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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 form 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 for changing works of art, so that your presentationremains lively and engaging, reflecting on-goingscholarship, not insisting on a definitive once and forever 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 for 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 international 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 for 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 for it. The Museum’ssuccess has led to the term “Bilbaoification” as anexample of the role that a new art museum can play intransforming the image and the reality of an industrialcity like Bilbao. Our firm is currently working on aStrategic Plan for the Guggenheim Bilbao which is intendedto plan into the next five years for that institution,as it seeks to maintain and if possible build on itspast success. The challenge for such a branch museum isto be responsive to its own public, and to develop itsown capacity for generating exhibitions, publicationsand other programs – its own intellectual capital. It couldbe a possible partner for 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