Atlases of Modernity Reshaping museum collections through constellationsin the XXI century
DOI:
https://doi.org/10.13133/2532-1994.16491Abstract
Since the end of the XX century, the attempts to re-read museum collections have been declined in some cases through non-linear, crossover narratives that do not respect the traditional art historical categories. The article intends to investigate the causes of this global trend from the cultural, socio-political and theoretical point of view. These practices, that approached the museum collections as a form of archive, have been developed in the last thirty years by several contemporary art institutions all over the world by reshaping their collection displays and institutional roles. Through the analysis of three case studies, the Centre Pompidou in Paris with the exhibition Modernités plurielles (2013 - 2015), the Van Abbemuseum in Eindhoven with The Making of Modern Art (2017 - 2021) and the Museum Sztuki in Łódź with Atlas of Modernity (2014 - present), the article explores the institutional need of contemporary museums to re-read and rewrite the history of “modernity” and of their collections in the XXI century through the use of dialectical narratives. The relationship between the institution, its display and narrative will be investigated as a distinguished character of the museum identity and mission.
References
Aikens, N. Lange, T. Seijdel, J., Ten Thije, S. What’s the use? Constellations of Art, History and Knowledge. Amsterdam: Valiz, 2016.
Altshuler, B. Biennials and Beyond - Exhibitions that made Art History 1962-2002. London & New York: Phaidon, 2013.
Bann, S. Inventions of History: Essays on the Representation of the Past. Manchester: Manchester University Press, 1990.
Barriendos Rodriguez, J. “Un cosmopolitisme esthétique? De l’«effet Magiciens» et d’autres antinomies de l’hospitalité artistique globale”. Quiros, K. & Imhoff, A. (ed.), Géoesthétique, B42, 2014.
Barriendos Rodriguez, J. “Approximation to the West”. Atlas of Transformation, 2011.
Benjamin, W. On The Concept of History. CreateSpace, 2009.
Bennett, T. “The Exhibitionary Complex”. New Formations. 4, Spring (1988):73-102.
Bhabha, H.K. The Location of Culture. London: Routledge, 1994.
Bishop, C. Radical Museology. Köln-New York: Koenig Books, 2013.
Bishop, C. “Reconstruction Era: The Anachronic Time(s) of Installation Art”. In Celant, G. (ed.) When Attitudes Become Form. Bern 1969/Venice 2013. Milano: Fondazione Prada, 2013.
Bremer, M. “Modes of Making Art History. Looking Back at documenta 5 and documenta 6”. Stedelijk Studies, 2015.
Cox, G. & Lund, J. The Contemporary Condition: Introductory Thoughts on Contemporaineity & Contemporary Art. Aarhus University: Sternberg Press, 2016.
Danto, A.C. After the end of art. Princeton: Princeton University Press, 1997.
Deliss, C. “Collecting life’s unknows”, Decolonising Museums. L’Internationale online, 2015.
Didi-Huberman, G. L'Œil de l'Histoire - Tome 3: Atlas ou le Gai Savoir Inquiet. Paris: Minuit, 2011.
Didi-Huberman, G. Devant le Temps: Histoire de l'Art et Anachronisme des Images. Paris: Minuit, 2000.
Foster, H. Krauss, R. Bois, Y.-A. Buchloh, B.H.D. Joselit, D. Art since 1900: Modernism Antimodernism Postmodernism. London-New York: Thames & Hudson, 2016.
Glissant, É. Poetics of Relation. Ann Arbor: The University of Michigan Press, 2010.
Grenier, C. Modernités Plurielles 1905-1970. Paris: Editions du Centre Pompidou, 2013.
Koselleck, R. Future Past. New York: Columbia University Press, 2004.
Kozub, M. “Muzeum Sztuki in Łódź – Confronting avant-garde with modern artistic practice”. Contemporary Lynx, 27 February 2016.
Lewis, M. ‘Is Modernity our Antiquity?’. Afterall: A Journal of Art, Context and Enquiry. Issue 14, The University of Chicago Press, Autumn/Winter (2006):109-117.
Lorente, J.P. The Museums of Contemporary Art. Notion and Development. Farnham: Ashgate, 2011.
Lund, J. “Making History through Anachronic Imagining”. Retracing the Past, International Yearbook of Aesthetics. Vol. 19, Santa Cruz (2017):165-176.
Lyotard, J.-F. The Inhuman. Cambridge: Polity Press, 1991.
Mejiers, D.J. “The museum and the “ahistorical exhibition”. The latest gimmick by the arbiters of taste, or an important cultural phenomena”. Gevers, I. (ed.) Place, Position, Presentation, Public, Jan van Eyck Akademie (1992): 28-40.
Mora, M. & Parkman, F. « Modernités plurielles »: quelle décolonisation du regard? Arip Open Edition, 2015.
Pyś, P. “On Intuition and Affinity: Timeless Aspects of Modern Art and the “Ahistorical” Exhibition”. The Exhibitionist, 23 May 2017.
Rancière, J. “The Concept of Anachronism and the Historian’s Truth”. InPrint: Vol.3, Iss. 1, Article 3 (2015).
Rancière, J. The Emancipated Spectator. Verso, 2009.
Saciuk-Gąsowska, A. Suchan, J. Zaremba, L. Atlas of Modernity. The 20th and 21st Century Art Collection. Muzeum Sztuki in Łódź, 2017.
Schubert, K. The Curator’s Egg. The evolution of the museum concept from the French Revolution to the present day. London: Ridinghouse, 2009.
Sowińska-Heim, J. “History of Construction of the New Building of the Museum of Art in Łódz in the Context of a Political Situation”. West Bohemian Historical Review, VI (2016) 2.
Spijksma, J. & Lehmann, S. “Flattening Hierarchies of Display: The Liberating and Leveling Powers of Objects and Materials”. Stedelijk Studies, Issue #5 (2017).
Steeds, L. Making Art Global (Part 2). Magiciens de la terre 1989. London: Afterall Books, 2013.
Ten Thije, S. The emancipated museum. Amsterdam: Mondriaan Fund, 2017.
Wittocx, E. Demeester, A. Carpreau, P. Bühler, M. Karskens (ed.) The Transhistorical Museum. Mapping the Field. Amsterdam: Valiz, 2018.
Yin, R.K. Case Study Research. Design and methods. London: SAGE, 2009.
https://icom.museum/en/activities/standards-guidelines/museum-definition/
https://news.artnet.com/art-world/icom-museum-definition-debate-1630312
Downloads
Published
How to Cite
Issue
Section
License
Except where otherwise noted, the content of this site is licensed under a Creative Commons Attribution 3.0 Unported License.