ISS 25 (1995).pdf - The International Council of Museums

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and d istribute the whole range of e xhib i tio ns on any theme one can imagine. Another part of the a ctiviti e s was registra t ion of local art collections owned by commun i ties a nd p r oduc t ion of different learning materials mos tly related to circ ula t i ng exhibitions. This new generation of the national museum profession wi th regional duties got to know their regions and respective communities and they learned how to survive nearly in any circumstances out of the center. That wasn't so easy as the museal and professional constellations of regional activities and actors still lagged their status within the system. Finally at the turn of the 90s all was changed by the unbalanced economical development in the country. Even before that the ideas of equality and museums as social servants were already fading in the minds of museum professionals and political decission makers, because there weren't any more extra res ources to be expected or accepted. The fiqures of regional activities didn,t count any more. Municipalities became jealous for their investments and museums couldn't get merit out of these regional activities any more. The new outwardbound service orientation of 70s was outdated. with the recession also the economical basis for the regiona l activities failed. The state and communities run out of money and most of the regional art museums ran out of resources to run regional activities . Now the museums are questioned by the state authorities if they can still afford their regional subsidice. The regional museums system with strong but undefined community orientation was a product of economical boom. As long as we could afford the system, hardly anybody questionned it either in terms of cultural policy or heritage action. All that figured was numbers. Number of displays, visitors ect. The real communication with- the community and its members was an unexsisting problem and even the concept community could be ·defined only as an area on a map or as an administrative unit, with no guiding topographical or demographical signs. Is there a community for a regional art museum? If we consider the concept of community in relation to the system of regional museums, community in this context can only be defined either geographically with unviolated boarders or administratively with municipal units dictating the scope of available resources. There has been available the region (province), the state or the owner of the museum (mostly munipalicity) as possible community in the framework of our regional museum system. Althoug, one of the ideas of the new system was to find new audiences, new communities or target groups for cultural consumption - these were never conceived as communities in the sense given for example by the new museology. Neither the population or inhabitants were ever conceived as producers or interactors but receivers. And to decide what was culture or art wasn't a concern of a common man but that of an specialist mostly committed to a public institution. One definition I could find for community reminded me about the 90
insitutional ideas of Pierre Bourdieu, George Dickie or Jurgen Habermas. The community can be understood as a brotherhood or sisterhood, as a group of specialists sharing the same belief . I have already mentioned the new museum generation tha t was created by the regional muse um system . The new professionals were young, mostly scholars in art history and their only experience about museums was an occasionally obligatory two week museum course . This wasn't certainly an exception wi thin the history o f museum work. Rather, it is a tradition still very much alive. The belief or the professional paradigm they had and their predecessors shared was tha t of a scholar , that of history of art. The concept paradigm has been introduced by philosopher Thoms S . Kuhn , who has studied history of science and scientific communities' . Any scientifique community is sharing the same pradigm to be able to continue its work. A shared paradigm is also a prerequisite for the development of science, still there cannot be any progress without animalias in the prevailing theories leading finally to revolutions creating new paradigms. Museums profession has also got its own paradigms and the most influential part of the professionals can be considered as a c ommunity of scholars. The scientifique world, scholars and researchers have experienced several revolutions and created or accepted new paradigms. But the paradigm we still implicitly hold, at least in art museums, is that of traditional museum described for example several times by Tomislav Sola as museum of the second wave being identified by collective pride, strive for eternity, idividualism or principle of science (being his tory of art in relation to art museums). This museum paradigm is crowned in the minds of art museum curators by another paradigm, that of the modernist idea of autonomous art. These are the main elements in the community of art museum professionals. These quiding institutional paradigms of art museum and art prevented us, in spite of the good and idealistic aspirations we had from becoming an essential and active unit in the heritage action system and from aknowledging the true community and the diversity in it. When describing the Great European Museum' (Nordisk Museologi 2/ 1993), Kenneth Hudson says that it bears marks of community museum, but he excludes fine art museums and ethnological museums as candidates for the great museum, because they "overemphasize their value as institution and react very strongly against any suggestion that the concept of the Great Museum has anything to offer them". Regional art museum and the feeling of community Referring to the concepts of the community museum and/ or the Great museum by Kenneth Hudson there is still one thing missing from our fine art museums as regional museums: the feeling of community. This, in my opinion, is due to our professional commitment. Our professional paradigm is that of an art institution rather than the one of heritage action unit. We had a good start for the community orientated museum action brought up by the new cultural policies. Also art museums were supposed to create new policies for community and to focus on diversified, out-of-institution activities . Museums reached out 91
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Symposium MUSEUM AND COMMUNITY II J
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IV MUSEUM AND MUSEOLOGY IN NORWAY A
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SYMPOSIUM MUSEUM AND COMMUNITY, Par
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heritage as community appropriation
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and its plurality. Continuing on th
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Dr. Eurydice in the paper 'Museums
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For museums this would mean -among
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Given the fact that museums have an
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5. CuraLOr 37. no 4 (1994), p. 227.
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"pauimoine" de tous. n s'agit de re
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La troisieme communaute - qui aujou
Page 37 and 38: Heritage, Museum, Territory and Com
Page 39 and 40: to promote communication and educat
Page 41 and 42: ''The museum must openly embrace th
Page 43 and 44: MUSEUMS and COMMUNITIES: a powerful
Page 45 and 46: have many of the great museums adop
Page 47 and 48: first immigrant housing. The first
Page 49 and 50: plantation and harvesting times. Af
Page 53: Museums and Communities - case stud
Page 58: climate around them, and once this
Page 62 and 63: Fuller, Nancy J 1992 The Museum as
Page 65 and 66: The nature of museums MUSEUMS AND T
Page 67 and 68: to all. It appears that history can
Page 69: fees for services and admissions in
Page 72 and 73: "Les musees. interoretes du oatrimo
Page 74: II ne s'agit plus d'un patrimoine o
Page 78: des courants tres divers dans leur
Page 82 and 83: During the Nineteenth Century sanct
Page 85 and 86: the community more effectively and
Page 87: Paivi-Marjut Raippalinna REGIONAL A
Page 93 and 94: ON MUSEUM, COMMUNITIES AND THE RELA
Page 95 and 96: original environment - as if it was
Page 98 and 99: Des etudes recentes prevoient que,
Page 100: eserves, d'espaces d'exposition tem
Page 103: Si les musees du Quebec veulent etr
Page 109: These observations reprooving to th
Page 112: The Life Itself Provides The Topics
Page 121 and 122: MUSEUMS AND COMMUNITY FINAL REMARKS
Page 123: II MUSEUM AND COMMUNITY MUSEOLOGY A
Page 127: La question que I'on peut se poser
Page 132: ICOFOM Stavanger 1995 approaches do
Page 135 and 136: ICOFOM Stavanger 1995 The 'Declarat
Page 137 and 138: Paule Doucet (1995) «Les nouvelles
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politiques dans des efforts de depa
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constitution de leur action patrimo
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Conclusions Ces quelques dimensions
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ICOFOMIStavanger cours des annees 1
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ICOFOM/ Stavanger core dans une log
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ICOFOM/ Stavanger qualitative) est
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ICOFOMlStavanger Davallon (J.). 199
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) What is a museum? That is a recur
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IV MUSEUMS AND MUSEOLOGY IN NORWAY
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II. Looking at the Nordic museums,
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V,las founctea. ill llSbj. At 1 UfK
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Construction d'une identite nationa
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La culture nationale est fabriquee
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Le La pan - l' etranger de l'interi
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An Industrial Community and its Her
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and the curator has the role as a s
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and what we lost when the air and t
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Fig. :i 209
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ICOFOM LAM REPORT 1990 - 1995 Durin
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AUTHORS Per-Uno AGREN, Umea Univers
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