To see the other types of publications on this topic, follow the link: EXHIBITION – MUSEUM - PROJECT.
Journal articles on the topic 'EXHIBITION – MUSEUM - PROJECT'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'EXHIBITION – MUSEUM - PROJECT.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Treit, Dominika, and Kamila Hyska. "Wdrażanie narzędzi zarządzania projektowego do procesu organizacji wystaw. Studium przypadku Muzeum Narodowego w Krakowie (2016–2019)." Zarządzanie w Kulturze 22, no. 1 (2021): 41–67. http://dx.doi.org/10.4467/20843976zk.21.005.13633.
Full textAbstract:
Implementation of Project Management Tools to the Exhibition Organization Process. Case Study of the National Museum in Krakow (2016–2019) How to thoroughly improve the process of organizing exhibitions in a cultural institution? Is project management in a museum possible? How to implement new tools? What to do after initiating a change? This article provides answers to these questions through a case study prepared by the Head of the Exhibition Organization Department and the Head of the Coordinators Section of the National Museum in Krakow, directly responsible for the exhibition organization process. The article describes the events from 2016 to 2019. This includes an audit of the existing process of exhibition organization, implementation of corrective measures, introduction of new tools, their updating and verification, taking into account such solutions as treating the exhibition as a project, PRINCE2 and Scrum methods, a detailed description of the process, and creating standardized templates of project documents, i.e. a list of objects, project charter, project schedule, partial schedule, project budget, evaluation. These activities resulted in the improvement of team cooperation, the elimination of avoidable delays, the automation and acceleration of the process of preparing project documentation, making the obligations of individual team members public, submitting project data to the stakeholders of a given project on an ongoing basis, reducing the amount of manual work, and reducing the cost of the implementation of individual projects.
2
Tötszegi, Tekla. "Noi metode și tehnici de antrenare pentru persoanele cu dizabilități vizuale în activitățile de profil desfășurate în cadrul Muzeului Etnografic al Transilvaniei." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 245–58. http://dx.doi.org/10.47802/amet.2017.31.13.
Full textAbstract:
In 2009, a project funded by AFCN proposed for the first time the development of a methodology for the cultural integration of persons with visual impairments and its application to museum techniques, the outputs of which was a tactile exhibition having a permanent character. In the project "BaGMIVI PROJECT: Bridging the Gap between Museums and Individuals with Visual Impairment", the Transylvanian Museum of Ethnography has proposed the development and deepening of certain areas, presented briefly in the tactile exhibition through museum educational activities.
3
Jackson, Jason. "Ethnography and Ethnographers in Museum-Community Partnerships." Practicing Anthropology 22, no. 4 (2000): 29–32. http://dx.doi.org/10.17730/praa.22.4.30l3vn01482324x4.
Full textAbstract:
During the 1999 American Association of Museums (AAM) meetings, museum workers reflected on ways in which their institutions could become more relevant. Social structures that have supported museums are rapidly changing and in which cultural diversity is increasingly recognized as both a social value and as a pragmatic challenge for public institutions. Although the forms they take are almost as diverse as the American museum community itself, models of direct collaboration between museums and specific local communities (ethnic, religious, occupational, etc.) are becoming a standard part of museum-based exhibition and research. While this common pattern is emerging, there are wide gaps existing between the aspirations and rhetoric of museum advocates of collaboration and the real work done throughout the United States. What is often missing in collaborative exhibition projects exploring local artistic, cultural, or historical traditions are the values and perspectives that are the common background of professional cultural anthropology and folklore research. In this essay I present, as a case study, an account of a collaborative exhibition project at Tulsa's Gilcrease Museum where I, until recently, served as Curator of Anthropology.
4
Szeląg, Marcin. "EDUCATIONAL ASSUMPTIONS OF THE PERMANENT EXHIBITION IN THE PAN TADEUSZ MUSEUM IN WROCŁAW AND THEIR IMPLEMENTATION." Muzealnictwo 59 (September 21, 2018): 185–97. http://dx.doi.org/10.5604/01.3001.0012.5065.
Full textAbstract:
Since 2016 the Pan Tadeusz Museum of the Ossoliński National Institute in Wrocław has been opened to the public. It is dedicated to the national epic poem – the most acknowledged piece of literature by Adam Mickiewicz, titled Pan Tadeusz, published for the first time in 1834. It also presents the reception of the poem, longevity of ideas started in Romanticism and the legacy of freedom in the history of Poland in the 19th and 20th centuries. The investment was co-financed from the European budget within the project named The Pan Tadeusz Museum – an innovative space – education through culture. The project was based on the idea to create a museum of educational character, with the use of museum exhibits, multimedia presentations, and infrastructure necessary for a modern arrangement of the exhibition. Given these assumptions, the team of educators, mostly with long-term practice as museum professionals, prepared the permanent exhibition. Their practical experience, plus theoretical bases for educational goals they referred to, together with a subject of the exhibition that focuses on an exceptional masterpiece in the history of Polish culture, i.e. the Manuscript of Pan Tadeusz, determined decisions pertaining to selection of exhibits, content of multimedia applications, inscriptions under the exhibits and titles of individual rooms, the range of themes for audio guides as well as materials and facilities for visitors with disabilities. In the article the permanent exhibition “The Manuscript of Pan Tadeusz” is described from the perspective of narration applied and educational assumptions it was based upon. It is then referred to a museological reflection which analyses an educational potential of museum exhibitions, interpretation practices and strategies of narration carried out by museums through exhibitions and educational activities.
5
Iuga, Anamaria. "“Coming into the World: From Spirits to the Spirit”. The First Childhood Museum in Romania." Folklore: Electronic Journal of Folklore 80 (December 2020): 215–30. http://dx.doi.org/10.7592/fejf2020.80.iuga.
Full textAbstract:
The present paper follows the National Museum of the Romanian Peasant (Romania) in its endeavour to display the Virtual Museum of Childhood. The context prior to exhibiting material and intangible heritage related to childhood is analysed, and the curatorial challenges of this project are mentioned. This article also refers to the museum’s activities dedicated to childbirth (exhibitions, cultural activities), from 1990 to the present day, but it especially focuses on the first exhibition of the Museum of Childhood, “Coming into the world: From spirits to the Spirit”, dedicated to birth.
6
Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.
Full textAbstract:
This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
7
Wessman, Anna, Xenia Zeiler, Suzie Thomas, and Pilvi Vainonen. "The Durga Puja pop-up exhibition at the National Museum of Finland. Designing and hosting an exhibition as university educationmuseum collaboration." Nordisk Museologi 29, no. 2 (2020): 96. http://dx.doi.org/10.5617/nm.8445.
Full textAbstract:
In autumn 2018, eight Museum Studies students from the University of Helsinki had the opportunity to put theory into practice and to gain hands-on experience making a real exhibition. The ‘Museum Content Planning’ course was a collaborative project between the National Museum of Finland and the university in which the students, together with the museum staff, built a pop-up exhibition about the Indian festival Durga Puja in only five weeks. The exhibition showed in the National Museum for two weeks, and the students were involved in most stages of the exhibition’s development. They also blogged about their learning experience. In this case study, we present our reflections on both the benefits and challenges of collaboratively creating an exhibition, which is simultaneously an accredited learning experience for university students.
8
Dvorkin, Ihor. "MUSEUMS IN THE UKRAINIAN NATIONAL MOVEMENT IN RUSSIAN-RULED UKRAINE IN THE LATE XIX AND EARLY XX CENTURY." City History, Culture, Society, no. 3 (October 30, 2017): 83–91. http://dx.doi.org/10.15407/mics2019.03.083.
Full textAbstract:
The article examines the place and role of museum institutions in the legal, cultural activities of representatives of the Ukrainian national movement of the Russian Empire in the late nineteenth and early twentieth centuries. The author considers that in the absence of Ukrainian state and Russian imperial policy, which denied the existence of a separate Ukrainian people, the official, authorized institutions enabled the representatives of the Ukrainian creative intelligentsia a legitimate way to spread the idea of a "Ukrainian project" of nation-building. The author agrees that in promoting this project, Ukrainophiles actively used "invention of traditions" (by Eric Hobsbaum) - cultural practices of a ritual or symbolic nature that were intended to express community belonging and impart specific values and behaviours. In particular: life, traditional Ukrainian clothing, a celebration of anniversaries of outstanding events or anniversaries significant for the Ukrainian movement of personalities, as well as the conscious application of Ukrainian architectural modernity (Ukrainian style) in the architecture and development of Ukrainian professional theatre. Museums as sources of information about the past of Ukrainians also fit into these practices. They were accessible to the general public and had great potential to influence the society of that time. Museum exhibitions provided ample opportunities to represent Ukrainian history and culture, and by their explicit or hidden intention, their founders had the potential to become Ukrainian national. The attempt to implement such museum projects is described in the article on the example of the activity of the Kyiv Art, Industrial and Scientific Museum and the Museum of Ukrainian Antiquities V.V. Tarnovsky at the Chernihiv Provincial Zemstvo. Analyzing both the permanent exhibitions and the exhibitions held (the First South Russian Exhibition of Handicrafts in 1906, the exhibition dedicated to the fiftieth anniversary of the death of Taras Shevchenko in 1911), the author proves that there were literally "hiding places" behind the facade of the imperial museums. National ones that could well serve to shape Ukrainian identity.
9
Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, et al. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.
Full textAbstract:
This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). The two museums shared the project at the UK University Museums Group (UMG) conference in 2016, where it came to the attention of colleagues at OUMNH. Following the UMG conference, the leadership and education teams of the three museums opened a dialogue to exchange knowledge and experience on leadership, innovation and education in science museums. This culminated in the first Connecting Museums conference in Porto Alegre, Brazil in October 2017. The conference was attended by 81 professionals, researchers, undergraduate and graduate students with interests in museology, the natural sciences and related areas. *** Connecting Museums: um estudo de caso sobre liderança, inovação e educação em museus de ciências universitários liderando projetos de internacionalização ***Este artigo constitui-se de um relato sobre o Connecting Museums: liderança, inovação e educação em Museus de Ciências, uma conferência internacional envolvendo três museus universitários: o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: Hancock (GNM), da Newcastle University (NU) e o Oxford University Museum of Natural History (OUMNH). A parceria entre as instituições iniciou-se a partir de um projeto para o desenvolvimento de uma exposição conjunta, organizada pelo MCT-PUCRS e pelo GNM financiada pelo Newton Fund por meio do edital Institutional Skills 2016 promovido pelo British Council. Os dois museus apresentaram o projeto na conferência do University Museum Group (UMG) em 2016 no Reino Unido, despertando a atenção de colegas do OUMNH. Após a conferência, as equipes de gestão e de educação dos três museus iniciaram um diálogo que culminou na troca de conhecimentos e experiências nas áreas de liderança, inovação e educação em museus de ciências. Este diálogo resultou na primeira edição da conferência Connecting Museums em Porto Alegre, Brasil, em outubro de 2017. Participaram do evento 81 profissionais, entre pesquisadores e alunos de graduação e pós-graduação, cujo interesse estava relacionado à museologia, ciências naturais e áreas correlatas.Palavras-chave: Museus de ciência. Liderança. Inovação. Educação em ciências. Internacionalização.
10
Ivanov, A. I. "«INDUSTRIAL BIROBIDZHAN IS GROWING»: TWO EXHIBITIONS IN MOSCOW AND LENINGRAD DEDICATED TO JEWISH ECONOMIC AND CULTURAL CONSTRUCTION IN THE USSR IN 1930S." Regional problems 24, no. 2-3 (2021): 238–43. http://dx.doi.org/10.31433/2618-9593-2021-24-2-3-238-243.
Full textAbstract:
The author of the article considers two exhibitions dedicated to the Soviet propaganda project for the radical reconstruction of the Russian Jewry socio-economic structure. The first one – «Birobidzhan» – was held in 1933 in a pavilion of the Maxim Gorky Central Park of Culture and Rest in Moscow. Another exhibition – «Jews in Tsarist Russia and in the USSR», organized by the Jewish section of the State Museum of Ethnography (now – the Russian Ethnographic Museum) was working in Leningrad for the period from 1939 to 1941. Based on the documents stored in the Scientific Archive of the Russian Ethnographic Museum, the author shows how the Soviet propaganda machine used the demonstration material of museums in 1930s. The entire arsenal of exhibition was used to demonstrate «the achievements of the Leninist-Stalinist national policy among the Jews of the USSR», a creation of the Jewish Autonomous Region in the Soviet Far East being a major one.
11
Macdonald, Sharon, Christine Gerbich, and Margareta Von Oswald. "No Museum is an Island: Ethnography beyond Methodological Containerism." Museum and Society 16, no. 2 (2018): 138–56. http://dx.doi.org/10.29311/mas.v16i2.2788.
Full textAbstract:
This article addresses the question of how to go beyond the conceptualisation of museums as islands in museum ethnography without losing the ethnographic depth and insights that such research can provide. Discussing existing ethnographic research in museums, the ethnographic turn in organization studies, and methodological innovation that seeks to go beyond bounded locations in anthropology, we offer a new museum methodology that retains ethnography’s capacity to grasp the often overlooked workings of organizational life – such as the informal relations, uncodified activities, chance events and feelings – while also avoiding ‘methodological containerism’, that is, the taking of the museum as an organization for granted. We then present a project design for a multi-sited, multi-linked, multi-researcher ethnography to respond to this; together with its specific realisation as the Making Differences project currently underway on Berlin’s Museum Island. Drawing on three sub-projects of this large ethnography – concerned with exhibition-making in the Museum of Islamic Art, in the Ethnological Museum in preparation for the Humboldt Forum (a high profile and contested cultural development due to open in 2019) and a new exhibition about Berlin, also for the Humboldt Forum – we highlight the importance of what happens beyond the ‘container,’ the discretion of what we even take to be the ‘container’, and how ‘organization-ness’ of various kinds is ‘done’ or ‘achieved’. We do this in part through an analysis of organigrams at play in our research fields, showing what these variously reveal, hide and suggest. Understanding museums, and organizations more generally, in this way, we argue, brings insight both to some of the specific developments that we are analysing as well as to museum and organization studies more widely.
12
Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (2019): 158. http://dx.doi.org/10.3390/rel10030158.
Full textAbstract:
Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
13
Tůmová, Ludmila. "Pamětní knihy a jejich role v muzejních institucích." Muzeum Muzejní a vlastivedná práce 57, no. 2 (2021): 9–26. http://dx.doi.org/10.37520/mmvp.2019.011.
Full textAbstract:
Commemorative books are an essential part of exhibitions and long-term exhibitions in Czech museums. This article provides insight into the contents of books and to the information that this material can offer. A detailed analysis of ten selected pieces from the exhibitions of the National Museum answers the question of what function these notebooks in hardcover held today. As a simple glance at their records can tell us, this is not only a collection of signatures and commemorative records but also a source from which we can get an idea about visitors of the museum (resp. writers) and their views on the exhibition project, which they saw. However, while analysing this source and its informative value, we cannot forget it has its limit connected to the circumstances of its origin.
14
Gancarz, Natalia. "THE ROMA COLLECTION KNOWN AS THE AMARO MUSEUM." Muzealnictwo 58, no. 1 (2017): 0. http://dx.doi.org/10.5604/01.3001.0010.3944.
Full textAbstract:
The first significant exhibition devoted to Roma/ Gypsy history and culture was organised in the Regional Museum in Tarnów in 1979. After its success, collections connected with the history of this ethnic group were initiated. The Ethnographic Museum in Tarnów (the branch of the Regional Museum) opened a permanent exhibition entitled “Gypsies. History and culture” as the first permanent museum exhibition devoted to Roma matters in 1990. The Gypsy collections of the museum amount to almost 1000 exhibits; moreover, it gathers professional photographic, cinematographic and phonographic documentation and archives, and it runs a specialised library. Based on this permanent Roma exhibition and collections, the museum in Tarnów organises numerous cultural and educational projects, as well as those that promote Roma culture and history. The International Roma Caravan Memorial is a regular event which has been organised since 1996. It is a project which consists in a kind of a reconstruction of a Gypsy wandering caravan, during which the participants visit places connected with Roma martyrdom during the Second World War in Małopolska. In addition, the museum publishes a scientific annual entitled “Studia Romologica”.
15
E., NOVOZHILOVA. "COOPERATION WITH THE “GOROD” MUSEUM WITHIN THE FRAMEWORK OF THE “MEMENTO MORI” PROJECT." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 402–6. http://dx.doi.org/10.14258/2411-1503.2021.27.61.
Full textAbstract:
This article presents the experience of the project collaboration “Memento mori” and the museum “Gorod” as a part of the organization of excursion and exhibition activities. The Project “Memento mori” is a personal exhibition ofhistorical reconstruction of mummies and skulls. The article outlines all the stages of the project from the idea to its objectification: defining the concept of the exposition, reconstruction of exhibits, exhibition decoration design, methodical development of the excursion, advertising campaign demonstration. The creation of an exhibition is a time - consuming process, requiring profound research. Analysis of joint activities, represented in the article, reflects positive and negative aspects of work. The material will be useful for students, who specialize in “Museology and Protection of Cultural and Natural Objects”, also for museum staff and for all people who are interested in this topic. Keywords: museum, exhibition, reconstruction, skulls, mummies, design, 3D technology
16
Sagasti Mota, Diego, Sara Sillaurren, and José Daniel Gómez de Segura. "Gestión integral de un Proyecto de Reconstrucción Virtual para una exposición en un Museo." Virtual Archaeology Review 1, no. 2 (2010): 171. http://dx.doi.org/10.4995/var.2010.4724.
Full textAbstract:
<p>In the work of historical reconstruction, the accuracy, fidelity and historic accuracy of what is shown are essential elements. Increasingly, virtual reconstruction is taking a relevance position in exhibitions and archaeology museums. The experts in virtual reconstruction are gaining in importance in the exhibitions designing. But they still need a permanent feedback on the part of the archaeologists to be sure that reconstruction is adjusted to the reality and is worthy of being presented in a museum. We present our project for creation of a virtual exhibition for the archaeological museum of Vitoria (Spain).We use different types of audiovisual material to rebuild and tell the story of the humans who inhabited the north of the Iberian peninsula since the 300,000 b.C until today.</p>
17
Lobanova, Olga S., Tatiana S. Makarova, and Tamara A. Glazyrina. "ROLE OF MULTIMEDIA TECHNOLOGIES IN MUSEUM EXPOSITION." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-21.
Full textAbstract:
The article is an attempt to reconsider the theoretical postulates related to multimedia in museum business through the prism of the exhibition experiences gained by the Ural Regional Institute of Museum Projects. The main issues raised in the article are the classification of digital technologies, their interaction with other elements of the exposition, the potential of using IT-technologies in museum space. The staff of the Institute review their mistakes made in project work, combining theory and practice. The most serious shortcomings in the creation of exhibitions with multimedia technologies are considered to be visual disharmony against the general design of the museum space, lack of multimedia technology unity and disengagement of digital technologies from the scientific concept. Consideration is also given to the current state of museum business in the current context of overall digitalization.
18
Hansen, Guy. "There is no ‘I’ in Team: Reflections on Team-Based Content Development at the National Museum of Australia." Public History Review 17 (December 22, 2010): 16–33. http://dx.doi.org/10.5130/phrj.v17i0.1835.
Full textAbstract:
In recent years one of the most important trends in the development of history exhibitions in major museums has been the use of interdisciplinary project teams for content development. This approach, often referred to as the team based model of content development, has, in many institutions, replaced older models of exhibition production built around the expertise of the curator. The implementation of team based models has had a profound impact on the way exhibitions are produced. When done well it has helped deliver exhibitions combining a strong focus on audience needs with in-depth scholarship and collections research. In some contexts, however, the tyranny of the team has given rise to a form of museological trench warfare in which different stakeholders struggle for creative control of an exhibition. In this article I will explore some aspects of the team based approach with reference to the development of the opening suite of exhibitions for the National Museum of Australia (NMA) in 2001. My observations are drawn from my experience as the lead curator of the Nation Gallery, one of the NMA’s opening exhibitions.
19
Kaufmann, Karin. "Open for Interpretation." TSANTSA – Journal of the Swiss Anthropological Association 24 (May 1, 2019): 89–98. http://dx.doi.org/10.36950/tsantsa.2019.24.6924.
Full textAbstract:
This article discusses the curatorial strategy of open storage and its assumed potential to decolonize knowledge production in ethnographic museums. Showing masses of stored objects supposedly free from any institutional interpretation is thought to allow for shifting the authority over meaning-making from the museum to the public. Findings from public storeroom visits that were conducted in connection with a participatory exhibition project in an ethnographic museum call these assumptions into question.
20
Otto, Kristin. "Beyond Compare: Art from Africa in the Bode Museum." Museum Anthropology Review 13, no. 1 (2019): 103–9. http://dx.doi.org/10.14434/mar.v13i1.26579.
Full text
21
Cramer, Franz Anton. "Experience as Artifact: Transformations of the Immaterial." Dance Research Journal 46, no. 3 (2014): 24–31. http://dx.doi.org/10.1017/s0149767714000503.
Full textAbstract:
The article analyzes an artistic project that is situated on the dividing line between the realm of performance and of exhibition. The Musée de la Danse in Rennes, France, contests the dichotomies of object and experience and introduces a notion of exhibition-as-performance. In so doing, the “Dancing Museum” suggests new perspectives on, and comprehensions of, the materiality involved in both museal and performance-based modes of presentation.
22
Wančová, Nina. "Česká muzea, nová média a technologie v expozicích: Longitudinální studie mezi lety 2015–2020." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 3–21. http://dx.doi.org/10.37520/mmvp.2020.002.
Full textAbstract:
Museums are traditional and collection based cultural institutions. From the very beginning of the 20th century the established approaches in museums have been continuously challenged by social and technological changes. New topics including modernization are newly in the centre of interest. The main method used to examine the current state of using new media in exhibitions and visitor engagement in Czech museums was quantitative research with surveys. With regards to the dynamic development in the area of the research surveys were conducted longitudinally in 2015 and in 2020. This approach helped to capture more complex reality and trends in time. Respondents are museum employees from 358 institutions. The use of new media for museum displays increased significantly, while less than a half of the museums launched an online exhibition project. Almost all museums are offering accompanying programs and more than 80 % also offer game activities. Adoption of new media methods and ideas in Czech museums is gradual but it is increasing. Technically less demanding displays are more frequent, lectures dominate in accompanying programs and games are predominantly non-digital.
23
Machková, Naďa. "The Relevance of Museums." Muzeum Muzejní a vlastivedná práce 55, no. 1 (2017): 3–10. http://dx.doi.org/10.1515/mmvp-2017-0019.
Full textAbstract:
The article explores the relevance of today’s museums for modern people. It seeks the re-evaluation or the confirmation of the role of museums in today’s world and it defines the museum as a public service. This logical re-thinking of the existing perception of museums is applied in practice during the preparation of new and innovative projects. New projects are perceived as providing a new chance to ask questions about general topics, and the significance of the institution is demonstrated by its specific undertakings. The preparation of the natural science exhibition is used for demonstrating how partners are involved, while with project preparation the emphasis is mainly placed on sustainability, professional management, partnership and participation.
24
Dewhurst, C. Kurt, and Timothy Lloyd. "The American Folklore Society-China Folklore Society Folklore and Intangible Cultural Heritage Project, 2013-2016." Museum Anthropology Review 13, no. 1 (2019): 59–68. http://dx.doi.org/10.14434/mar.v13i1.25405.
Full textAbstract:
Emphasizing its museum-focused sub-project, this report describes the second phase of the China-US Folklore and Intangible Cultural Heritage Project (2013-2016). Supported by the Henry Luce Foundation, the larger project links these two national scholarly societies in a program of professional exchanges, scholarly meetings, and joint inquiry around issues of intangible cultural heritage policy and practice. The museum sub-project has included joint exhibition development work, travel to local communities in the United States and in Southwest China, and other collaborative initiatives. This report describes the project's history, funding, outcomes, and some lessons learned.
25
Jiřiště, Jakub. "Project of the National Film Museum as a Test Space for Advanced Museum Communication." Muzeum Muzejní a vlastivedná práce 54, no. 1 (2016): 29–34. http://dx.doi.org/10.1515/mmvp-2017-0004.
Full textAbstract:
This text describes the basic conceptual starting points and the results achieved by the student project NaFilM: National Film Museum, which aims to improve the unsatisfactory public presentation of the national film heritage and also make use of the untapped communication potential of film as amedium in an exhibition space. Several approaches, which were presented to the public in the opening Na film! exhibition, were used to show how film as a medium can be used in other ways than as an exhibit or fetishist object. Film can be a means of active learning and the creative development of critical thinking if social contexts are taken into consideration and informal interactive installations are utilized. The role of the NaFilM project within the context of current trends in film education is then an important question, which enables a more open approach to be taken to this type of education - extending beyond the cinema or classroom.
26
Kay, Jon. "Traditional Arts Indiana’s Bicentennial Exhibition." Museum Anthropology Review 13, no. 1 (2019): 11–31. http://dx.doi.org/10.14434/mar.v13i1.24990.
Full textAbstract:
This project report describes the planning, creation and touring of a 26-panel traveling exhibition about Indiana folk arts staged for the bicentennial of Indiana’s statehood. The exhibition, its catalogue, and related public programs were produced by Traditional Arts Indiana, Indiana’s official traditional arts service organization based at the Mathers Museum of World Cultures, Indiana University, Bloomington.
27
Bol, Marsha. "Ramblings in Search of an Exhibition: Beadwork Adorns the World." Museum Anthropology Review 13, no. 1 (2019): 69–95. http://dx.doi.org/10.14434/mar.v13i1.25397.
Full textAbstract:
In this project report, exhibition curator Marsha Bol discusses the origins and scope of the 2018-2019 Museum of International Folk Art exhibition Beadwork Adorns the World. The exhibition presented a worldwide survey of beadwork arts in their cultural and social contexts.
28
Marselis, Randi. "Exhibiting Refugee Routes: Contemporary Collecting as Memory Politics." Museum and Society 19, no. 3 (2021): 301–16. http://dx.doi.org/10.29311/mas.v19i3.3155.
Full textAbstract:
In recent years, numerous European museums have collected objects related to refugees. This article examines the Flight for Life (På Flugt) exhibition (2017), which the National Museum of Denmark organized based on a contemporary collecting project that took place in Greece and Denmark in 2016. Alison Landsberg’s concept of prosthetic memory is made use of here to examine how the exhibition invited visitors to identify with refugees. This empathetic approach had political potential by promoting solidarity with refugees. However, it did not open up a broader contextualization of the collected objects in terms of the migration policies of Denmark and the European Union. This article argues that museums, through contemporary collecting projects of the refugee reception crisis, engage in memory politics by framing how Europe will be able to make sense of the refugee reception crisis of the early twenty-first century.
29
Arriaga, Amaia, and Imanol Aguirre. "Museum-university collaboration to renew mediation in art and historical heritage. The case of the Museo de Navarra." Arte, Individuo y Sociedad 32, no. 4 (2020): 989–1008. http://dx.doi.org/10.5209/aris.66295.
Full textAbstract:
We present an action research project in which a university and a regional museum of art and historical heritage collaborate. The objective of this project has been to design and develop a mediation plan and its interpretation resources. First, a description is provided of the historical context of the debate regarding the educational function of the museum and mediation actions for the interpretation of art. Next, we present the theoretical principles on which our approach to mediation in museums is based and explain the two phases of the action research project. Initially, an investigation of the mediation tools offered by the museum is carried out. Next, a description is provided of how the conclusions drawn are materialized in the “All Art is Contemporary” project that renews part of the permanent exhibition and that offers accessible, rigorous, pluralistic and stimulating mediation/interpretation resources (gallery text, museum labels, etc.) that allow visitors to participate in the discourse that the museum proposes, turning it into a site of social interaction, a negotiation of meaning and an encounter between different sensibilities and identities. In short, it is a tool for continuous and critical civic education.
30
Bernier, Hélène, and Mathieu Viau-Courville. "Curating Action: Rethinking Ethnographic Collections and the Role/Place of Performing Arts in the Museum." Museum and Society 14, no. 2 (2017): 237–52. http://dx.doi.org/10.29311/mas.v14i2.641.
Full textAbstract:
Dance involves a set of movements that embody social memory. Such forms of intangible heritage have presented emerging challenges for curatorship. This paper draws from the experience of the Musées de la civilisation (Quebec City, Canada) to address ideas of collecting and curating in the performing arts. By presenting the travelling exhibition Rebel Bodies, an international collaborative project that highlights contemporary dance and movement as universal modes of creativity and expression, the paper reflects on the social role of the museum in sustaining creativity within the community as well as on the use of ethnographic material to collectively (through museums and artists) curate the intangible. In treating notions of natural, virtuoso, urban, multi, political, and atypical bodies, this exhibition brings together performers and creative artists as well as industries in the museum setting. Such interplays, it is argued, encourage the sustainable participation of artistic communities/industries and further highlight museums as dynamic loci for the promotion of social change.Keywords: performing arts, intangible cultural heritage, museum, dance, performance, participation, reenactment, artists
31
Cermanová, Iveta, Michaela Sidenberg, and Jana Šplíchalová. "Španělská synagoga: rekonstrukce a nová stálá expozice Židé v českých zemích v 19. a 20. století." Muzeum Muzejní a vlastivedná práce 58, no. 2 (2022): 39–48. http://dx.doi.org/10.37520/mmvp.2020.015.
Full textAbstract:
The Jewish Museum in Prague, one of the oldest public Judaic collections since 1906, has opened the new permanent exhibition Jews in the Bohemian Lands, 19th-20th Centuries in the Spanish Synagogue. After a year and half-long reconstruction, the exhibition features the Jewish history in the Bohemian lands, with the help of priceless original objects as well as the use of digital technology. The exhibition has been awarded the Gloria Musaealis 2020 Special Prize in the Museum Project category.
32
Hodzhayan, E. "Improvement of Museum Exhibition Planning Processes Based on Project Management Methods." Scientific Research and Development. Economics 8, no. 5 (2020): 57–63. http://dx.doi.org/10.12737/2587-9111-2020-57-63.
Full textAbstract:
The urgency of development management to ensure competitiveness of culture institutions in conditions of transition to market conditions of managing. The basic principles of integration mechanism of project management in traditional management system of culture institution are analyzed. The ideas about the art project are generalized. The possibilities of a harmonious combination of process and project approaches to the management of culture institution are analyzed. In article using methods of network planning on the example of managing exhibition activity of the museum is considered. This allowed to design effective organization of works on exhibition design.
33
Scheffer, Krisztina, Enikő Szvák, and Hedvig Győry. "Korok és Kórok kiállítás 2019-2020." Kaleidoscope history 11, no. 22 (2021): 305–15. http://dx.doi.org/10.17107/kh.2021.22.305-315.
Full textAbstract:
The HNM Semmelweis Museum of Medical History's exhibition „Diseases for the Ages, What the Deceased Tell Us”, is displaying the anthropological collection of the Museum which never was presented earlier, and the mummy-research made in the framework of the Nephthys Project, with some additional material from the Hungarian Natural History Museum and the Hopp Ferenc Asian Art Museum. Visitors can learn about the appearance of known and little-known diseases visible on archaeological human remains and gain insight into the know-how and the results of the mummy research. The exhibition is accompanied by a museum educational program and a series of lectures.
34
Mussies, Martine. "A Ludomusicologist Goes to the Museum." Journal of Sound and Music in Games 1, no. 1 (2020): 125–32. http://dx.doi.org/10.1525/jsmg.2020.1.1.125.
Full textAbstract:
From September 2018 to February 2019, the famous Victoria and Albert Museum in London hosted Videogames: Design/Play/Disrupt, a major exhibition on contemporary video game design and culture. Announced as “a unique insight into the design process behind a selection of groundbreaking contemporary videogames,” this immersive exhibition was the end presentation of a project that took four years to undertake. Dutch PhD student Martine Mussies went over the Channel to take a look and write down her experiences for this first issue of the Journal of Sound and Music in Games.
35
Nimjee, Ameera. "Exhibiting Music." Ethnologies 37, no. 1 (2017): 153–73. http://dx.doi.org/10.7202/1039660ar.
Full textAbstract:
Museums have long been thought of as “quiet” spaces, in which visitors walk slowly through galleries to look at material cultures in glass cases. Music and sound have begun to pervade the quiet spaces of museums in the forms of aural installations and performance-based programs. They are no longer galleries for solely visual engagement, but loud spaces in which visitors and audiences listen to recordings, experience live performances, and participate by themselves singing and playing in workshops, classes, installations, and impromptu demonstrations. This article explores three case studies in exhibiting music. The first is the exhibition Ragamala: Garland of Melodies, which was on display at the Royal Ontario Museum and sought to demonstrate the fluidity between the South Asian arts. The second is an investigation of some of the formal and informal performance-based programming at the Aga Khan Museum. The last case study focuses on a future project, in which collectors of Indian audio cultures will submit contributions to help construct a history of sound in India. Each case study is motivated by a series of central questions: what constitutes “exhibiting music”? What are the broader implications of and consequences for exhibiting music in each case? How does exhibiting music in a museum impact a visitor’s experience? What kinds of new stories are told in exhibiting music and sound? The three case studies respond to these questions and provoke issues and possibilities for further critical inquiry. They show that museums are dynamic spaces with incredible potential to inspire multi-experiential engagement.
36
Kim, Kwang-Su. "Contextualising Historical and Cultural Identities with Exhibitions of the New National Museum in the Democratic Republic of Congo." Modern Africa: Politics, History and Society 8, no. 2 (2020): 25. http://dx.doi.org/10.26806/modafr.v8i2.328.
Full textAbstract:
A new National Museum of the Democratic Republic of the Congo (MNRDC) was established as a cultural Official Development Assistant (ODA) project by the Korean government. It opened on 23 November 2019 in Kinshasa. The objectives of the new museum are to promote the history and culture of various ethnic groups, protect heritage and exhibit cultural diversity in order to unify the people and the nation, and educate the public about the DRC history and culture. However, the exhibitions do not meet the objectives of the National Museum nor do they contextualise the history and cultural identity of the DRC. In order for the MNRDC to function as a national museum or a central national museum, its exhibition must be reconstructed in such a way that meets its purposes while historical artefacts accurately representing the DRC’s history must be displayed.
37
Bigourdan, Nicolas, Kevin Edwards, and Michael McCarthy. "Steamships to Suffragettes." Museum Worlds 4, no. 1 (2016): 138–54. http://dx.doi.org/10.3167/armw.2016.040111.
Full textAbstract:
ABSTRACTSince 1985 the shipwreck site and related artifacts from the steamship SS Xantho (1872) have been key elements in the Western Australian Museum Maritime Archaeology Department’s research, exhibition, and outreach programs. This article describes a continually evolving, often intuitive, synergy between archaeological fieldwork and analyses, as well as museum interpretations and public engagement that have characterized the Steamships to Suffragettes exhibit conducted as part of a museum in vivo situation. This project has centered on themes locating the SS Xantho within a network of temporal, social, and biographical linkages, including associations between the ship’s engine and a visionary engineer (John Penn), a controversial entrepreneur (Charles Broadhurst), a feminist (Eliza Broadhurst), and a suffragette (Kitty Broadhust), as well as to Aboriginal and “Malay” divers and artists. Achieved with few funds, the project may be a valuable case study at a time when funds allocated to museums and archaeological units are rapidly diminishing.
38
Davydova, Lyubov N. "The Notion of Space as a Museum Studies Category." Вестник антропологии (Herald of Anthropology) 47, no. 3 (2019): 189–96. http://dx.doi.org/10.33876/2311-0546/2019-47-3/189-196.
Full textAbstract:
The author proposes to address the phenomenon of space as a category of museology. An interdisciplinary analysis of space definitions from philosophical, cultural and museological perspectives is carried out. References to reliable sources and practical experience help to formulate the definition of exhibition space and to study the prospects of its implementation in modern projects in the museum architecture. As an example of creating a modern museum space, the author studies the site of the Russian Museum of Ethnography and the project of the Vasiliy Svinyin’s depositary (the beginning of the XX century) and its modern realization.
39
Thyroff, Julia. "Facetten des Denkens im Museum – methodischer Zugang, empirische Befunde." Didactica Historica 3, no. 1 (2017): 1–11. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.111.long.
Full textAbstract:
What do visitors think while passing through an historical museum, how do they shape cognitive interaction with the elements of the museum? These questions are at the centre of an ongoing empirical project, which aims to identify elements and structures of thinking processes during a museum visit. The project has been realized with visitors of the exhibition « 14/18. La Suisse et la grande guerre » by using a method that is still almost unknown within the field of visitor studies : the think aloud methods. The article provides insights into methodological issues and afterwards outlines findings of the project.
40
Erickson, Kirstin C. "Pottery of the U.S. South: A Living Tradition." Museum Anthropology Review 9, no. 1-2 (2015): 106–8. http://dx.doi.org/10.14434/mar.v9i1-2.13719.
Full text
41
Swan, Daniel C. "Hopituy: Hopi Art from the Permanent Collections." Museum Anthropology Review 8, no. 1 (2014): 60–63. http://dx.doi.org/10.14434/mar.v8i1.5549.
Full text
42
Wilton, Janis. "Belongings: Oral History, Objects and an Online Exhibition." Public History Review 16 (November 8, 2009): 1–19. http://dx.doi.org/10.5130/phrj.v16i0.845.
Full textAbstract:
The New South Wales Migration Heritage Centre was established in 1998. Since 2003 its physical presence has been located within Sydney’s Powerhouse Museum and it has had the strategic brief to record the memories of ageing migrants before their stories are lost. The Centre is, however, a museum without a collection; a heritage authority without heritage sites; a cultural institution whose main presence is in cyberspace. Among its high profile projects is one entitled Objects through time and another Belongings. Both focus on the ways in which objects can convey aspects of the migration experience. Belongings, the focus of this article, presents the remembered experiences of people who migrated to Australia after World War II, and seeks to highlight significant features of their experiences through asking them to share their memories and to nominate and talk about significant objects. As a project it grew out of movable heritage policy work within state government agencies, and its initiators – John Petersen, Kylie Winkworth and Meredith Walker – were central players in this development. It was also inspired by the National Quilt Register of the Pioneer Women’s Hut at Tumbarumba.
 
 With its object-centred approach and accompanying edited interview transcripts, Belongings provides a focus for exploring the messages and emphases that emerge when oral history interviews concerned with migration have the specific brief to ask about material culture and its significance. Belongings also enables an exploration of the layering of those messages that emerges when object captions are located back in the context of the oral history interviews from which they were extracted. As a virtual exhibition, Belongings also provides the opportunity to consider the challenges for museums (virtual and real) when they need to condense the richness of migrant oral histories and life stories to captioned objects that can be put on display.
43
Thyroff, Julia. "Facetten des Denkens im Museum – Aneignungsweisen von Besuchenden der Ausstellung "14/18. Die Schweiz und der Grosse Krieg"." Didactica Historica 3, no. 1 (2017): 111–17. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.111.
Full textAbstract:
What do visitors think while passing through an historical museum, how do they shape cognitive interaction with the elements of the museum? These questions are at the center of an ongoing empirical project, which aims to identify elements and structures of thinking processes during a museum visit. The article outlines findings of the project which has been realized with visitors of the exhibition «14/18. La Suisse et la grande guerre» by using a method that is still almost unknown within the field of visitor studies: the think aloud method.
44
Lloyd, Timothy. "The Cyrus Tang Hall of China: Deep Tradition, Dynamic Change." Museum Anthropology Review 11, no. 1-2 (2017): 15–16. http://dx.doi.org/10.14434/mar.v11i1.23543.
Full text
45
Müller, Katja. "Another India: Explorations and Expressions of Indigenous South Asia." Museum Anthropology Review 12, no. 2 (2018): 153–55. http://dx.doi.org/10.14434/mar.v12i2.23512.
Full text
46
Otto, Kristin. "Shapes of the Ancestors: Bodies, Animals, Art, and Ghanaian Fantasy Coffins." Museum Anthropology Review 13, no. 1 (2019): 47–58. http://dx.doi.org/10.14434/mar.v13i1.26580.
Full textAbstract:
This project report describes the research and presentation of Shapes of the Ancestors: Bodies, Animals, Art and Ghanain Fantasy Coffins, an exhibition focusing on the workshop of Ghanain fantasy coffin maker Paa Joe. The exhibition was on display at the Mathers Museum of World Cultures in Bloomington, Indiana from August 14 through December 16, 2018.
47
lane, cathy, and nye parry. "the memory machine: sound and memory at the british museum." Organised Sound 10, no. 2 (2005): 141–48. http://dx.doi.org/10.1017/s1355771805000786.
Full textAbstract:
the memory machine is a context-, people- and site-specific interactive sound installation. it has been developed as a collaboration between two composers, cathy lane and nye parry, who share an interest in sound, oral history, and memory. the memory machine is an ongoing project which, most recently, was part of the british museum's 250th anniversary exhibition entitled the museum of the mind; art and memory in world cultures.this paper discusses the background and ideas behind the memory machine within the context of the composers' work. the development of the project in collaboration with the british museum is described and an evaluation of some of the issues around the public exhibition of the piece is given as well as a full technical description of the different elements of the installation.
48
Zotti, Georg, Florian Schaukowitsch, and Michael Wimmer. "The Skyscape Planetarium." Culture and Cosmos 21, no. 1 and 2 (2017): 269–81. http://dx.doi.org/10.46472/cc.01221.0629.
Full textAbstract:
Communicating scientific topics in state of the art exhibitions frequently involves the creation of impressive visual installations. In the exhibition ‘STONEHENGE. A Hidden Landscape.’ in the MAMUZ museum for prehistory in Mistelbach, Lower Austria, LBI ArchPro presents recent research results from the Stonehenge Hidden Landscape Project. A central element of the exhibition which extends over two floors connected with open staircases is an assembly of original-sized replica of several stones of the central trilithon horseshoe which is seen from both floors. In the upper floor, visitors are at eye level with the lintels, and on a huge curved projection screen which extends along the long wall of the hall they can experience the view out over the Sarsen circle into the surrounding landscape. This paper describes the planning and creation of this part of the exhibition, and some first impressions after opening.
49
Górka, Jacek. "PROJECTS FROM THE AREA OF DIGITISATION AND NEW MEDIA IN THE SYBILLA CONTEST." Muzealnictwo 58, no. 1 (2017): 0. http://dx.doi.org/10.5604/01.3001.0010.3943.
Full textAbstract:
The dynamics of the social, economic and legal changes which took place from 2004 to 2014 related to Poland’s accession to the European Union has changed our reality and the functioning of the state and its institutions, including museums. New possibilities have arisen, together with serious challenges which museum managers and museum professionals have had to face. The National Institute for Museums and Public Collections, established in 2011, has become the organiser of the prestigious Sybilla Museum of the Year Contest, in line with its founding principles. Its organisers decided to carry out open consultations with museum professionals, which has resulted in changes to the regulations for new contest categories, pertaining for example to sources of financing an institution with European funds, and implementing new technological solutions by museums. The growing availability of new technologies has contributed to a new category in the contest “Digitisation and new media”, which appeared for the first time in the regulations for the 34th edition of the Sybilla contest in 2013. The process of technological revolution also applies to museums, as new technologies are present at museum conservation workshops, research papers, exhibition premises and educational activities. Museums use diverse electronic communication solutions, such as websites, applications and social media. Digital technologies are being used on an unprecedented hitherto scale to document and share collections, and to disseminate knowledge about them. During the latest, 37th edition of the Sybilla contest in 2016, a unique project was awarded: the Gulf of Gdańsk Shipwreck Virtual Open-Air Museum. Recording and Inventory of Underwater Archaeological Heritage, carried out by the National Maritime Museum in Gdańsk. An innovative method for submarine documentation, in the form of the photogrammetry of 3D models of shipwrecks from the Gulf of Gdańsk, is being developed as part of the project. Faras in Wikipedia is a featured project by the National Museum in Warsaw. It consists of creating a knowledge database about the Faras Gallery, about the relics of Nubian art which form part of the museum’s collections, and the archaeological expedition and researchers involved, as well as making it available to the readers of Wikipedia and Internet users in Poland and abroad.
50
Caballero Cano, Francisco Javier. "Espacios expositivos virtuales: Proyecto UMUSEO, una nueva opción para la difusión artística." Virtual Archaeology Review 3, no. 7 (2012): 44. http://dx.doi.org/10.4995/var.2012.4384.
Full textAbstract:
<p>The technology revolution has, in recent years, meant something of a transformation in the way we perceive art and, at the same time, in our way of understanding art exhibition spaces. New works demand updated spaces and different approaches to their care and exhibition. American museums were the first to respond to these changes and begin to put resources behind the necessary objectives. Throughout the 1980s a revolutionary process unfolded which focused on changing attitudes<br />and opening up to a growing and increasingly diverse audience.<br />This process soon spread to the rest of the world and gradually museums and exhibition spaces started to become part of an overall impulse of opening-up and conceptual change that, judging by the outcomes, was precisely what society was waiting and asking for. Rather than change their collections, museums changed their interpretation of them, the way in which they were brought to their publics, their approach to external communications and the role of visitors.<br />New information technologies (particularly the most recent) offer museums the chance to respond to society’s requirements. Hence access to museums takes on a whole new dimension. As well as the traditional uses of the Internet, art online offers two new possibilities: interactivity and the removal of physical barriers. Museums online are open to anybody and everybody, at any time of day, offering easy access and the scope for users to relate directly with a virtual exhibition space. The emergence of the Internet has transcended the barriers of space and time, enabling real-time communication with people from all continents, meaning that messages can be conveyed with limitless reach.<br />The University of Murcia´s Virtual Museum project – UMUSEO – makes an innovative contribution to the possibilities offered by new technologies in the realm of artistic production and its dissemination. This is a research project designed to be a Centre for a range of art-forms operating exclusively online and specialising in exhibitions relating to the artistic heritage of the University of Murcia.<br />In the 1960s and 70s questions started to be asked about the role of museums and their future, giving rise to the idea that museums had become passive exhibition centres. Today they are continually evolving, becoming centres of active experimentation in which public participation takes on a special relevance.</p>