A work of art in a museum is a work of art in a museum

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museology, art museums, participation paradigm, restoration

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A work of art in a museum is a work of art in a museum

  1. 1. Peter van Mensch A Work of Art in a Museum is a Work of Art in a Museum
  2. 3. society art
  3. 4. functions institutions
  4. 6. axis of tradition and renewal
  5. 7. ECCO <ul><li>Professional Guidelines (2002) </li></ul><ul><li>[the Conservator-Restorer] has a responsibility not only to the cultural heritage itself, but also to the owner or legal guardian, the originator or creator, the public , and to posterity </li></ul><ul><li>Code of Ethics (2003) </li></ul><ul><li>(article 5) The Conservator-Restorer shall respect the aesthetic, historic and spiritual significance and the physical integrity of the cultural heritage entrusted to her/his care. </li></ul><ul><li>(article 6) The Conservator-Restorer, in collaboration with other professional colleagues involved with cultural heritage, shall take into account the requirements of its social use while preserving the cultural heritage. </li></ul>
  6. 8. <ul><li>Museums may have been set up in an atmosphere of enlightenment, but this does not mean that they were democratic in nature, and I believe that exclusivity is in their DNA. </li></ul><ul><li>David Fleming 2008 </li></ul>
  7. 9. <ul><li>New Museology </li></ul><ul><li>integrated museum </li></ul><ul><li>social inclusion </li></ul>
  8. 10. social inclusion <ul><li>Access </li></ul><ul><li>Representation </li></ul><ul><li>Participation </li></ul>
  9. 11. 2007 2005
  10. 12. <ul><li>Museum 2.0 </li></ul><ul><li>Participation paradigm </li></ul>
  11. 13. web 2.0 <ul><li>Community of connected users </li></ul><ul><li>The network as platform </li></ul><ul><li>Harnessing collective intelligence </li></ul><ul><li>User generated content </li></ul>
  12. 14. 2010
  13. 15. Nina Simon, The Participatory Museum (Santa Cruz Calif., 2010)
  14. 16. Forms of participation (Simon 2010)
  15. 17. <ul><li>Council of Europe 2005 </li></ul><ul><li>Framework Convention on the Value of Cultural Heritage for Society (Faro Convention) </li></ul>
  16. 18. <ul><li>a heritage community consists of people who value specific aspects of cultural heritage which they wish, within the framework of public action, to sustain and transmit to future generations. </li></ul>
  17. 19. participation paradigm <ul><li>front office </li></ul><ul><li>presentation </li></ul><ul><li>education </li></ul><ul><li>events </li></ul><ul><li>back office </li></ul><ul><li>collecting </li></ul><ul><li>documentation </li></ul><ul><li>conservation/restoration </li></ul>
  18. 20. transparency the method as message
  19. 21. Kenneth Hudson 1916-1999 <ul><li>A tiger in a museum is </li></ul><ul><li>a tiger in a museum </li></ul><ul><li>and not a tiger. </li></ul>
  20. 24. object idea maker musealisation idea museum museum object visitor idea “ conceptual object” Primary Context Museological Context
  21. 30. <ul><li>Edgar Degas </li></ul><ul><li>Grande danseuse habillée </li></ul><ul><li>Tate Gallery, London </li></ul>
  22. 31. <ul><li>Edgar Degas </li></ul><ul><li>Grande danseuse habillée </li></ul><ul><li>Musée dÓrsay, Paris </li></ul>
  23. 32. <ul><li>Edgar Degas </li></ul><ul><li>Grande danseuse habillée </li></ul><ul><li>Museum Boijmans van </li></ul><ul><li>Beuningen (Rotterdam) </li></ul>
  24. 34. critical thinking empowerment transformation
  25. 35. Tyne & Wear Museums and Archive <ul><li>Our mission is to help people determine their place in the world and define their identities, so enhancing their self-respect and their respect for others. </li></ul>

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