segunda-feira, 10 de agosto de 2015

MUSEOS Y PLAN DE COMUNICACIÓN -- · en GESTIÓN, INSTITUCIONES,MUSEO, OPINIÓN, TECNOLOGÍA. ·

Como con cualquier esfuerzo de difusión de una idea, de un concepto o de una propuesta, entre el museo y el visitante se necesitan medios de intermediación que conecten a ambos. Los visitantes deben ser conscientes del esfuerzo que el museo necesita hacer para mantener una opción sólida como espacio de conocimiento y ocio, intentando colaborar para estar informado de las novedades, aproximándose a la información del museo y no mantenerse pasivo. Hoy en día esto último de comunicar con el visitante es muy sencillo si el museo dispone de sitio web y, si la información se recibe puntualmente con el uso de newsletters, pues mucho mejor. Pero hay que colaborar inscribiéndose, eso es importante.


En cualquier caso, el museo necesita establecer una forma de comunicación fluida y dinámica con el exterior, no se puede enquistar mirándose al ombligo, debe comunicar en línea con las acciones que se ven desde el interior del propio museo. También se hacer necesario que le museo mantenga una muy buena relación con los medios de comunicación, que genere información de valor que pueda compartir con estos soportes de comunicación social. Las notas de prensa del museo hacia los medios de comunicación sobre las actividades que se están programando deben estar a la orden del día. esta información debe ser clara, sencilla y fidedigna para que realmente tenga valor de difusión social.


Para poder generar información transparente y útil para la sociedad, el museo, desde el ámbito interno, debe ser muy consciente de lo que ofrece, de lo que muestra al visitante, del valor de sus colecciones. Una información coherente y que responda a una realidad bien narrada es una forma fantástica de poner en valor las colecciones del museo hacia el exterior. No nos podemos dejar nada en el tintero, casi todo es potencialmente noticiable: exposiciones temporales, adquisiciones, remodelaciones, reestructuraciones, mejoras, todo en positivo. Todos los departamentos del museo deben colaborar para generar esa información positiva, para eso existen además las intranets, para que circule la información interna del museo entre departamentos y/o personas.


Con la presencia de la red como soporte de los nuevos medios de comunicación, ya no hay excusa para no comunicar. Poder comunicar nunca ha sido tan fácil como actualmente y todo gracias a Internet. Y esto lo decimos pensando especialmente en los museos pobres que siempre se descolgaban del conocimiento social “por no tener los medios suficientes para sacar la información a la calle”. Hoy ya no es así pero hay que saber comunicar bien, hay que conocer como funcionan las redes sociales, como se puede optimizar el uso del correo electrónico, etcétera. En definitiva, no hay perdón para el museo que no esté usando este potencial medio de comunicación social por muy pobre que sea – si el museo se encuentra en una zona donde no existe conexión a Internet disponible, no diremos nada, salvo recordar que existen las memorias USB -.


No olvidamos el potencial del uso de los medios de comunicación social para desarrollar labores didácticas y pedagógicas desde el museo hacia el exterior. El museo debe asumir el papel de educador y no solo para sus visitantes reales, los que acuden a la institución, sino para el mayor número personas posible – sin olvidar tampoco su potencial internacionalizador -. El museo debe utilizar diferentes soportes como es Internet, para difundir ideas y conocimiento a la sociedad, nunca debe alejarse de esa responsabilidad. Nosotros insistimos mucho en esto porque realmente creemos en que el museo es lo poco que nos queda para acometer esa labor educadora tan necesaria para que este mundo, parafraseando a los de Silicon Valley, sea un mundo mejor para vivir.



@edisonmariotti #edisonmariotti Espacio Visual Europa (EVE)

The Museum of Byzantine Culture, Thessaloniki, Greece

The Museum of Byzantine Culture aims in presenting various aspects of life during the byzantine and post-byzantine periods: art, ideology, social structure and religion, as well as how historical changes and the political situation were affecting people' s everyday life.


At the same time, the activity of the Department of Educational Programmes, the good structure and function of the conservation laboratories and of the archaeological material storerooms, the provision of scientific know-how to other Balkan countries, the organisation of scientific meetings and conferences, as well as the editing and publishing work, render the Museum into an exceptionally important centre for the preservation, research and promotion of Byzantine and Postbyzantine culture. Since the Museum' s inauguration in 1994, an annual bulletin is published, the first of its kind by a Greek public museum. 



The Museum of Byzantine Culture was awarded the Council of Europe Museum Prize for 2005, following the concurrent recommendation of the Council' s Committee for Culture, Science and Education.

The founding of the Museum of Byzantine Culture and its official opening in 1994 in Thessaloniki, the most "Byzantine" city of the modern Greek state, marks the end of a story that had begun long before, just after the city' s liberation in 1912.

In August 1913, a decree issued by the Governor General of Macedonia, Stephanos Dragoumis, resolved to establish a "Central Byzantine Museum" in Thessaloniki. At the suggestion of the Metropolitan of Thessaloniki, Gennadios, it was decided that it would be housed in Acheiropoietos Church. The decision was never carried out, however. Instead of Acheiropoietos, a government decree issued in 1917 appointed the Rotunda as the new Macedonian museum, and large numbers of Christian sculptures were collected there, some of them remaining on display in the Rotunda until the earthquake of 1978. Meanwhile, the Christian and Byzantine Museum was founded in Athens in 1914, and in 1916 antiquities were transferred en masse from Thessaloniki to Athens "for their own protection" and eventually included in the collection of the Byzantine Museum in Athens.


The question of founding the Museum resurfaced in actuality after the change of polity in 1975. In 1977 a nationwide architectural competition was announced and it was won by the entry submitted by Kyriakos Krokos.

The foundation stone was laid in March 1989 and the building was completed and handed over in October 1993. The antiquities that had been transferred to Athens in 1916 returned in June 1994, part of which was displayed in the museum' s inaugural exhibition, "Byzantine Treasures of Thessaloniki: The Return Journey", which opened, together with the museum, on 11 September 1994.

The 11 rooms that comprise the Museum' s permanent exhibition opened gradually to the public from 1997 to early 2004.


Since 1997 the Museum of Byzantine Culture has had the status of an independent regional unit of the Ministry of Culture with its own director.


fonte: @edisonmariotti #edisonmariotti
http://mbp.gr/html/en/mo_paleoxr.htm#


MATHAF: ARAB MUSEUM OF MODERN ART, Qatar

AN ARAB PERSPECTIVE ON MODERN ART




Mathaf celebrates the modern and contemporary, showcasing art created in Qatar, the Middle East and the international Arab diaspora.

It’s a boundary-breaking museum that asks the local community to celebrate the present-day creativity of the Arab world. It is one of the most engaging, contemporary, and lively museums within our group.



It’s an informal space to be used, not just visited. Beyond its galleries, it brings people together to learn, share ideas and enter debate. From conversations with artists to the creative internship programme, Mathaf Voices, Mathaf helps you deepen your relationship with art of our time.

A PLATFORM FOR NEW TALENT

Mathaf celebrates art students through its annual competition and exhibition. They’re asked to explore contemporary themes, taking inspiration from past and present shows.

This year, the competition is open to every school in Qatar. They’re invited to submit student artworks around the theme, ‘black and white’. The best will be displayed around the building and beyond in spring 2014.

ART IS THE BASIS OF CHANGE IN SOCIETY. IT IS OUR DUTY TO SHOW THE ARTISTS TACKLING THE IDEA OF FREEDOM IN THE ARAB WORLD TODAY.

Abdellah Karoum, Director of Mathaf

fonte: @edisonmariotti #edisonmariotti http://www.qm.org.qa/en/project/mathaf-arab-museum-modern-art

The Suffolk Regiment Museum

Driving into Bury St Edmunds along the Newmarket Road, one encounters a rather forbidding red-brick Victorian building. This is The Keep of Gibraltar Barracks, now home to the Regimental HQ of the Royal Anglian Regiment, the local Army Recruiting Office, and the Suffolk Regiment Museum.




As part of far reaching military reforms in the 1870s, a whole series of new military depots was organised. Bury received its new military complex in 1878 to house what would become the Suffolk Regiment. It only became known as Gibraltar Barracks in 1938, named after the Regiment’s first Battle Honour. Apart from some of the perimeter walls, The Keep is the only original building to survive.

The museum’s entrance is understated, fully in accord with the utilitarian late Victorian military design. This austerity is quickly offset by the warm welcome given to visitors by the volunteer staff.
An introductory display case pulls the visitor into the museum. Past the reception desk, a good collection of medals takes you to the stairs which carry you up to the glorious main space of the museum. Here, the story of the Suffolk Regiment begins.
Regimental history


In 1685 James II ordered the Duke of Norfolk to raise a regiment against the threatened Monmouth Rebellion. The XII Regiment of Foot included men from both Norfolk and Suffolk, and it was not until 1782 that the title East Suffolk was added to its designation, with Norfolk having been allotted to other regiments.

The Cardwell reforms of the Army in 1873 established the Regiment’s Depot at Bury, and in 1881, it formally became The Suffolk Regiment. By the end of the century some 90% of the men came from the county.

The general layout of the museum is primarily a chronological one, but there are lots of displays to side-track you. There is nothing to stop you from wandering about as the fancy takes you. The relatively open, yet cosy space allows you to make comparisons between periods or types of artefacts with ease.

At the top of the stairs the first thing that comes into view is a military life display of the Regimental Band instruments and uniforms. Much is crammed into the displays giving a good sense of the relationship between different items. More modern museums can often make objects more valuable than they are. This may be fine for dress uniforms or pieces of regimental silver, but not for the everyday objects that accompanied soldiers in their day-to-day lives.


There is a collection of military uniforms, particularly from the nineteenth century. An officers full dress uniform of the 2nd Volunteer Battalion of 1885, sits alongside a Militia officer’s full dress uniform of 1869-1890, as well as accompanying the Mess Kit of the 3rd Cambridgeshire Volunteer Battalion of 1880. This range shows the complex mix of formations that go into something as simple-sounding as a county regiment.

It also demonstrates a county link, not just with Norfolk, but also with Cambridgeshire. The 11th Battalion of the Suffolk Regiment during WWI was known as the Cambridgeshires and the museum hosts a display of Cambridgeshire material.

At the far end of the room there is a well-presented display of firearms. Those on the left were all fired by in battle by the Suffolks, while those on the right were captured.
Women and children first


The two sections are divided by a spear from the 8th Xhosa War (Frontier Wars) 1851-1853. It was during this campaign that the HMS Birkenheadran aground on the Cape Coast while carrying reserves for the campaign, including men from the XII Regiment of Foot, with wives and family. Over 300 men died during the incident, including 55 from the XII. As the men paraded on deck the women and children went first into the lifeboats and it was from this incident that the famous maxim ‘women and children first’ came into being.

A happier story surrounds a tenor drum of the 1st Battalion during the WWII. Having formed part of the BEF the 1st Battalion were forced to withdraw to Dunkirk. However, rather than destroy their drums they left them at Roubaix with a note saying ‘to be called for later’. The drums were hidden in a hat factory or private homes. After D-Day, three of the drums were returned intact, though one was later destroyed by enemy action. The other two went into general use after the War and lost sight of. However, in 2004 one appeared again on Ebay and was acquired for the museum.

The museum also has a nice collection of flags, which are suspended from the ceiling. There is a flag captured from the Imperial German Embassy in the former Togoland, a Nazi flag from the port of Bremen captured in 1945, and an intriguing Japanese prayer flag taken from a dead soldier at the time of the battle of Imphal in Burma, also WWII.


This latter lends a Far East flavour which is taken up in other exhibits. There is a harrowing exhibition of photos of prisoners-of-war held by the Japanese. The Suffolks’ involvement in Malaya after the war is shown by a display of the uniform of a ‘Communist Terrorist’. Many soldiers involved in the Malayan conflict were National Servicemen and a corner is given over to them.

All in all, this is a small gem of a regimental museum. Due to the volunteer nature of the museum it is only open at limited times. If your visit to Bury doesn’t coincide with the opening times, there is a splendid introduction to regimental history in the Moyse’s Hall Museum in the town centre. This has its own Suffolk Regiment Gallery with a great display. An excellent taster of the Suffolk’s Regimental history.


fonte: @edison.mariotti #edisonmariotti
http://www.military-history.org/articles/museum-review-the-suffolk-regiment-museum.htm