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An ambitious study of what it means to be a museum in the twenty-first century In Museums Inside Out, Mark W. Rectanus investigates how museums are blurring the boundaries between their gallery walls and public spaces. He examines how artists are challenging and changing museums, taking readers deep into new experiments in exhibition making. Along the way, Rectanus offers insights about how museums currently exemplify the fusion of the creative and digital economies. Exploring contemporary museum practices, initiatives, and collaborations, Rectanus analyzes projects like the Collective Museum, which foster land-based museum ecologies by co-curating with local communities. The Schirn Kunsthalle, Petach Tikva Museum of Art, and Tate Modern reflect museums as cultural zones for performance, inside and outside the museum. In addition, he studies a joint project between the Van Gogh Museum and the investment firm Deloitte Luxembourg, extracting insights on the transfer of expertise from museums to the financial sector. Wide-ranging in its case studies, and boldly putting museum studies and art into conversation, Museums Inside Out delivers vital insights into the ideas and places that museums are creating in contemporary culture.
MUSEUM MEDIA Edited by Michelle Henning Museum Media explores the contemporary uses of diverse media in museum contexts and discusses how technology is reinventing the museum. It considers how technological changes—from photography and television through to digital mobile media—have given rise to new habits, forms of attention and behaviors. It explores how research methods can be used to understand people's relationships with media technologies and display techniques in museum contexts, as well as the new opportunities media offer for museums to engage with their visitors. Entries written by leading experts examine the transformation of history and memory by new media, the ways in which exhibitions mediate visitor experience, how designers and curators can establish new kinds of relationships with visitors, the expansion of the museum beyond its walls and its insertion into a wider commercial and corporate landscape. Focusing on formal, theoretical and technical aspects of exhibition practice, this in-depth volume explores questions of temporality, attachment to objects, atmospheric and immersive exhibition design, the reinvention of the exhibition medium, and much more.
Digital technologies have opened up new possibilities for the cultural sector. Many museums are represented on the internet with various materials. Augmented reality and virtual reality offer immersion experiences even for existing museums. However, for many topics there are no museums and exhibitions. The author group "Virtual Museums Forum" is now presenting a contribution to the discussion that focuses on museums in the metaverse. It aims to promote conceptual considerations for implementing virtual museums. This raises two fundamental questions: "What is a virtual museum?" and "For which topics or constellations can a virtual museum be particularly suitable?" This book provides a pragmatic answer to the first question. Comprehensive theses are then put forward for the second question and implementation of virtual museums. "Virtual Museums Forum" author group: Isabelle Becker, Messe Basel Otmar Böhmer, Kunststiftung Volkswagen und Kunstmuseum Wolfsburg Reinhard Gröne, Angel Engine e. V., Düsseldorf Bernd Günter, Heinrich-Heine-Universität Düsseldorf Rebecca Heinzelmann, Studio Heinzelmann Anja Kircher-Kannemann, Jugendstilforum Bad Nauheim Yasmin Mahmoudi, Kanzlei Dr. Mahmoudi & Partner Rechtsanwälte mbB, Köln Julia Römhild, Heinrich-Heine-Universität Düsseldorf Holger Simon, Pausanio, Köln Theresa Stärk, Heinrich-Heine-Universität Düsseldorf Laura Zebisch, Goethe-Institut
While scholars recognize both museums and films as sites where historical knowledge and cultural memory are created, the convergence between their methods of constructing the past has only recently been acknowledged. The essays in Exhibiting the German Past examine a range of films, museums, and experiences which blend the two, considering how authentic objects and cinematic techniques are increasingly used in similar ways by both visual media and museums. This is the first collection to focus on the museum–film connection in German-language culture and the first to approach the issue using the concept of “musealization,” a process that, because it engages the cultural destruction wrought by modernization, offers new means of constructing historical knowledge and shaping collective memory within and beyond the museum’s walls. Featuring a wide range of valuable case studies, Exhibiting the German Past offers a unique perspective on the developing relationship between museums and visual media.
Architectural design can play a role in helping make the past present in meaningful ways when applied to preexisting buildings and places that carry notable and troubling pasts. In this comparative analysis, Rumiko Handa establishes the critical role architectural designs play in presenting difficult pasts by examining documentation centers on National Socialism in Germany. Presenting Difficult Pasts Through Architecture analyzes four centers – Cologne, Nuremberg, Berlin, and Munich – from the point of view of their shared intent to make the past present at National Socialists' perpetrator sites. Applying original frameworks, Handa considers what more architectural design could do toward meaningful representations and interpretations of difficult pasts. This book is a must-read for students, practitioners, and academics interested in how architectural design can participate in presenting the difficult pasts of historical places in meaningful ways.
Prevention is an attempt to look into the future and have a positive influence on it – therefore it is one of the most important aspects in the area of collection care, the central, current field of applied research in conservation and restoration. With sustainability damage and loss are avoided, dangers averted and research conducted. Collection care is only successful, if the theory is appropriately implemented in museum practice.
Museum Innovation encourages museums to critically reflect upon current practices and adopt new approaches to their civic responsibilities. Arguing that museums have a moral duty to perform, the book shows how social innovation can make them more equitable, relevant and impactful institutions. Including contributions from a diverse group of international scholars, practitioners and researchers, the book investigates the innovative approaches museums are taking to address contemporary social issues. The volume focuses on the concept of social innovation and individual chapters address a range of crucial issues, such as climate change; the COVID-19 pandemic; diversity and inclusion; the travel ban; and the repatriation of museum collections. Exploring the impact that organizational structures have on museums’ aspirations to act as agents for social change, the book also unpacks how museums can establish sustainable relationships with minority communities. Proposing steps that museums can take to affirm their relevance as viable community partners, the book breaks down silos and connects ideas across different areas of museum work. Museum Innovation explores the role of contemporary museums in society. It is essential reading for academics, students and practitioners working in the museum and heritage studies field. The book’s interdisciplinary nature makes it also an interesting read for those working in business studies, digital humanities, visual culture, arts administration and political science fields.
Refocusing Ethnographic Museums through Oceanic Lenses offers a collaborative ethnographic investigation of Indigenous museum practices in three Pacific museums located at the corners of the so-called Polynesian triangle: Bernice Pauahi Bishop Museum, Hawai‘i; Museum of New Zealand Te Papa Tongarewa; and Museo Antropológico Padre Sebastián Englert, Rapa Nui. Since their inception, ethnographic museums have influenced academic and public imaginations of other cultural-geographic regions, and the often resulting Euro-Americentric projection of anthropological imaginations has come under intense pressure, as seen in recent debates and conflicts around the Humboldt Forum in Berlin, Germany. At the same time, (post)colonial renegotiations in former European and American colonies have initiated dramatic changes to anthropological approaches through Indigenous museum practices. This book shapes a dialogue between Euro-Americentric myopia and Oceanic perspectives by offering historically informed, ethnographic insights into Indigenous museum practices grounded in Indigenous epistemologies, ontologies, and cosmologies. In doing so, it employs Oceanic lenses that help to reframe Pacific collections in, and the production of public understandings through, ethnographic museums in Europe and the Americas. By offering insights into Indigenous museologies across Oceania, the coauthors seek to recalibrate ethnographic museums, collections, and practices through Indigenous Oceanic approaches and perspectives. This, in turn, should assist any museum scholar and professional in rethinking and redoing their respective institutional settings, intellectual frameworks, and museum processes when dealing with Oceanic affairs; and, more broadly, in doing the “epistemic work” needed to confront “coloniality,” not only as a political problem or ethical obligation, but “as an epistemology, as a politics of knowledge.” A noteworthy feature is the book’s layered coauthorship and multi-vocality, drawing on a collaborative approach that has put the (widespread) philosophical commitment to dialogical inquiry into (seldom) practice by systematically co-constituting ethnographic knowledge. Further, the book shapes an “ethnographic kaleidoscope,” proposing the metaphor of the kaleidoscope as a way of encouraging fluid ethnographic engagements to avoid the impulse to solidify and enclose differences, and remain open to changing ethnographic meanings, positions, performances, and relationships. The coauthors collaboratively mobilize Oceanic eyes, bodies, and sovereignties, thus enacting an ethnographic kaleidoscopic process and effect aimed at refocusing ethnographic museums through Oceanic lenses.
In the context of critical museology, museums are questioning their social role, defining the museum as a site for knowledge exchange and participation in creating links between past and present. Museum education has evolved as a practice in its own right, questioning, expanding and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? This question is addressed by international contributors from different types of museums. For anyone interested in the future of museums, it offers insights into the diversity of positions and experiences of translating the »grand designs« of museology into practice.
Der 10. Band des vom Jüdischen Museum Wien herausgegebenen "Wiener Jahrbuchs für Jüdische Geschichte, Kultur und Museumswesen" ist im Zusammenhang mit der neuen permanenten Ausstellung entstanden, die im November 2013 eröffnet wurde. Dieser Band zeichnet die begleitenden Reflexionen zur Konzeption der neuen Dauerausstellung nach und gibt Einblick in die Kommunikation mit zwei Gruppen, die für die Arbeit am Museum von immanenter Bedeutung sind: zum einen die BesucherInnen des Museums, die sich aus unterschiedlicher Motivation und mit verschiedenem Hintergrund für einen Besuch im Jüdischen Museum Wien entscheiden, zum anderen die WissenschaftlerInnen und AutorInnen, die in ihren Disziplinen und Themen immer wieder auch jene Felder durchdenken, die von jüdischen Museen thematisiert und "ausgestellt" werden. Die Interviews mit Philipp Blom, Dan Diner, Maximilian Gottschlich, Albert Lichtblau, Eva Menasse, Oliver Rathkolb, Barbara Staudinger und Ruth Wodak führten Museums-Direktorin Danielle Spera und Chefkurator Werner Hanak-Lettner in der Vorbereitungszeit zur neuen permanenten Ausstellung. Erstmals erscheint ein Band aus dieser Reihe zweisprachig (Deutsch/Englisch).