Lukas - the museum in digital

"Lukas manages digital imagery of the finest works and masterpieces of Flanders’ artistic heritage at the behest of museums and heritage organizations." With this video, they also become a digitalized museum. Watch and be amazed:
This goes against everything we define as "a museum", and yet... dare I say I love it? I wonder what Parisians would think.

Out of this World - le musée du quai Branly

"Every aspect of a museum, gallery, or heritage site communicates. From the architectural style of the building or layout of a site, to the attendants at the entrance, the arrangement of the exhibits or artifacts, the colour of the walls, and the positioning and content of labels and text panels; all these things and more are engaged in a communicative process with the visitor." -Rhiannon Mason, Museums, galleries and heritage: Sites of meaning-making and communication

For these very reasons, even the central glass column filled with musical instruments which acts as the backboard to the musée du quai Branly can be controversial. In my opinion: it shows objects on display which--although for the most part made to be seen--are intended more so to use. It organizes objects by region with scientific numbers which further separates the visitors from the cultures the objects represent. For a museum which is meant to be so revolutionary, it's nearly as imperialistically-insulting as museums have always been. Daniel Sherman notes, "Rivet [the first director of the Musée de l'Homme] ;preferred to avoid evolutionary schemas altogether, noting that the people ethnographers would encounter in the French empire 'are as far, perhaps even farther, from their origins as we; it is just that their civilization has evolved in a different direction from ours'." In this case, few things have changed.

"Who, after all, is best qualified by experience' (what kinds?), by depth and breadth of knowledge (what knowledge?), to control and interpret an African collection," asks James Clifford in Routes: Travel and Translation in the Late Twentieth Century. I expand the question to include any culturally-affiliated collection, which in those terms basically encompasses everything found with a museum. It matters because, "for example, depending on your point of view, an African mask could be viewed as an ethnographic exhibit, a tribal artefact, a piece of art, evidence of colonial looting, the subject of a repatriation case, or simply a commodity to sell," as described in ;Museums, galleries and heritage: Sites of meaning-making and communication by Rhiannon Mason. In creating a contemporary building surrounded by an "exotic" garden with a visitor route which simulates a futuristic river, any and all objects of the museum are placed in this context which further separates the museum experience, and thus the cultural significance of the objects themselves, from the every day life and identity of the museum visitor. Thus this museum is hardly "a contact zone."

And saying as such doesn't begin to address "looted third world art," to use the loaded terms of The New York Times. Perhaps it's too much to ask, but I believe a museum that claims to be ... should "be accountable in a way that went [goes] beyond mere preservation," in the words of James Clifford. If for no other reason than because, as Eilean Hooper-Greenhill acknowledges in Changing Values in the Art Museum: Rethinking Communication and Learning: "It is time for museum professionals to acknowledge and address the power of museums, to accept that museums are necessarily implicated in cultural politics, and that, therefore, professional practices have political."

The museum within the sewers

"There are twice as many meters of sewers as there are streets in Paris... it's like a town beneath a town."

What constitutes a museum? At first thought, the building itself. "The building chosen to stand for the institutionalized museum itself representative of a particular building type familiar to all of us who have visited the world's greatest museums," writes Rosalind E. Krauss in Postmodernism's Museum Without Walls. Upon further examination though, it's a lot more than that--objects are exhibited, maps direct, and both are adorned with labels so the visitor is clear on exactly what he or she is seeing and where he/she should go next. 

Le Musée des Égouts de Paris hardly contains any of these details as the creation of the museum itself was most certainly an after thought. I was lucky enough to visit with a guide during which time I learned that  Napoleon commissioned the sewage system that is still actively used today; until 1920, Parisians (albeit bourgeoisies) were invited to take tours of the sewage system via cars and boats; workers appreciate the rats because they (1) help with eating the garbage and (2) give warning to any danger; and finally, until 2004; government officials could send messages through pipes from the Senate to the Parliament building. Interesting? Yes. Unique? For sure. I'm glad I went, and I doubt I'd ever go again. The smell is hardly pleasant.

Charles Landry said, "At their core museums and galleries are involved in an exchange of ideas where we as the visitor come to grips with displays. In effect we converse either with ourselves or more publicly about what our culture or those of others is so we think about what we value and what our values are." Thank God for public workers...

Musée des Égouts de Paris

Où? Across from 93, quai d'Orsay, 75007 Paris

Quand? Monday-Wednesday, Saturday, Sunday, 11am-4pm

Comment? Metro: Alma-Marceau; RER: Pont de l'Alma

Appreciating le Musée Jacquemart-André

Private art museums are quite astonishing entities. In addition to displaying unique and personal collections, they "afford visitors the rare opportunity to take a peek into the lives and passions of some of the world’s wealthiest and most powerful people, " as written by Emma Solely for Departures.com. And interestingly enough, we may have these wealthy and powerful people to thank for the creation of the museum in the first place. As published on FT.com: "What is generally considered to be one of the world’s first museums opened circa 1628 in Kennington, London, where John Tradescant would take visitors around his collection of curiosities gathered from his travels."

This past week, I had the opportunity to view the eclectic and refined tastes of Eduoard André and Nelly Jacquemart. Over a hundred years ago, they built a small palace within Paris to display their extraordinary collection and then bequeathed it in its entirely to the Institut de France in 1911. It was to be opened as a museum for the public though the layout could be changed and no art could be lent. It's amazing to think it is still just as dazzling a sight as it was then.

Spectacular, isn't it? And yet I found it most interesting to observe the visitors who were notably more mature and seemingly more cultured. This was visible in the clientele of the beautiful café and could also be inferred by the more expensive admission price (11 euros). I'd say it was worth it though. I especially loved the original work of Botticelli and Rembrandt and the visit is undeniably peaceful--it's as if you become privileged too by simply being there.

Le Musée Jacquemart-André

Où? 158, boulevard Haussmann, 75008 Paris

Quand? Daily,10am-6pm

Comment? Metro: Saint-Augustin, Miromesnil, Saint-Philippe du Roule, RER Charles de Gaule-Étoile, Bus 22, 43, 52, 54, 28, 89, 83, 84, 93

Great Britain at the British Museum

This past weekend, I ventured to London with one of my classes. Although our itinerary was pretty intense the first two days, we were left to explore during the entirety of Saturday. Mary and I decided to peek into London's national identity and find out what a "vast collection of world art and artefacts" looks like with a (free!) visit the British museum.

The immense main hall (through which one arrives after passing through the main entrance) is incredible. With such tall ceilings and a circular shape, it felt as though we were standing in the center of the Universe. And in some ways, I suppose, we were. The full range of exhibits could be accessed by taking a hallway (corridor) or staircase and there were various services to make the experience more enjoyable: an Information desk, the Gallery Café, "the Families Desk", the Museum Shop, the Multimedia desk (a Korean Air sponsorship offered free audio guides).

With free maps in hand, we set out "to experience some of the highlights of the magnificent permanent collection."

Of the most ancient artifacts, I realized many had originated in many former British colonies. It was almost ironic yet not at all that they were still being showcased with such esteem. After all, at one time the British Empire was the largest, wealthiest, and yes, greatest. The physical evidence of such power appeared to be the most popular amongst visitors and the free tours and talks scheduled throughout the day.

To enhance the privileged opportunity, the Museum offers opportunities to touch objects and learn more about them under the supervision of experts. I believe the intention is that which Fiona Candlin hypothesizes in The Dubious Inheritance of Touch: Art History and Museum Access, "touch potentially opens up previously prohibited ways of understanding museum collections and includes visitors who have traditionally been marginalized by an emphasis on visual learning. As such, it could represent a new and positive step towards recognizing different forms of knowledge and in correlation acknowledges the rights of blind people, among others, to access their collective cultural heritage."

Ancient Greek and Roman artifacts and the rotating exhibitions were accessible from the upper floors as well. On our visit, they were displaying Spanish prints and drawings from the Renaissance to the time of Goya, in addition to a look at the significance of water, tea, and wine across Asian cultures. A visual history of Europe was additionally on display.

The biggest crowds I saw, however, could be found on the ground floor. Not in the Americas exhibits, nor of those of China, South Asia, and Southeast Asia, but in room 4: Egyptian sculpture. It is here that The Rosetta Stone is set on display surrounded by thick glass. I'd assume that this amazing "key to deciphering hieroglyphics" tops the list of A History of the World in 100 Objects written by British Museum Director in conjunction with BBC Radio.

The British Museum

Où? Great Russell Street, WC1B 3DG, London

Quand? Daily,10am-5:30pm; Friday, 10am-8:30pm

Comment? Tube, Tottenham Court Road, Holborn, Russel Square, Goodge Street; Bus 1, 7, 8, 19, 25, 38, 55, 98, 242, 10, 14, 24, 29 73, 134, 390, 59, 68, X68, 91, 168, 188

From Royal Garden to Natural History Museum

In Touch in Museums, editor Helen J. Catterjee references Donald Preziosi's development of Foucalt's thesis by concluding that: "the museum was not only productive of knowledge about objects but functioned as 'an instrument for the manufacture of ... societies, ethnicities, races, classes, genders, and individuals; of history, progress, and moralities (ibid)."

As such, it is no surprise that le Musée d'Homme is under renovation as I discussed in my previous post. It does bring to question the museums of "natural history" however.

In the first place, "natural history" infers that this history in an absolute, indisputable truth, and it is perhaps with this conclusion that those who were excavating for museum materials (most notably skeletons of extinct plants and animals) justified their quests throughout the world. The Galleries de Paléonthologie et d'Anatomie comparée compare such materials in an encyclopedic matter. Dinosaurs for example, have been reconstructed and displayed with pride in order of their development and extinction with a nod to the place in which their remains were found.

The Grande Gallerie de l'Evolution, on the other hand, has taken a more "modern approach." Housed in a similarly open and airy environment, natural light is replaced with colored lights which, in my opinion, provide a more "science fiction" feel. Animals are displayed with labels in modern glass cases or in the center in of the rooms where they appear to migrating, hunting, or playing with each other. Interactive activities invite children and adults to get a sense of their natural environments and identifying characteristics. There is even an educational space specifically for children.

It is as if, in Judith Matsai's terms, the museum's philosophy is such that "the museum is an education resource for lifelong learning, [and thus] the task changes in order to identify multiple points of entry for visitors of many sorts and kinds, based on differences in age, gender, race, ethnicity, levels of knowledge about history, about art history, and so on."

Both strategies are, in my opinion, effective, but the visitor to the Grande Galerie de l'Evolution is made to feel more a part of the natural and historical development of the world. There direct relationship between man and animals is discussed (due in no small part to the fact that they simultaneously exited--as opposed to most if not all of the creatures displayed in the Galeries de Paléonthologie et d'Anatomie comparée). As seen in the photo above, s/he is even, as seen above, called to question the role s/he plays in nature as the world continues to develop.

Arts d'Islam - Musée du Louvre

As a museum, the Louvre is one of the oldest in the world. From 1190 to 1202 it was constructed as Phillip Auguste's medieval fortress (as such Le Louvre actually means "the fortress.") but it wasn't until August 10th, 1793 that it actually became a public museum following the French Revolution.

It can be said that the royal collections of art and decorative items were meant to display the authority of the monarch. It can also be said that the republican museum (as in of the French Republic) stood for the virtuous state.

That was hundreds of years ago though. Since then, the Louvre has expanded to 160,000 square meters of galleries featuring about 35,000 works. And most recently, its departments have expanded to include the Islamic Arts.

Such an expansion is critical as a means of cultural diplomacy. It's no coincidence the gallery openings coincided with the French president's inauguration. So much of what we know as terrorism today has been rooted in extreme religion and most often that religion has been Islam; thereby making hostile ignorance unfortunately widespread.

"The learner's prior knowledge, experience, interests, and motivations all compromise a personal context, which is embedded within a complex socio-cultural and physical contect. Learning can be described as the interaction and negotiation of these three shifting contexts in time and space (Falk and Dierking, 1992, 2000 - Living in a Learning Society: Museums and Free-choice Learning)."

 

The Louvre appears to understand how critical it is to create opportunities to not only enjoy the art that has been born from countries where Islam has historically been practiced but to learn about the incredible breadth and diversity of Islamic culture through art. Museum education is, of course, predominately recognition a social responsibility.

"In static societies, which make the maintenance of established custom the measure of value, this conception (i.e. 'the catching up of the child with the aptitudes and resources of an adult group') applies to the main. But not in progressive communities. They endeavor to shape the experiences of the young so that instead of reproducing current habits, better habits shall be formed, and thus the future adult society be an improvement on their own." (Dewey 1916; 79 - Democracy and Education. New York: Macmillan, 1944)

 

In this case, by providing explanatory paragraphs at the gallery entrance, detailed labels on each of the pieces of art, and a progressive timeline through which they're organized, each visitor--no matter their personal perspective or viewpoint or even their age--is given concrete information about a history and a heritage s/he are most likely unfamiliar with.

Unfortunately, although the gallery design is stunning, I found it hindered these educational goals by appearing temporary, at least in comparison to most if not all of the galleries of the Louvre's other permanent collections. This is detrimental as it not only forfeits the value of these pieces but the intention of their exhibition.

Still, the Louvre may be able to avoid such results to the visitor experience by focusing on modernizing updates to other exhibits and galleries including but not limited to geometric display cases and multimedia tools.

Many of the three thousand objects within the Islamic Art galleries were literally "brought to light" in September of this year. I sincerely hope their importance continues to shine through the next centuries of the Louvre's existence. Its ~8.8 million visitors would certainly benefit from a more complete global collection, as would future society.

Le musée de l’Ecole nationale vétérinaire d’Alfort

Les Cabinets des Curiosités were a group of bizarre and foreign items collected by the bourgeoisies with the intent of impressing each other. The original collection of this museum was just that, but that of the king, so one can only imagine how "impressive." Unfortunately, as a museum visitor of the 21st century, I failed to fully appreciate it.

Beyond that beginning, it is worth noting that le musée Fragonard was initially used as a teaching device for the veterinary school for which it is a part of. Items are still labeled as they had been then with the scientific names and organized by scientific study (anatomy, skeletal, pathology). There is also little regard for the squeamish. 

My final critique is that there has been very few updates to bring the museum from its unique beginnings into the 21st century. It is neither exciting nor inviting. Its historical value notwithstanding,  efforts should be made to encourage more interaction with the pieces, if not through any of the senses than by understanding. I would have never been able to recognize the beauty in the realistic representations without our fabulous guide (a 4th year veterinarian student).

Honoré Fragonnard--the surgeon who created these anatomically-accurate pieces from the recently deceased using a revolutionary method with formaldehyde (and for whom the museum is named)--was a ridiculously talented artist... but I only believe medical professionals, biology students, and art historians have the potential to fully grasp how much in one solitary museum visit. Otherwise, this museum is simply a room with glass cases and disturbing spectacles.

Behind the scenes at MAM

In my last post I spoke of the MAM's new logo and my first visit to its permanent exhibitions. What I failed to mention, however, is that I also had a unique opportunity to go behind the scenes of the museum. It was fascinating to see the invisible hands and the hard work that gets put into even the "simplest" of exhibits. We had the chance to meet the curators behind the upcoming exhibitions and listen as they spoke about the artist and their work. Amazing, right?

It was. Modern and contemporary art museums like this one are exceptionally mobile and the ideology and intention behind each work and each exhibit can easily be lost in that movement. Although I believe they are still more visible than those at other art museums, they're difficult to grasp for the untrained eye and uninformed mind. Discovering Bertille Bak's inspiration for her work (marginal communities) and the role these people play in creating her exhibits was incredible. She literally spent months living amongst nomadic Romanians. Then, to learn the great historical influences in Slovakian artist, Roman Ondák's works! My gosh. I would have no idea otherwise, let alone such a thorough understanding. As I recently read in Museum Materialities:

"...most often it [the object-information package] does so almost entirely through textually-provided meaning, and threatens to foreclose a more basic, but no less potent, bodily and emotional response to the material itself (c.f. Greenblatt's view of what museums have lost in evolving from temples of wonder to temples of resonance, 1991). 

Next week, when I go to the opening, a night when the museum will surely be all decked out in their entertaining best, I'll have that privileged background to lead me through the halls of the MAM. What an honor.

Wim Delovoye "au Louvre"

The Louvre is one of the largest and recognizable museums in the world. It holds numerous incredible exhibition throughout the year, more than one could ever seemingly see. This was unique though. Unlike many of the classic antiquities, these contemporary art pieces were provocative. And situated within the Napoleon III apartments.

Aside from a few like the pigs made of rug and literal bunny slippers, Delvoye's pieces were created from precious metals, and in a sense coordinated seamlessly with the French antiques. And yet, once I became aware of their clever placement I could not ignore how bizarre they appeared...

The juxtaposition of order and chaos (or at least free spirited structure), serious wealth and surreal whimsy was unnerving and exciting at the same time. I felt strongly that Napoleon III himself would have been offended by it but it wasn't as if Wim Delvoye was mocking him. It felt more so that Delvoye was poking fun at the late emperor in an attempt to get him to "lighten up." And in that sense, I assume this was the Louvre's intention as well.

Furthermore, it was if both were reminding visitors that although we are in a historic palace, surrounded by stunning antiques and ornate tapestries, we are still very much in the 21st century. To be frank, the value and majesty of archived nostalgia is questioned when one realizes the centerpiece on a gorgeous 17th century table is two bronze deers fornicating.

We are not privileged to be amongst the furniture and art previously owned by monarchs, we deserve to be there. We have the right and the power to challenge their "perfection." Or rather, Delvoye does and we should simply follow suite.