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Journal articles on the topic 'Museum exhibition history'
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1
Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Bernbeck, Reinhard. "The exhibition of architecture and the architecture of an exhibition." Archaeological Dialogues 7, no. 2 (2000): 98–125. http://dx.doi.org/10.1017/s1380203800001665.
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AbstractOne of the major archaeological museums, the Pergamon Museum in Berlin, serves as an example to discuss present problems of museology. I argue that the development of museums has to be analysed from a combination of perspectives, including an historical one, that of visitors and of museum staff. In a first section, the paper outlines the history of the Pergamon Museum, including an institutional history and the larger socio–political framework. To highlight the range of possibilities of understanding, I give two readings of the museum from the viewpoints of differently oriented visitors, one colonialist, the other postmodern. I then consider current debates among curators and distinguish between two main exhibition strategies, one pragmatist, the other purist. Finally, I discuss the larger framework in which museums exist, which shows their problematic status. Using critical theory's distinction between culture industry and affirmative (elite) culture, I show that the Pergamon and other museums survive today only through an uneasy compromise between these two extreme poles of culture.
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Castro, Laura. "João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal." Collections: A Journal for Museum and Archives Professionals 16, no. 3 (2020): 279–97. http://dx.doi.org/10.1177/1550190620939975.
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João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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Gil, Magdelena. "Exhibiting the Nation: Indigenousness in Chile's National Museums." Museum and Society 14, no. 1 (2017): 82–97. http://dx.doi.org/10.29311/mas.v14i1.627.
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This article describes the history of Chile’s national museums, focusing in particular on their exhibition of indigenous cultures. Three museums are considered: the National Museum of Natural History (originally the National Museum); the National Museum of Fine Arts; and the National Museum of History. Using museum catalogues, visitor’s guides and bulletins as sources, this research traces the role given to indigenousness in the museums’ exhibitions through time. Initially, the ‘Indian’ was presented as either part of the territory conquered by Chileans, or as not part of Chilean culture at all. By the twentieth century, however, a new narrative emerged which recognizes the indigenous people as the ‘pre-historic’ inhabitants of Chile. Most recently, a more complex narrative presents Chile as a blending of races and cultures. Overall, we see that today each museum continues to see nationhood as something that is monolithic, allowing little place for indigenous people beyond mestizaje (blending of ‘races’).Key words: indigenous, exhibitions, Latin America, national identity
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Stehlík, Michal. "Exhibition Policy of the National Museum 2017−2020." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 69–72. http://dx.doi.org/10.1515/mmvp-2017-0039.
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Abstract The National Museum (NM) is preparing several temporary exhibitions in all of its buildings, along with preparing new permanent exhibitions in the New and Historical Buildings. All parts of the National Museum are incorporated in the preparation of new exhibitions, i.e. the Historical Museum, Natural History Museum, Czech Museum of Music, Náprstek Museum and the National Museum Library. In 2017, these exhibition projects are: Light and Life, Masaryk as a Phenomenon, and Indians. In 2018, the National Museum will present the Czech-Slovak / Slovak-Czech exhibition, which will reflect the 100th anniversary of the founding of Czechoslovakia, together with selected moments of Czechoslovakian history and the relationship of these two nations. 2019 could bring the opening of the grand Egyptology exposition Sun Kings and also new Natural history expositions. The remaining permanent expositions should be opened in 2020. The exhibitions in this period will likely recall some important anniversaries (1620, 1920). In future years, the renovation of the Czech Museum of Music and Náprstek Museum will take place.
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Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.
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The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items from various areas of human activity, realized in the Žďár Regional Museum, were connected and presents them as inspiration or a topic to reflect on colleagues from the field who do not yet use the potential of their collection items in a similar spirit.
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Liebhold, Peter. "The Washington City Museum." Public Historian 26, no. 4 (2004): 73–82. http://dx.doi.org/10.1525/tph.2004.26.4.73.
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Overview Exhibition: Washington Perspectives; Multimedia-show: Washington Stories. Exhibition team: Barbara Franco, president and CEO; Susan Schreiber, vice president for programs; Jill Connors-Joyner and Laura Schiavo, exhibitions curators; GSM Design of Montreal, Canada, designer. City Museum of Washington, D.C., May 2003–present. www.citymuseumdc.org
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Heesen, Anke Te. "On the History of the Exhibition." Representations 141, no. 1 (2018): 59–66. http://dx.doi.org/10.1525/rep.2018.141.1.59.
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This comment on The Object as Ambassador forum provides the basis for a deeper understanding of the history of exhibitions through its historical analysis of the terms museum, collection, and exhibition.
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Barkaszi, Zoltán, Oleksandr Kovalchuk, and Anastasiia Maliuk. "Interpretation of evolution as part of science popularization in natural history museums." GEO&BIO 2021, no. 21 (2021): 13–24. http://dx.doi.org/10.15407/gb2104.
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The paper presents a brief review of the scientific and educational role of natural history museums, particular-ly in the field of interpretation of organic evolution. The scientific and social value of collections that are stored at natural history museums are highlighted. The history of interpretation and popularization of basic ideas of the theory of evolution are considered, as well as the perception of evolution by the society and vari-ous categories of museum visitors. Analysed are the main tools of interpretation available in natural history museums as well as basic principles of display of palaeontological specimens, particularly in dioramas as pe-culiar museum tools for interpretation. The main approaches to the interpretation of evolution are considered in the context of selection of interpretation methods and tools and in regard to the specifics of various groups of museum visitors. Minimum professional skills of interpreters who take part in exhibiting and educational ac-tivities of natural history museums are discussed. The possibilities of interpretation of evolution are shown on the example of the palaeontological exhibition of the National Museum of Natural History at the National Academy of Sciences of Ukraine (Kyiv, Ukraine). A brief description of the palaeontological display is given, particularly on the general principles of its structure and on examples of exhibited specimens that demonstrate the evolution of various groups of vertebrates (e.g. fishes and mammals). Dioramas of the palaeontological exhibition are presented, which are especially valuable visual tools of interpretation of evolution in the muse-um. The main issues of further existence and development of natural history museums are discussed in the context of their role as powerful research and educational centres, maintaining a high level of attendance by visitors, and involvement of the public in the activities of these museums in times of high competition of lei-sure offers by various entertaining facilities. The need for the modernization of earlier exhibitions using mod-ern interactive tools and visualization techniques in underlined in order to increase public interest and expand the pool of visitors.
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Þórsson, Bergsveinn. "Walking through the Anthropocene. Encountering materialisations of the geological epoch in an exhibition space." Nordisk Museologi 28, no. 1 (2020): 103. http://dx.doi.org/10.5617/nm.7986.
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The Anthropocene has been mobilised as a conceptual framework for museums to engage with the global environmental crisis. This article examines the exhibition Welcome to the Anthropocene: The Earth in our Hands that was on display at the Deutsches Museum from 2014 to 2016. Proclaimed as the first largescale exhibition on the concept, the museum attempted to translate its underlying arguments into three-dimensional space. Viewing exhibitions as an assemblage of display technologies, objects and texts, the intention is to examine how the concept materialises in the exhibition space. The findings outline three different versions of the Anthropocene: understanding the Anthropocene as a history, experiencing the Anthropocene through spatial exploration and the concept as a tool to catch slippages. Locating three versions in a single exhibition reveals the complexity of the Anthropocene as a framework for museums and also highlights the possibility of addressing it in different ways simultaneously.
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Lozic, Vanja. "(Re)Shaping History in Bosnian and Herzegovinian Museums." Culture Unbound 7, no. 2 (2015): 307–29. http://dx.doi.org/10.3384/cu.2000.1525.1572307.
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The current article explores how political changes in the past 130 years have shaped and reshaped three major museums in Bosnia and Herzegovina (BiH). The overall aim is to describe structural processes of national museum building in BiH and the ways the museological representation of history is connected to state and nation making and to political transitions and crises. The analysed museums are the National Museum of BiH, the History Museum of BiH, and the Museum of the Republic of Srpska. The source material analysed consists of the directories and the titles of exhibitions; secondary material, which describes previous exhibitions; and virtual museum tours. The article illustrates that during the Austrian-Hungarian Empire, which established the National Museum in 1888, the museum played an important part in the representation of Bosnian identity (bosnjastvo). After World War II, in the Socialist Federal Republic of Yugoslavia, all three analysed museums were summoned to interpret the past in accordance with the guidelines of the communist regime. Since the 1990s, a highly ethnicized process of identity building and of the musealization of heritage, and history permeates all three museums analysed here. When it comes to the central exhibition-themes following the 1990s war, one could conclude that whereas the National Museum and the History Museum highlight the recent creation of an independent BiH and ostracize BIH-Serbs, the Museum of the Republic of Srpska asserts the ostensible distinctiveness of the Republic of Srpska and excludes the narratives about BiH as a unified and independent nation-state. If an agreement about the future of BiH and its history is to be reached, a step towards multi-vocal historical narratives has to be made from both sides.
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Pletneva, Ludmila M., Praskovya E. Bardina, Svetlana V. Berezovskaya, and Alexandra Yu Tsurikova. "THE HISTORY OF THE LOCAL HISTORY EXPOSITION “ALONG THE RIVER OF TIME” IN THE MUSEUM OF SEVERSK." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 248–64. http://dx.doi.org/10.17223/22220836/41/22.
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The Exhibition Hall Museum of Seversk was opened on December 24, 1987 as an exhibition hall. In the first years of its existence, it hosted temporary exhibitions from abroad, central museums of the Soviet Union, as well as exhibitions of local artists and the Children’s Art School. In the early 1990s, the government ceased to financially support traveling exhibitions. The museum faced the problem of how to fill its space. The archaeological excavations conducted by the Tomsk State University and the Seversk Archaeological Inspectorate, which were well known to the Seversk Administration, suggested the idea of creating a Department of Archeology and Ethnography at the museum. This Department was created in 1993. PhD of History P.E. Bardina, E.A. Vasilyev and L.M. Pletneva, came to the Department from the Tomsk State University. From the very beginning, they made it their goal to open a local history exhibition in a few years. In order to create its own collection, the museum needed to undertake archaeological and ethnographic expeditions. It developed a clear plan to excavate already known monuments and, with significant financial support from the Seversk Administration (then known as the City Council of People’s Deputies), brought this plan to life. The museum actively collected ethnographic materials in the surrounding villages. After each year of work, it presented exhibitions. At the same time, the museum developed a Scientific Concept and a Thematic Exposition Plan. In 1997, both documents were approved by the Scientific and Methodological Council of the museum. The Thematic Exposition Plan consisted of three sections: archeology, history of the first Russian settlement on the site of the future city, and ethnography. The exposition as a whole covers the ancient history, the Middle Ages, modern and contemporary times. The archaeological section presents exhibits dating back to the Stone, Bronze, Early Iron, and Middle Ages. The historical section demonstrates documents from archives on the history of the Virgin MaryAlekseevsky Monastery, religious items, photographs of churches from the surrounding villages and priests, a copy of a fragment of the S.U. Remezov’s map. A model of a Russian log cabin with three walls, a front corner and a Russian stove is the central part of the ethnographic exposition. Agricultural and haymaking tools, tools for handicrafts, such as cooperage and blacksmithing, as well as for women's handicrafts, are presented on the outer wall of the log cabin. At a certain distance from the log cabin, there is a hunting hut with tools for hunting, fishing and pine nut harvesting. The exposition is continually updated and supplemented. A particularly large update took place in 2009. In subsequent years, considerable attention was paid to the introduction of innovative technological developments into the exposition. Using the exposition, the museum provides guided tours, classes for schoolchildren and senior kindergarten groups on the basis of museum research and educational programs.
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Lien, Sigrid, and Hilde Wallem Nielssen. "‘Permanent Displays’ as Unsettling Layers of Epistemologies, Politics and Aesthetics." Museum and Society 17, no. 3 (2019): 453–71. http://dx.doi.org/10.29311/mas.v17i3.2802.
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This article argues that museum exhibitions often are formed through multiple layers. It presents readings of two contrasting exhibition narratives, the ethnographic display at the Museum of Cultural History in Oslo and the national history exhibition at Lillehammer Museum. While the latter speaks about the national self, the museum in Oslo addresses the nation’s radical other. In spite of this contrasting thematic focus, they have much in common. As centres for research and dissemination of knowledge, they are connected to the development of the academic disciplines history and anthropology. This evolution with its shifts and ruptures are visible as traces, or layers, in the exhibitions. We argue that such multi-layered museum stories may be understood as intersections of shifting disciplinary knowledge regimes, curatorial practices, and concrete political agendas. Such layers may appear as unintended subtexts that often create a sense of ‘unsettlement’ within museum exhibitions.
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Gensburger, Sarah. "Visiting history, witnessing memory: A study of a Holocaust Exhibition in Paris in 2012." Memory Studies 12, no. 6 (2017): 630–45. http://dx.doi.org/10.1177/1750698017727804.
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Over the past 20 years, the number of memorial museums and memory exhibitions has increased exponentially and the commemoration of the Holocaust paved the way for this increase. This evolution has given rise to a significant amount of research. However, two questions remain largely unanswered: how are the protocols of memorial exhibitions planned and constructed in concrete terms? And then how do the visitors to these exhibitions use and appropriate this material? The search for the ‘visitor’s gaze’ which is at the heart of contemporary museum studies has only rarely been extended to memorial museums and exhibitions, even those dealing with Holocaust-related topics. This article aims to address this goal. It is thus situated at the crossroads of memory studies and museum studies. Based on extensive empirical material but within the limits of a case study, it focuses on the exhibition C’étaient des enfants. Déportation et sauvetage des enfants juifs à Paris, which was held at the Hotel de Ville in Paris, in 2012. In so doing, it aims to consider some of the underlying assumptions that often go unexamined in the scholarly work on Holocaust memory exhibitions and highlights the centrality of the witnessing memory mechanism as the main way of appropriating the exhibition.
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Zbuchea, Alexandra, and Loredana Ivan. "Painting Shades of Gray: How to Communicate the History of Communism in Museums." Romanian Journal of Communication and Public Relations 17, no. 2 (2015): 21. http://dx.doi.org/10.21018/rjcpr.2015.2.14.
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<p>Communication of sciences / arts lies at the core of a museum public activity. It is a special type of communication, meant to make the collections and the domain of the expertise of the museum accessible to a wide public in order to fulfill the special cultural and social role that museums have in the contemporary society. This cannot be achieved without the cooperation of visitors, as well as the museum stakeholders. For fruitful relationships, museums have to design their activity and public offer taking into account the characteristics as well as the interests of various segments of its audience. The present paper discusses the prerequisites for a successful museum exhibition. Special attention is given to designing an effective exhibition on the history of communism. By investigating the profile of the potential visitors for such an exhibition, the paper draws a framework to be considered when designing it. The discussion is timely, since in the last few years there are discussions and initiatives related with the establishment of a museum of communism.</p>
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Wallace, Eloise, and Kay Morris Matthews. "The partnering of museums and academics: working together on history that matters." History of Education Review 47, no. 2 (2018): 119–30. http://dx.doi.org/10.1108/her-12-2017-0028.
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Purpose Museums and academics collaborating to create knowledge and learning opportunities is a current innovative strand of museum theory and practice. Working together across boundaries, incorporating a range of communication tools both inside and outside of the exhibition, the objective is to make the past more accessible to adults and children alike. The paper reflects the authors’ respective recent experiences of presenting alternative perspectives and interpretations on history that mattered, namely, a unique exhibition and publication entitled Recovery: Women’s Overseas Service in World War One. The authors offer a number of “signposts” for museums and academics to consider ahead of embarking on collaborative projects. The paper aims to discuss these issues. Design/methodology/approach Theorising and reflecting on the research and curation of a public history museum exhibition that included high levels of community engagement. Findings The authors offer a number of “signposts” for museums and academics to consider ahead of embarking on collaborative projects utilising a collective impact framework and argue that these “signposts” are likely pre-requisites for successful museum-academic partnerships. Originality/value Successful partnerships and collaborations between the museum and the tertiary sector do not happen through goodwill and shared philosophies alone. This paper reflects the authors’ respective recent experiences of presenting alternative perspectives and interpretations on history that mattered, namely, a unique exhibition and publication entitled Recovery: Women’s Overseas Service in World War One.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Wąchała-Skindzier, Maria. "EXHIBITIONS DEDICATED TO COMMUNIST POLAND IN POLISH MUSEUMS IN 1989–2017 FROM A QUANTITATIVE (STATISTICAL) PERSPECTIVE." Muzealnictwo 63 (October 14, 2022): 185–93. http://dx.doi.org/10.5604/01.3001.0016.0472.
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The objective of the research was a survey identification of the presence of the history of Communist Poland, PRL, in museum narrative in 1989–2017. Importantly, this is a repeated, supplemented, and more thorough research versus the one presented in the paper ‘PRL in Museum Narrative over the Last 25 Years’ published in 2014 in the Światowid. Rocznik Muzeum PRL-u (w organizacji) periodical. The research discussed in the present paper forms part of a doctoral dissertation, constituting the research’s second stage. As a result of the conducted research based on survey answers provided by museums and on individual research a database containing 642 exhibitions was created. When processing the data, quantitative analysis was adopted. After data cleaning the following statistical trends were analysed: exhibition duration over the whole research period, percentage of leading themes, percentage of themes in respective cities. The conducted analysis has permitted to observe trends in museum narrative concerning PRL. Also the most popular exhibition duration over the research period has been identified (up to two years and permanent exhibitions). The most popular categories have been named: art history, political history, history of everyday life. Three groups of urban centres where museum narrative is present to a varied degree have been named. The fourth group contains cities in whose museums the topic of PRL has not been tackled over the last 28 years, or such projects cannot be reliably confirmed.
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Gazi, Andromache. "“…stories behind History”." Public Historian 44, no. 1 (2022): 27–50. http://dx.doi.org/10.1525/tph.2022.44.1.27.
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The role played by national museums within the broad field of public history has not been fully addressed. Traditionally national museums have been a privileged stage for shaping and boosting national identity through the exhibition of significant objects and for disseminating official and deeply rooted views of national history. Using the National Historical Museum in Athens as a case study, this paper analyses what happens when a national museum allows its permanent exhibits to be scrutinized by a nonprofessional group whose members then present their own reading of them in the very halls of the museum.
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Ciric, Biljana. "Building archives through curatorial practice." Art Libraries Journal 39, no. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.
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An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.
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Sharpe, T., S. R. Howe, and C. Howells. "Setting the standard? The Earth Science Galleries at the Natural History Museum, London." Geological Curator 6, no. 10 (1998): 395–403. http://dx.doi.org/10.55468/gc483.
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The second phase of the new Earth Galleries at the Natural History Museum (NHM) was opened in July 1998, marking the complete re-display of the former Geological Museum at a cost in excess of 12 million. The Geological Museum had pioneered a new style of geology display in the early 1970s, and set a standard emulated by other national and local museums. While the Geological Museum exhibitions contained a wealth of specimens, those produced at about the same time by the NHM were often criticised for their lack of real objects. The Geological Museum passed to the control of the NHM in 1985 and is now known as the Earth Galleries. The new displays in the Earth Galleries are the latest product of the NHM's exhibition philosophy, and despite some shortcomings, do represent a new standard for the display of geological material.
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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.
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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.
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Sarró, Ramon, and Ana Temudo. "The Lives and Deaths of an Ethnographic Museum: History, Violence and Curatorial Collaborations in Guinea-Bissau." Museum and Society 19, no. 3 (2021): 369–81. http://dx.doi.org/10.29311/mas.v19i3.3825.
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This article discusses the history of the National Ethnographic Museum of Guinea-Bissau (West Africa) and an exhibition we curated about it in Bissau in 2017, which serendipitously led to its reopening. The Museum, which was created in 1988, had ceased to exist because of a civil war in 1998-99. Thanks to a reconstruction of contact prints in the archives of Bissau, we were able to organize an exhibition and to conduct research on the history of the museum. Methodologically, the article illustrates the potential of photography in museum historiography and revitalization. Thematically, it exemplifies the history of museography in West Africa from the mid-1980s through the 1990s, the role of museums in the creation of national heritage, and, by looking at the present situation of the Museum at stake, the fragile place that ethnographic museums have in the politics of culture in today’s Africa.
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SNAKIN, VALERIY, TATYANA SMUROVA, NATALYA KOLOTILOVA та ін. "ВРЕМЕННАЯ ВЫСТАВКА "МУЗЕЙ ЗЕМЛЕВЕДЕНИЯ В ЗЕРКАЛЕ ИСТОРИИ МГУ" (К 70-ЛЕТИЮ МУЗЕЯ)". LIFE OF THE EARTH 42, № 3 (2020): 325–42. http://dx.doi.org/10.29003/m1486.0514-7468.2020_42_3/325-342.
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The article devotes to the description of recent temporary exhibition located in the Earth Science Museum’s rotunda. The exhibition exposition combines materials on such important to Lomonosov Moscow State University (MSU) anniversaries as the 265th anniversary of MSU, 75Th anniversary of victory in the Great Patriotic War, the 70th anniversary of the resolution on the establishment of the Earth Science Museum and the 65th anniversary of its first exhibition. History of creation and developing of the museum affairs at Lomonosov Moscow State University, museum’s collections formation are summarized. Temporary museum expositions’ features are examined; main collection and event exhibition expositions in the Earth Science Museum since 2009 are highlighted. Research, fund, exhibition, coordination, publishing, educational and enlightening activities of the museum are characterized. The article includes photos of the exhibition stands and other fragments of the expositions.
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Toșa, Ioan, and Tudor Sălăgean. "Din istoria muzeografiei românești." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 166–238. http://dx.doi.org/10.47802/amet.2016.30.12.
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The authors present the less known activity held at the Transylvanian Museum of Ethnography from 1937 to 1957 towards: Research and Conservation of the Folk Cultural Heritage; Development of a network of ethnographic museums; Establishment of circles of ethnographic researches; Capitalisation through exhibitions and publications. For the research and preservation of the folk cultural heritage there were organised research and acquisition campaigns and there were made questionnaires for finding the buildings for the National park which unfortunately could not be completed because of the war, and after the war because of the political changes. The preservation and capitalisation of the folk heritage could be done successfully only by institutions and qualified individuals, so that the Museum intervened with the bodies of central and local authorities for the establishment of some museums or ethnographic sections in Iasi, Cernauti, Timisoara and Craiova and by ensuring qualified staff trained within the Department and Seminar of ethnography and folklore. An intense activity was made during 1939-1946 towards organizing Circles of ethnographic researches in the main cultural centres of the country, so that their union to re-establish the Romanian Ethnographic Society. The opening of the permanent exhibition in the building of Bărnuţiu Garden represented a very important moment for the Romanian museography by the implications it has had on the followings: the exhibition furniture, the theme and the exposure system, which represented a model for efforts of some institutions to present the collections of objects which they held between 1937-1940. The authors present then some aspects of Museum work during the refuge in Sibiu (1940-1945) and the difficulties for restoration of the building in the Park in order to organize the Exhibition following the model of the one in 1937. The change of political regime in 1947 coincided with the forced retirement of Professor R. Vuia. There are presented the attempts to continue in 1948-1950 the projects started after returning from refugee interrupted by the change of the director (May 1950) and of the staff (1951). In November 1951, by the Decision of the Committee for Higher Education, the Museum was passed to the Committee for Cultural Settlements, receiving the name "Historical-Ethnographic Museum of Cluj Region". In 1951, the Museum staff have drawn up a Directory for the organization of the new museum exhibition, which the authors, taking into account the fact that this is the only document on how a permanent exhibition theme is made, publishes in its entirety. The theme was sent to the Committee for Cultural Settlements that rejected and outlined the directions the exhibition named "The issue of living and evolution of the society beginning with human formation until nowadays " to be made. The intense discussions regarding the exhibition theme were held in 1953, after which it was established the thematic plan of the exhibition, which was opened on 24th of May 1955, for which it was made an illustrated guide that was to be printed in 1957.
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Turnbull, Paul. "Australian Museums, Aboriginal Skeletal Remains, and the Imagining of Human Evolutionary History, c. 1860-1914." Museum and Society 13, no. 1 (2015): 72–87. http://dx.doi.org/10.29311/mas.v13i1.318.
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Much has been written about how progress to nationhood in British colonial settler societies was imagined to depend on safeguarding the biological integrity of an evolutionarily advanced citizenry. There is also a growing body of scholarship on how the collecting and exhibition of indigenous ethnological material and bodily remains by colonial museums underscored the evolutionary distance between indigenes and settlers. This article explores in contextual detail several Australian museums between 1860 and 1914, in particular the Australian Museum in Sydney, the Queensland Museum in Brisbane, and the Victorian Museum in Melbourne, in which the collecting, interpretation and exhibition of the Aboriginal Australian bodily dead by staff and associated scientists served to imagine human evolutionary history.
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Komova, О. "DIRECTIONS OF REFORMING THE MUSEUM SECTOR IN EUROPE: EXPERIENCE FOR UKRAINE." Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no. 26 (January 9, 2023): 11–23. http://dx.doi.org/10.32589/2412-9321.26.2021.269853.
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The article research the main problems of the Ukrainian museum sector, analyzes museum reforms in the EU-member states over the last 20 years, and suggests the major vectors of museum reform in Ukraine based on the best practices of the Western European museology. The article deals with the forms and methods of activity of the museum institution within the framework of this action on successful dialogue with the public, effective use of information technologies. Communication capabilities of museums are related to their ability to communicate information with real objects directly or indirectly. The foundationof the communicative work of the museum is its foundations since the exhibition, and the educational and communicative projects organized on its basis are impossible without scientifically attributed and carefully preserved collections. Accordingly, the most effective channel of museum communication remains the exposition of the museum.Along with traditional forms and tools of museum communication, such as exhibition and exhibition, educational and educational, publishing, holding scientific conferences, the presentation of museums in the media, the new ones, connected with the development of modern information technologies, become especially important. These include museums’ websites, virtual museums, virtual tours and tours, QR codes, 3D technology, profiles of museums in social networks. It is the active development of the latter that will promote the broader communication of the museums with a broad audience of visitors, the expansion of inter-museum contacts, the integration of domestic museums into the world museum community. Methodological basis of work is a comprehensive and systematic approaches involving methods of analysis, synthesis, comparative history, descriptive methods and methods of «oral history». It was proved that at the present stage museums act as intermediaries in solving complex social problems and conflicts; projects, as an effective form of implementing social activity of museums, contribute to the adaptation of museums and the museum industry as a whole to modern conditions of socio-economic and cultural life, support and promotion of the best examples of creative museum practices in Ukrainе.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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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.
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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.
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Kušeliauskaitė, Irma, and Aistis Žalnora. "The museum of the History of Medicine of Vilnius University." Papers on Anthropology 30, no. 1 (2021): 53–61. http://dx.doi.org/10.12697/poa.2021.30.1.04.
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The museum of medicine of Vilnius university is one of the unique museums devoted to the issues of medicine in Lithuania. It was created out of the clinical practice by Vilnius university physicians. Early museum served as a curiosity cabinet as well as a teaching museum. After the closure of Vilnius university in the mid of 19th century the museum was destroyed by Tsar’s government. In the early 20th century museum was reestablished by the Polish government. The modern collections were added with craniological and osteological specimens as well as pathology exhibition. The contemporary museum was created in the last decade of 20th century. In the last period museum servers both academic and public interest. Museum includes interwar, soviet exhibits and collection of medical books.
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Muñoz, Pedro Felipe N. de. "From Dresden to the world: images of the German Hygiene Museum’s relations with Latin America, 1911-1933." História, Ciências, Saúde-Manguinhos 29, no. 1 (2022): 195–214. http://dx.doi.org/10.1590/s0104-59702022000100011.
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Abstract As of the nineteenth century, the number of world fairs and hygiene exhibitions grew significantly. This phenomenon was linked to the experience of modernity and the emergence of bacteriology, when different cities were sanitized with the aim of combating urban diseases and epidemics. For the purpose of sanitary education and hygiene propaganda, many objects and pictures were displayed in hygiene exhibitions and museums, such as the International Hygiene Exhibition of 1911 and the German Hygiene Museum, both in Dresden. The goal of this article is to analyze a chapter of the international history of health through images that portray the connections between the German Hygiene Museum and Latin American countries between 1911 and 1933.
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Anisimova, Margarita Vyacheslavovna. "The section of history and everyday life in the Russian Museum: establishment, development, and liquidation." Исторический журнал: научные исследования, no. 4 (April 2020): 108–17. http://dx.doi.org/10.7256/2454-0609.2020.4.33047.
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The subject of this research is activity of the section of history and everyday life of the State Russian Museum established in 1918. The department devised a new theme &ndash; history of everyday life and its visualization in museum expositions, which was natural development of the Russian historical science. Intended to preserve and actualize the history of everyday life of different social classes, it shared fate of multiple national museums of everyday life: exhibitions that tool place in the 1920s were cancelled; in the late 1930s, the collections were transferred to museums of different categories, such as the State Museum of Revolution, the State Museum of Ethnography of the Peoples of the USSR. However, the section of history and everyday life did not cease to exist, and in 1941 merged into the State Hermitage Museum as an independent structural department of the history of Russian culture. Leaning on the new archival sources, an attempt was made to elucidate the work of the department of history and everyday life along with its branches in conditions of difficult political situation in the country during the 1920s &ndash; 1930s. Initially, the primary task of the department consisted procurement of the funds with the items from nationalized manor houses; later in consisted in exposition of the collection; and then due to the absence of the unified state institution for regulation of questions of preservation of historical and cultural heritage, the activity was focused on preventing scattering of the collections. After the First Museum Congress in 1930, the museums were recognized as the means of political-educational propaganda, which let to countrywide stagnation of expositional and exhibition activity of the museums. The museums of history and everyday life, being the mixed type museums, were incapable of resisting new realities, and thus re-specialized into museums of history and art or liquidated completely.
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Burlina, Elena. "From Bonn to Yekaterinburg: chronotope of the modern museum." KANT Social Sciences & Humanities, no. 7 (July 2021): 68–78. http://dx.doi.org/10.24923/2305-8757.2021-7.7.
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The article is devoted to the comparative analysis of innovative trends in domestic and foreign museums. The analysis is interdisciplinary and methodological in nature. The main purpose of the article is to show examples of fundamental changes and the communicative nature of museum forms, dictated by the massization of museums, which changed the quantitative and qualitative composition of the public. According to the author, the museum includes directing and design necessary for communication with the mass audience. In this aspect, the article analyzes the exposition principles of two museums located in different countries. The philosophical foundations of one of the most authoritative museum centers in Europe: the "House of German History" in Bonn are presented in the most detailed way. Noting the integrity of the exhibition in the "House of German History", the author identifies several key principles of the museum exhibition: including:"museum drama", "path", "local space" (chronotope). These staging techniques are comparable to the "Yeltsin Center": the path through 7 rooms is the basis of the exhibition. "Problem Rooms" and the chronotope "Paths" form a common dramatic concept. The scientific novelty of the article also lies in the substantiation of the connection between the museum's drama and mass character. The flow of visitors could not but influence the choice of techniques that are easily read by the mass audience.
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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.
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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
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Amosova, Alisa A., and Alina K. Cherchintseva. "Ways of interpreting the siege and frontline daily life in expositions and exhibitions of Leningrad — St. Petersburg historical museums in the 1940s–1990s." Issues of Museology 12, no. 2 (2021): 187–205. http://dx.doi.org/10.21638/spbu27.2021.204.
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For the first time, the display of frontline life in the museum space was realized during the war years in the framework of military-historical exhibitions that supported the morale of people, served as a means of information about the situation at the fronts. The tragic daily life of the siege was first presented in the format of an exhibition, and later in the Museum of the Defense of Leningrad. The range of topics covered included partisan life, features of organizing urban space, and others. As a result of the Leningrad Affair, the topic of defense and siege was tacitly banned. During Khrushchev’s “thaw”, the Museum of the History of Leningrad was the first to break the silence by undertaking a series of exhibition projects dedicated to the complex topic of the siege. Since the late 1980s, the staff of the revived Museum of the Defense of Leningrad has organized exhibitions devoted to radio broadcasting in the besieged city, reflection of the realities of the siege in painting, graphics, and sculpture, which expanded the content coverage of the topic concerning everyday military life. The baton was picked up by other historical museums of St. Petersburg, which implemented museum displays dedicated to the daily life of a person at the front. This study analyzes the forms of interpretation of the siege and frontline everyday life in the space of Leningrad — St. Petersburg historical museums in the second half of the 20th century. Particular attention is paid to iconic expositions and exhibitions of the period under study: their ideological content and museum objects included are considered and key exposition decisions are analyzed. The article is based on a corpus of archival materials, sources of museum origin, and materials from periodicals.
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Mercado, Monica L. "The Politics of Women's History: Collecting for the Centennial of Women's Suffrage in New York State." Collections: A Journal for Museum and Archives Professionals 14, no. 3 (2018): 331–50. http://dx.doi.org/10.1177/155019061801400309.
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The 2017 New York State suffrage centennial provided momentum for institutions to review and reimagine their women's history collections. Five of the many museum exhibitions timed to this anniversary— Votes for Women: Celebrating New York's Suffrage Centennial at the New York State Museum, Woman's Protest: Two Sides of the Fight for Suffrage in New York at the Cayuga Museum, Beyond Suffrage: A Century of New York Women in Politics at the Museum of the City of New York, and Hotbed and Collecting the Women's Marches at the New-York Historical Society—offer an opportunity to examine curatorial strategies that build on and share existing women's history collections, often accompanied by pointed acknowledgments of the unfinished struggles for voting rights and women's rights. As a constellation of historic sites and museums, state and federal commemorative commissions, and public and private funders join forces to bring these materials and the ideas they carry out of storage and into the exhibition gallery, this study of New York-based institutions speaks directly to commemorations being planned for the 2020 centennial of the Nineteenth Amendment and to new collecting projects in U.S. history museums more broadly.
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Françozo, Mariana. "Exhibition Review." Museum Worlds 6, no. 1 (2018): 158–59. http://dx.doi.org/10.3167/armw.2018.060111.
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The Musée des Confluences in Lyon, France, recently organized a remarkable exhibition: Venenum, un Monde Empoisonné. It ran from April 2017 to April 2018 and was located in one of the museum’s five large temporary exhibition spaces. Venenum did justice to the multidisciplinary and multi-thematic nature of this newly founded museum, bringing together objects otherwise classified separately as natural history, art, ethnography, or history.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Agamalyan, Larisa G. "Encyclopedia Literary Museums of Russia and the Pushkin House Literary Museum." Issues of Museology 12, no. 2 (2021): 279–86. http://dx.doi.org/10.21638/spbu27.2021.210.
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The article notes the importance of creating the Encyclopedia “Literary Museums of Russia” for writing the history of the phenomenon as a whole and each museum separately. The dictionary proposed by the compilers is the result of a certain inventory of the Literary Museum. Work on the articles of the Encyclopedia made it possible to systematize and update the bibliography, including the latest research and publications. The creation of the encyclopedia facilitated recalling and resurrecting the forgotten names of their creators, as well as museums that have merged with others or have been lost. The Pushkin House Literary Museum includes the collections of the Pushkin Museum at the Imperial Alexander Lyceum, the Lermontov Museum at the Nicholas Cavalry School, the Tolstoy Museum in St. Petersburg, the Pushkin Museum of A. F. Onegin (Otto) in Paris, the Museum of Russian Writers in St. Petersburg created by F. F. Fiedler. The Pushkin House is part of the system of institutions of the Academy of Sciences and its museum has been departmental throughout history, which has determined its complex history. The article recounts the work on articles for the encyclopedia as well as specifics and history of the Literary Museum of the Pushkin House, which sought to create “a special literary pantheon where the relics of Russian writers of the XIX century would be collected and stored.” The vastness of the task determined the structure of its collection and the theme of the exhibition — the first museum of the history of Russian literature. This, in turn, determined the content of 13 articles for the encyclopedia. The exhibition was the first unique experience of illustrating the literary process in a single space. The article highlights the role of the Pushkin House in the formation of the system of literary museums in Russia.
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Lomíček, Jan. "Historie a perspektivy sportovního muzejnictví v ČR na příkladu Oddělení dějin tělesné výchovy a sportu Národního muzea." Muzeum Muzejní a vlastivedná práce 57, no. 2 (2021): 40–58. http://dx.doi.org/10.37520/mmvp.2019.013.
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The Department of Physical Education and Sports History of The National Museum administrates the oldest museum collection of exhibits and materials in the Czech Republic focusing on sports, physical education and olympism history not only in Czech lands, but also abroad. The crucial and considerable problem is the absence of a permanent exhibition, which would facilitate a systematic and permanent communication not only with non-professional public, but also with sport and museum professionals. This is a common practice abroad where various sport and olympic museums are an integral part of national cultural heritage. There has not been a permanent exhibition of Czech sport for twenty years and thus various local and private museums substitute its non-existence. Presentation of sport, physical education and olympic historic collection of the National Museum is thus doubtful. The situation in other countries in Central Europe is completely different. This paper deals with the history of The Department of Physical Education and Sports History collection, summarizes the situation in the Czech Republic and in other countries of the Visegrad group. At the end, the paper offers possible approaches that could be adopted in future practice.
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Bobojonov, Dilmurod. "History of «Ichan Qala» State Museum-Reserve." Infolib 27, no. 3 (2021): 60–64. http://dx.doi.org/10.47267/2181-8207/2021/3-077.
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This article describes the foundation of the Ichan-Kala State Museum Reserve in Khiva in 1920 and the activities of the museum, its staff, exhibitions and events over the past 100 years. The Khiva museum- was opened on April 27, 1920 in Arzkhana (reception hall) of Kunya-Ark in the presence of the participants of the 1st Kurultay (Congress) of national representatives. It was called the People’s Museum. The number of visitors increased day by day. In addition to the exposition itself, introductory lectures were held there and thematic exhibitions were organized on certain dates. Until 1924, the descendants of Allakuli Khan lived in the huge Tash-Khauli palace built in 1831–1839 in the inner fortress of Khiva. Considering it their own possession, they began to sell the property of the palace. The government members, having learnt about this, moved the Khiva museum from Kunya-Ark to Tash-Khauli and included it in the list of state property.13 In August of the same year, the Khiva Museum was supplied with the necessary exhibition equipment delivered from Moscow. 285 unique pieces were exhibited in the imported showcases.
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Schütze, Karsten. "The chalk museum Gummanz near Sargard – Exhibition on geoscientific research and mining history." Schriftenreihe der Deutschen Gesellschaft für Geowissenschaften 66 (May 28, 2010): 126–27. http://dx.doi.org/10.1127/sdgg/66/2010/126.
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Krasuska, Karolina. "Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews." European Journal of Women's Studies 26, no. 3 (2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.
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Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology.
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Ольга Анатоліївна Колесник. "FROM VOLYN TO BABYN YAR: UKRAINIAN COMPONENT IN THE MUSEUM OF THE SECOND WORLD WAR IN GDANSK AS A POLISH SITE OF MEMORY." Intermarum history policy culture, no. 5 (January 1, 2018): 317–31. http://dx.doi.org/10.35433/history.111823.
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The Museum of the Second World War in Gdansk was opened on the 23rd of March 2017 and one of the main aims of the institution was to represent the history of the war with the focus on the Eastern and Central Europe. However, from the very beginning, when the idea of creating of such museum developed in 2008, it has become the memory battleground for Polish intellectuals as well as for Polish politicians. The overall situation led to the change of the director of the museum and several pieces in the permanent exhibition after its official opening. From this point of view Ukrainian topics in the permanent exhibition do not only represent the Polish vision of the Second World War, but they also show the issues relevant for the Polish-Ukrainian dialogue nowadays. Among the main Ukrainian topics, which are represented in the main exhibition, there are several theme groups: 1) September 17, 1939; 2) occupation and collaboration; 3) violence against the Jewish population; 4) ethnic cleansing in Volyn and Eastern Galicia; 5) forced workers in the Third Reich; 6) deportations and resettlement. The analysis of the aforementioned historical themes shows that the exhibition presents the main events which are being investigated in the current Ukrainian historiography and not all of them have a direct connection with Polish history (for instance, forced labor or mass shootings of the Jews on the pre-war Soviet territory). At the same time, the event like Volyn massacre is represented as ethnic cleansing, while pogroms against the Jews in 1941 in Lviv are put in a wider context of violence at the beginning of the war alongside with other similar pogroms in Jedwabne.
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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.
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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”.
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Silev, Aleksandr, and Daria Rodionova. "INNOVATIVE TECHNOLOGIES IN ORGANISING EXHIBITION OF NATURE SECTOR IN KUZBASS STATE MUSEUM OF LOCAL HISTORY (KEMEROVO, RUSSIA) AND PECULIARITIES OF THEIR USE IN EXCURSION WORK." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2021): 28–33. http://dx.doi.org/10.32340/2414-9101-2021-3-28-33.
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The paper analyses digital transformation of traditional technology of exhibiting museum items, methods of excursion service to museum audience. An experience of integration of information and telecommunication technologies (such as mapping, holographic projection, typhlokommentation, augmented reality, etc.) into activities run by Kuzbass State Museum of Local History (Kemerovo, Russia) is outlined. The authors reveal a few problems of carrying on excursion work in modernized exhibition areas of a museum.
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Drummond, Di. "Exhibition and Museum Review." Journal of Transport History 33, no. 2 (2012): 260–62. http://dx.doi.org/10.7227/tjth.33.2.8.
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LEE, Jung Hyun. "A Study on the Development of Immersive Content of Exhibition Spaces using VR Technology." Korea Institute of Design Research Society 7, no. 3 (2022): 9–18. http://dx.doi.org/10.46248/kidrs.2022.3.9.
Full textAbstract:
As the digital transformation accelerates due to the global pandemic, the untact environment has become a daily routine. A virtual world called metaverse has also been created, and new technologies such as platform space, avatars, media content, VR are being used to implement it. In line with this social change, even in cultural spaces such as museums, virtual museums and smart museums that apply various technologies are emerging. Recently, museums are developing contents for special experiences that allow visitors to experience the real thing in addition to providing simple exhibitions. Therefore, this study focuses on the case of developing Immersive content for visitors of the National Museum of korea to empathize with the theme and intention of the exhibition and to understand the history. It examines the visual media elements necessary for the development of Immersive content, and proposes based on actual application cases such as the development of content elements using interaction, spatial motifs, and relics, and storytelling. In addition, VR technology will be applied to maximize the experience and the direction of the differentiated exhibition of the National Museum of Korea will be discussed in the future.