Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

New collecting theory and practice

1,424 views

Published on

The theory, ethics and practice of collecting is a key issue in the curriculum of the Reinwardt Academie (Amsterdam). After a brief introduction of the training programmes offered by the academy, a theoretical framework is presented and elaborated on the basis of some projects in Amsterdam, Zoetermeer in Düsseldorf. The presentation emphasis the role of participation in collecting.

Published in: Education, Technology, Business
  • Be the first to comment

New collecting theory and practice

  1. 1. The Reinwardt Academie and contemporary theory and practice of collecting Léontine Meijer-van Mensch Peter van Mensch 18 June 2010
  2. 2. Reinwardt Academie Dapperstraat 315 Amsterdam
  3. 4. Reinwardt Academie <ul><li>1976 Leiden </li></ul><ul><li>1992 Amsterdam </li></ul><ul><li>about 550 students </li></ul><ul><li>28 lecturers (20 fte) </li></ul>
  4. 5. Reinwardt Academie <ul><li>Bachelor programme (1976) Cultural heritage </li></ul><ul><li>Master programme (1994) Museology </li></ul><ul><li>Research programme (2006) Cultural heritage </li></ul>
  5. 6. Bachelor programme <ul><li>4 years (240 EC) </li></ul><ul><li>Dutch </li></ul><ul><li>about 500 students </li></ul><ul><li>no selection </li></ul><ul><li>fee € 1620 / year </li></ul>
  6. 7. Bachelor programme <ul><li>Lectures, projects, workshops (150 EC = 62 %) </li></ul><ul><li>Internships (3x, 90 EC = 38 %) </li></ul><ul><li>Excursions (Netherlands + Paris, Berlin, London) </li></ul>
  7. 8. Master programme <ul><li>18 months (90 EC) </li></ul><ul><li>English, international </li></ul><ul><li>about 45 students </li></ul><ul><li>selection </li></ul><ul><li>fee € 10,000 </li></ul>
  8. 9. Master programme <ul><li>Lectures, projects, workshops (45 EC = 50 %) </li></ul><ul><li>Internship (1x, 15 EC = 17 %) </li></ul><ul><li>Excursions (Netherlands + Berlin) </li></ul><ul><li>Research project (30 EC = 33 %) </li></ul>
  9. 10. Collections based organisation
  10. 11. Functions based organisation
  11. 13. theory practice ethics professionalism
  12. 14. 1 2 3 4 I II III IV minor optional minor optional collection management communication heritage “ the object” significance the field institutions cultural biography society audiences GLO’s & GSO’s communication presentation Bachelor programme strategic business plans
  13. 15. Master programme introduction module 10 EC core modules 5 x 7 EC internship 15 EC research project 30 EC I II core modules: professional development collection development audience development product development sustainable development
  14. 16. bachelor: general competencies <ul><li>5 core responsibilities </li></ul><ul><li>critical reflection & body of knowledge </li></ul><ul><li>personal professional competencies </li></ul>
  15. 17. bachelor: general competencies <ul><li>5 core responsibilities </li></ul><ul><li>to manage heritage information </li></ul><ul><li>to analyse, interprete and value heritage </li></ul><ul><li>to preserve heritage </li></ul><ul><li>to give access to heritage </li></ul><ul><li>to position a heritage institution </li></ul>
  16. 18. master: general competencies <ul><li>philosophical and ethical competencies </li></ul><ul><li>public focus </li></ul><ul><li>organizational awareness </li></ul><ul><li>self-management </li></ul>
  17. 19. new collecting theory
  18. 20. society heritage
  19. 21. functions institutions
  20. 22. conceptualising museums
  21. 24. axis of tradition and renewal
  22. 25. 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>
  23. 26. <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>
  24. 27. <ul><li>New Museology </li></ul><ul><li>integrated museum </li></ul><ul><li>social inclusion </li></ul>
  25. 28. social inclusion <ul><li>Access </li></ul><ul><li>Representation </li></ul><ul><li>Participation </li></ul>
  26. 29. 2007 2005
  27. 30. <ul><li>Museum 2.0 </li></ul><ul><li>Participation paradigm </li></ul>
  28. 31. 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>
  29. 35. 2010
  30. 36. Forms of participation (Simon 2010)
  31. 37. <ul><li>Council of Europe 2005 </li></ul><ul><li>Framework Convention on the Value of Cultural Heritage for Society (Faro Convention) </li></ul>
  32. 38. <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>
  33. 39. participation paradigm <ul><li>front stage </li></ul><ul><li>presentation </li></ul><ul><li>education </li></ul><ul><li>events </li></ul><ul><li>back stage </li></ul><ul><li>collecting </li></ul><ul><li>documentation </li></ul><ul><li>conservation/restoration </li></ul>
  34. 40. new collecting practice Amsterdam Zoetermeer Düsseldorf

×