cambodia and Myanmar. This article presents the author's methods and perspectives on planning and executing these exhibitions. The digital and physical exhibitions of Southeast Asian materials in Sweden are also discussed to elucidate the international context of the author's work. Questions remain, however, around local sustainability and autonomy.","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/10.1080/13500775.2020.1873495","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43641227","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: 10.1080/13500775.2020.1873492
Amy K. Levin
Abstract This article focuses on an increasingly common phenomenon: the exhibition on violence or trauma that evokes excessively strong reactions in visitors. Popular contemporary museum practices contribute to such responses. The first is the valorisation of the ‘difficult’ exhibition without sufficient consideration of the ways in which it is challenging or of the identities of its targets. The desire to foster empathy within institutions or individuals, which seems benign, also involves risks and limitations. We lack hard evidence of empathy’s benefits as a museum strategy, and particularly of whether it stimulates activism. Indeed, immersive exhibitions that succeed in engaging audiences in individual stories may not instigate systemic change; in terms of gender, they may focus on a particular woman’s suffering but not on global gender inequity. These excesses of violence and trauma wrought on gendered bodies may leave visitors despondent and unsettled. As a result, the gallery, promoted as a liberatory ‘third’ space of inclusion, may be perceived as confining or oppressive. To explain this paradox, I deploy James Giles’s theory of Fourthspace, using my experience viewing Carlos Motta’s installation on LGBTQI+ immigrants in the Netherlands at the Stedelijk Museum Amsterdam in 2017 as a case study. While offering prescriptive solutions is not my primary aim, I briefly discuss possible solutions.
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