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segunda-feira, 16 de fevereiro de 2015

"Black Presence" is an action promoted in São Paulo (Brazil) by black artists, writers and activists who visit exhibition openings in art galleries in group.

Welcome, neo-cosmopolitans!

Photo: Adriano Vizoni/Folhapress (taken from Folha de S. Paulo)
"Black Presence" is an action promoted in São Paulo (Brazil) by black artists, writers and activists who visit exhibition openings in art galleries in group. They arrive one by one, they become numerous and attract the uncomfortable stares of other visitors. Because the presence of blacks (as artists and public) is not usual in these contexts. Not everyone agrees with these actions (as can be seen in the comments in the Folha de S. Paulo), but to me, this act of claiming by citizens caught my attention.


And it reminded me of another. At a conference last year, I heard Sylvain Denoncin, of the French company EO Guidage, tell the story of the Louvre - Lens. The museum was designed by Japanese architecture studio SANAA. The inhabitants of the city threatened to take the project to court if the new museum was not accessible. At that point, EO Guidage was called to intervene and remedy something that should have been thought from the first moment. In an exchange of views with a colleague on Facebook, we shared the same concern: how many generations for the citizens of this country to become more demanding in relation to access to the cultural offer of public cultural institutions?


These are two cases which raise once again the question of what is meant by "access to culture"; what culture professionals mean when they say "are doors are open" or "we are here for everyone"; the difference between the concepts of "democratization of culture" and "democratic culture".


John Holden has been quoted more than once on this blog, specifically his identification of the guardians of culture in the essay "Culture and Class" - the "cultural snobs" and the neo-mandarins (see references at the end of the text).


First point: we are still suffering from the mentality of the "cultural snob", which considers the cultural offer - certain cultural offer – to be only for the initiated. In what concerns the others – the non-initiated, the non-cultured - the option (defended less and less publicly, but present in the way we programme and communicate) is to exclude, there being nothing really one can do, since neither the family of these people nor the school had the capacity to educate them, to prepare them for this experience.


Second point: the neo-mandarins have changed the context created and defended by "cultural snobs", and have come to promote access, the democratization of culture. Although it is a different attitude, more open and inclusive, in practice it also reveals another kind of guardian. The neo-mandarins defend access, but they want to be the ones to define what is worth having access to and how. In more than one meeting lately, when the issue of "inclusion" was raised, the need for cultural spaces to be more representative of the societies in which they are inserted and more welcoming for the diverse people that make up this society, the answer varied little: it usually referred to initiatives of the education service, guided tours or shows which people attend as part of specific groups (people with disabilities, seniors, immigrants, children and adults living in social institutions, people from “underprivileged” backgrounds , etc.).


Third point: the emergence of the neo-cosmopolitans in the cultural sector, willing to give up their role as guardian and to truly open the doors for a greater collaboration and involvement of "outsiders", for making the cultural offer more representative and relevant, has also come to change this relationship with people and the way they perceive and gain ownership of cultural institutions. The goal of the neo-cosmopolitans is to move towards a more democratic culture.


In order for change to occur, the contribution of various agents is required. I will concentrate on two of them: the associations representing the groups of people referred above; and the professionals of the cultural sector.


Undoubtedly, we need to have more participative citizens, who know their rights, who ask for what’s theirs, who want to have a say on cultural institutions and access to the cultural offer. The role of associations representing certain groups of citizens is crucial here, because their voice is sometimes stronger and more respected. These associations must promote and defend the rights of their members, should intervene whenever necessary, should take into good consideration the solutions they propose and those they accept. A few months ago, an actor who would represent in a municipal theater reacted negatively to the presence of sign language interpreters in front of the stage. The theater sought alternatives and asked the Federation of the Associations of the Deaf what they thought of the solution to broadcast the play in another room, from which deaf viewers could follow the performance. The Federation considered the solution to be acceptable. It was not. No solution that discriminates against citizens and their right of access to culture is acceptable and associations should be the first to defend it.


However, there must also be a movement from within. A movement that allows to counteract snobbish attitudes; a movement that allows neo-mandarins to develop and to become neo-cosmopolitans. I believe that we will not have more demanding citizens if we have snobbish cultural professionals, professionals only prepared to repeat past recipes, without questioning them, without thinking about the next step: promoting inclusion in the medium and long term.


Citizens need to feel and see in practice that there is a different mentality on the part of the professionals, a mindset that seeks to foster the relationship with people, many people, not just the initiated, and create space for this relationship to exist and to grow, to be real and lasting. We will be more inclusive if citizens, in all their diversity, feel that the programming of public cultural institutions is relevant to them; if they feel represented and the representation entails an increased involvement; if communication is developed with a view to getting accross to them, to engage in a dialogue using a language understood by all; if our action does not promote access to the cultural offer by maintaining people in segregated groups, but by taking steps every day so that people can co-exist in the same space, enjoy the same offer. If culture professionals fail to convince people of their honest intentions to foster this relationship and to work towards a democratic culture, the offer (not culture) will continue irrelevant, and therefore non-existent, for them.


fonte: @edisonmariotti #edisonmariotti http://musingonculture-en.blogspot.com.br

Museu Municipal cede duas peças para exposição em Espanha e Museu Nacional de Arqueologia

A “Cabeça de Galieno” e um “Capacete em Bronze”, duas peças patentes no Museu Municipal de Lagos, vão ser temporariamente cedidas para integrarem a exposição temporária «Lusitânia romana. Origen de dos pueblos / Lusitânia romana. A origem de dois povos» que estará patente no Museo Nacional de Arte Romano de Mérida (2015) e no Museu Nacional de Arqueologia (2015-2016).



Museu Municipal cede duas peças para exposição em Espanha e Museu Nacional de Arqueologia-GALIENO 

O Museu Nacional de Arqueologia solicitou à Câmara Municipal de Lagos o empréstimo temporário de duas peças que integram a exposição permanente da sala de arqueologia do Museu Municipal de Lagos Dr. José Formosinho (Cabeça de Galieno - Ruínas de Milreu e Capacete em bronze - descoberto em Aljezur em 1940). 

O objetivo é que estas peças possam integrar a exposição temporária intitulada «Lusitânia romana. A origem de dois povos / Lusitânia romana. Origen de dos pueblos», que pretende reconstruir aspetos diversos da vivência da província da Lusitânia romana, tanto do ponto de vista da sua relevância histórica, como da diversidade de povos que a formaram. A referida exposição tem início em finais de março de 2015 no Museo Nacional de Arte Romano (Mérida -Espanha), onde estará patente até setembro de 2015, sendo depois exibida no Museu Nacional de Arqueologia (Lisboa), de outubro de 2015 até meados de 2016. 

Sublinhe-se que o interesse do Museu Nacional de Arqueologia em integrar na referida exposição estas duas peças revela o quanto este dois objetos são importantes ao nível da sua raridade (são exemplares únicos), contexto histórico, herança patrimonial, beleza e excelente estado de conservação. A integração das mesmas nesta exposição, é entendida, pelo executivo municipal, como uma mais valia para a autarquia, não só como meio de divulgação do património histórico-arqueológico, enquanto espólio do Museu, como também da própria cidade de Lagos.



fonte: @edisonmariotti #edisonmariotti http://www.barlavento.pt/index.php/noticia?id=63089

13 IDEAS PARA EL MUSEO LOCAL | IDEA 13 · en CELEBRACIÓN, CULTURA,INSTITUCIONES, MUSEO, MUSEOGRAFÍA, MUSEOLOGÍA, OPINIÓN. ·

Hay que sacar el museo a la calle.

En Nueva York, cada primavera desde el año 1986 los museos más importantes de la gran manzana salen a la calle; decidieron celebrar juntos unas jornadas conocidas como el Festival de la Milla de los Museos (NY Museum Mile). Así pues, entre las calles 85 y 105, se cierra la circulación al tráfico y el espacio callejero se convierte en una gran fiesta. Diez grandes museos se exponen en la calle, organizando eventos como la pintura de retratos, clases de dibujos con modelos reales, bandas de música, circo y muchas más cosas divertidas para todos los públicos. Y es que hemos llegado a unos tiempos en los que un museo se acerca cada vez más a una entidad comercial que necesita promocionarse, que necesita publicitarse. No es suficiente con tener las puertas abiertas y esperar que los visitantes entren; hay que ir a buscar a los “clientes”.

3D Street Art

En octubre de 2010 las calles de Barcelona se llenaron de réplicas con treinta y tres obras maestras de Museo Nacional de Arte de Cataluña (MNAC). Se trataba de un programa con el nombre: “El museo toma la calle”, y las principales calles comerciales fueron el escenario de la iniciativa. Hewlett-Packard (HP) puso el dinero con el apoyo de la Oficina de Turismo de Barcelona. Toda esta acción promocional del museo se completaba con estrategias relacionadas con las redes sociales, como era: “hazte una foto con tu obra favorita y súbela a la web del museo”. Existen otros lugares donde también se realizan experiencias similares que funcionaron muy bien, no disponiendo de grandes presupuestos.

Imagen: Instalación de Maser

Cuando el museo quiere captar a un público nuevo, ha de salir a la calle; hay ciudades medianas o pequeñas que en determinados fines de semana reciben a muchos visitantes y turistas; en estos casos es interesante sorprendernos sacando obras a la calle; de esta forma, los propios vecinos de la ciudad, que quizás no fueron conscientes hasta entonces de la existencia de museos en su ciudad, pueden iniciar una relación con ellos entrando en contacto con la cultura. El objetivo final de estas iniciativas es precisamente acostumbrar a la gente a tomar contacto con el museo.

Instalación de la 8th International Istanbul Biennial, 2003

Hay muchos otros ejemplos que nos pueden servir de modelo en otros lugares del mundo. La clave de estas estrategias es que las entidades sepan sacar provecho de su entidad para llegar a acuerdos con patrocinadores que financien las actividades a cambio de la repercusión de sus marcas entre la opinión pública. Que una marca privada se relacione con el arte y la cultura es un bien que tiene un precio si se explota comercialmente como fue el caso de HP y sus impresoras de gran formato que se publicitaron durante en evento de Barcelona. Por eso este tipo de actividades se hacen más frecuentes también y existen muchas fórmulas diferentes para hacerlo. ¿Cómo un museo sin muchos recursos puede hacerlo? Hoy es mucho más fácil; basta con saber utilizar la realidad aumentada para sacar el arte a la calle, por ejemplo. Podemos construir enigmas que intriguen al público, explicar historias que apasionen e invitar a la gente a contemplar en su mismo sitio el origen de la historia, la ciencia y el arte que se conservan en sus museos.

Instalación de Nele Acevedo

IDEAS QUE CUESTAN POCO DINERO:

Organizando un “festival” de cine temático sobre museos, por ejemplo. Con el alquiler de un proyector de gran formato y un aparee se pueden organizar unas jornadas de puertas abiertas para ver un película en el museo. Se puede hacer con varios horario de proyección para que los visitantes no se agolpen en una única proyección. Hay docenas de películas donde los museos son parte de la trama y se pueden proyectar sin cobrar entrada. Solo se necesita un espacio, que en verano puede ser incluso una pared exterior del museo, o que la gente se siente directamente en el suelo si se quiere hacer una experiencia informal. Llegando a un acuerdo con los medios de difusión locales, podréis conseguir la repercusión que necesitáis para que las personas se apunten a la convocatoria a cambio de la aparición de sus marcas.

CURSOS EVE FEBRERO 2015


fonte: @edisonmariotti #edisonmariotti  Espacio Visual Europa (EVE)

BIBLIOGRAFÍA:

MARTINEZ GIL, T. Y SANTACANA MESTRE, J. (2013)
La cultura museística en tiempos de crisis
Editorial TREA (Gijón).

Foto principal y redes sociales: Instalación de Fifty Luker