54i bilo mi je drago kad sam video da je korejski arhitektadoslovno sledio naš program a posebno preporuku daujedini dva glavna odeljenja, arheologiju i istoriju, nasvakoj strani centralnog hodnika, visokog tri sprata, takoda posetioci mogu da vide neprekinutu hronologijuod praistorijskih vremena preko korejskih kraljevina idinastija do danas.Pre nekoliko godina bili smo još više uključeni upravljenje programa za renoviranje zgrade, a posebno uplaniranje, projektovanje i postavljanje izlozbi u novomNacionalnom muzeju Filipino naroda u Manili, pošto jeNacionalni muzej Filipina takodje odgovorio na ovučežnju za obnavljanjem nacionalnih identiteta. Ovde seradilo o muzeju koji bi mogao da ujedini brojne etničkeidentitete na Filipinima, gde se govori preko stotinujezika na hiljadama ostrva. Prilika za novi muzej bila jestogodišnjica deklaracije nezavisnosti od Španije iz1898. godine, tako da je obnavljanje nacionalnog identitetakoji predstavlja muzej bilo i političko i kulturno.Ova potreba da se obnovi nacionalni identitet nijepovezana samo sa mogućnostima za kulturni turizam.Otkrili smo da je podjednako snažna i u Rijadu, gde smouradili glavni plan, praćen projektovanjem izložbe, dabismo konačno preuzeli i menadžment nad celokupnimprojektom za novi Nacionalni muzej Saudijske Arabije,sve do dana otvaranja 1999. godine. Turizam je, u ovomslučaju, mnogo manje podstrek nego jednostavno obnavljanjevrednosti i karakteristika baštine Arabije. Ovde,u Estoniji, bili ste pred izazovom kako predstavitiumetničke <strong>for</strong>me iz nedavnih režima koji više nisu navlasti - u Saudijskoj Arabiji izazov je bio kako predstavitikulturno nasledje koje je prethodilo islamu. Nacionalniidentitet se mora zasnivati na stvarnostima kojesu ušle u njegovo <strong>for</strong>miranje a ponekad se te stvarnostirazlikuju, nisu uskladjene ili su nedosledne.U Singapuru smo, još 1990. godine, započeli glavniplan za reorganizaciju starog Nacionalnog muzeja u triustanove – Muzej umetnosti Singapura, Muzej azijskecivilizacije i Istorijski muzej Singapura – pre nego štosmo prešli na pravljenje radnih programa izgradnje zasva tri. Zbog snažnijeg uticaja kulturnog turizma ovde,prva dva – Muzej umetnosti i Muzej azijske civilizacije -su do sada završeni i uspešno otvoreni dok je Istorijskimuzej Singapura još uvek pod izgradnjom. Muzej umetnostije jedno od ostvarenja na koja smo najviše ponosni,zato što je uspešno doveo u Singapur umetnička delaiz Evrope i Amerike, time što je omogućio klimatskeuslove za pozajmljene radove kao u umerenom klimatskompojasu dok je istovremeno čuvao svoje zbirketropskog porekla u mnogo vlažnijoj sredini. Muzeji zakoje smo pomogli da se naprave u Singapuru uspešno suod grada-države stvorili još veću turističku destinacijua da razlog nije kupovina.I naravno, najvažniji primer obnavljanja nacionalnihidentiteta u globalnom kontekstu je ovde u Taljinu, veličanstvennovi Muzej umetnosti Estonije, koji je projektovaofinski arhitekta Peka Vapavuori. Novi muzej će poprvi put predstaviti celokupnu istoriju estonske umetnostiu kontekstu medjunarodnih izložbi savremene umetnosti,ilustrujući tako oba aspekta obnavljanja nacionalnihidentiteta u globalnom kontekstu. Slično kao uMuzeju umetnosti Singapura, poželećete da pozajmitevažna umetnička dela iz drugih muzeja, a istovremenoćete moći da koristite novu zgradu za izlaganje i pokazivanjeestonske istorije umetnosti, u punom obimu, svimEstoncima a i ostalima. Najvažniji radovi u vašoj estonskojgaleriji <strong>for</strong>miraće ‘kanon’ estonske istorije umetnosti,javno priznatu grupu radova koji će se naširoko kopiratii proučavati kao odredjeni radovi estonske škole ilitradicije. Očigledno da takodje morate obezbediti prosrtersof the hated 45-year Japanese occupation of theircountry — and are replacing it with a new National Museumnow under construction, which will become one ofthe largest museums in the world – 138,000 sq. m., witha 400 m. long facade. I visited the Museum recently andwas delighted to see that the Korean architect had veryliterally followed our program, particularly the recommendationto unify the two main <strong>department</strong>s – Archaeologyand History – on either side of a central corridor,three floors high, so that visitors can experience onecontinuous chronology from prehistoric times throughthe kingdoms and dynasties of Korea to the present.A few years ago we were even more deeply involvedin programming the renovation of the building and especiallyin planning, designing and installing the exhibitsin the new National Museum of the Filipino Peoplein Manila, as the National Museum of the Philippinesalso responded to this desire <strong>for</strong> the reassertion of <strong>national</strong>identities. Here it was a question of a museum thatcould unite the many ethnic identities in the Philippines,where over a hundred languages are spoken onthousands of islands. The occasion <strong>for</strong> the new Museumwas the centennial of the declaration of independencefrom Spain in 1898, so that the assertion of <strong>national</strong>identity that the Museum represents was both politicaland cultural.This need to assert <strong>national</strong> identity is not relatedonly to the potential of cultural tourism, because wefound it equally strong in Riyadh, where we did theMaster Plan, followed through with exhibition design,and eventually undertook project management throughto opening day in 1999 <strong>for</strong> the new Saudi Arabian NationalMuseum, where tourism was much less of a motivationthan simply asserting the value and character ofthe heritage of Arabia. Here in Estonia you have had thechallenge of presenting art <strong>for</strong>ms from fairly recent regimesthat are no longer in power; in Saudi Arabia itwas the challenge of how to present the cultural heritagethat pre-dated Islam. National identity must be basedon the realities that have gone into its <strong>for</strong>mation,and sometimes these realities are divergent, discordantor contradictory.In Singapore we began as early as 1990 with a MasterPlan <strong>for</strong> the reorganization of the old National Museuminto three institutions – the Singapore Museum ofArt, the Asian Civilization Museum and the SingaporeHistory Museum – be<strong>for</strong>e going on to prepare the FunctionalBuilding Programs <strong>for</strong> all three. Because of thestronger influence of cultural tourism there, the firsttwo – the Art Museum and the Asian Civilization Museum– have thus far been completed and successfullyopened, while the Singapore History Museum is still underdevelopment. The Art Museum is one of our proudestachievements, because it has been successful inbringing to Singapore works of art from Europe andAmerica, providing climate controls <strong>for</strong> those borrowedworks at temperate zone levels, while at the same timepreserving its own tropical-origin collections in a muchmore humid environment. The museums we helped tocreate in Singapore have been successful in making thecity-state more of a tourist destination <strong>for</strong> reasons otherthan shopping.And of course the most important example of the reassertionof <strong>national</strong> identities in a global context isright here in Tallinn, the magnificent new Art Museumof Estonia, designed by the Finnish architect Pekka Vapaavuori.The new museum will <strong>for</strong> the first time presentthe entire history of Estonian art in the context ofinter<strong>national</strong> contemporary art exhibitions – thereby illustratingboth aspects of the reassertion of <strong>national</strong>
tor za promenu umetničkih dela svakoj galeriji tako daizlaganje ostane živo i privlačno, da odslikava stalno napredovanje,a ne da insistira na definiciji vaše nacionalneistorije umetnosti odredjenoj jednom i za uvek.Drugi aspekt novog Muzeja, podjedanako važan zavas, je mogućnost da učestvujete u važnim izložbama uinostranstvu i da sami organizujete važne izložbe sa radovimapozajmljenim sa strane. Na ovaj način možeteučestvovati u globalizovanom svetu umetnosti, posebnoako postavljate izložbe u saradnji sa drugim muzejimasavremene i moderne umetnosti u blizini, kao što su oniu Helsinkiju i Stokholmu. To što imate novu, velikuzgradu je važan deo te saradnje – trebalo bi da možeteda privučete kustose, umetnike i izložbe jednostavno zatošto bi oni želeli da ih povezuju sa vašom velikom, novomzgradom. Kako najbolje organizovati sprovodjenjeovih aktivnosti, to je izazov sam po sebi, pošto je potrebnoda se ta sposobnost razvije unutar organizacije kojaje odgovorna za širok krug muzeja po celom gradu. Akouspete, medjutim, trebalo bi da budete zadovoljni što steomogućili Estoncima, posebno mladim ljudima, da igrajudirektnu i ispunjujuću ulogu u svetu medjunarodnesavremene umetnosti, koja se više ne posmatra kaoavangarda već kao dominantan pristup slobodnom izrazu.DECENTRALIZACIJA PRISTUPA ZBIRKAMAJoš jedan odgovor muzeja umetnosti na promene kojedonosi rani XXI vek je da se olakša pristup zbirkamaosnivanjem ogranaka za posetioce na još nekim mestima.Najpoznatiji primer je naravno njujorški Muzej Gugenhajmkoji ima dobro postavljene ogranke u Veneciji iBilbau. Gugenhajm Bilbao je najspektakularniji uspehmedju ograncima, velikim delom zahvaljujući izuzetnojzgradi koju je kanadski arhitekta Frank Geri projektovaoza muzej. Uspeh ovog muzeja je doveo do pojma ‘bilbaoifikacija’kao primera uloge koju novi muzej umetnostimože da igra u preobražaju ugleda i stvarnostijednog industrijskog grada kao što je Bilbao. Naša firmasada radi na strateškom planu za Gugenhajm Bilbaokoji treba da isplanira sledećih pet godina te institucije,pošto je postavljen zahtev da se održi i, ako je moguće,nadmaši prošli uspeh. Izazov za takav ogranak muzejaPredavanje Barija Lorda na temu “Upravljanje muzejima”Barry Lord’s lecture on “Managing museums”identities in a global context. Like the Singapore ArtMuseum, you will want to be able to borrow majorworks of art from museums elsewhere – yet at the sametime you will be able to use the new building to displayand interpret to all Estonians and others the full sweepof Estonian art history. The most important works in yourEstonian galleries will <strong>for</strong>m the ‘canon’ of Estonianart history, the officially recognized group of works thatwill be widely reproduced and studied as the definitiveworks of the Estonian school or tradition. Obviously youmust also ensure that in each gallery there will also beroom <strong>for</strong> changing works of art, so that your presentationremains lively and engaging, reflecting on-goingscholarship, not insisting on a definitive once and <strong>for</strong>ever definition of your nation’s art history.The other aspect of the new Museum – its ability toallow you to participate in major exhibitions fromabroad, and to organize major exhibitions yourselveswith works borrowed from elsewhere, is equally importantto you. In this way you can participate in the globalizedart world, especially if you mount exhibitions incollaboration with other nearby contemporary and modernart museums such as those in Helsinki and Stockholm.Having a great new building is an important partof this – you should be able to attract curators, artistsand exhibitions simply because they will want to be associatedwith your great new building. How best to organizeto undertake these activities is a challenge in itself,as it is necessary to develop that capability withinan organization that has responsibility <strong>for</strong> a wide rangeof museums throughout the city. If you succeed, however,you should have the satisfaction of allowing Estonians,especially your young people, to play a direct andfulfilling role in the world of inter<strong>national</strong> contemporaryart, which is no longer seen as an avant garde, but asa mainstream access to free expression.Decentralization of Access to CollectionsAnother response by art museums to the changes ofthe early 21st century has been to make their collectionsmore accessible by establishing branches <strong>for</strong> visitors elsewhere.The best-known example is of course New York’sGuggenheim Museum, which has well-established branchesin Venice and Bilbao. The Guggenheim Bilbao hasbeen the most spectacular success of these branches,due in large part to the remarkable building that Canadianarchitect Frank Gehry designed <strong>for</strong> it. The Museum’ssuccess has led to the term “Bilbaoification” as anexample of the role that a new art museum can play intrans<strong>for</strong>ming the image and the reality of an industrialcity like Bilbao. Our firm is currently working on aStrategic Plan <strong>for</strong> the Guggenheim Bilbao which is intendedto plan into the next five years <strong>for</strong> that institution,as it seeks to maintain and if possible build on itspast success. The challenge <strong>for</strong> such a branch museum isto be responsive to its own public, and to develop itsown capacity <strong>for</strong> generating exhibitions, publicationsand other programs – its own intellectual capital. It couldbe a possible partner <strong>for</strong> your new museum in exhibitiondevelopment.A less happy example has been the Guggenheim’sexperience in Las Vegas, where one of two relatedbranch galleries has closed. Nevertheless Director ThomasKrens and his Board remain committed to the ideaof establishing branches, as their current proposal toplace another branch in Taichung, Taiwan, indicates.The impetus behind this development is the understandingthat massive collections are a liability as long asthey remain in storage, but can become an asset if they55
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