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New collecting theory and practice


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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.

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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