Muzeologie radicala sau ce anume e „contemporan“ în muzeele de artă contemporană

by Claire Bishop

Dacă ultimii patruzeci de ani au fost marcați de „post” (postbelic, postcolonialism, postmodernism, postcomunism), atunci astăzi, în sfîrșit, părem a fi într-o perioadă de anticipare – o epocă pe care muzeele de artă contemporană pot să ne ajute să o simțim şi să o înțelegem colectiv.

Claire Bishop este istoric și critic de artă și predă în cadrul Programului doctoral în Istoria Artei la Graduate Center, City University of New York. Este autoarea volumelor Installation Art: A Critical History (Tate/Routledge, 2005) și Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012). A coordonat volumele Participation (MIT/Whitechapel, 2006) și 1968/1989: Political Upheaval and Artistic Change (Varșovia, Museum of Modern Art, 2010) și a fost co-curatoarea expoziției Double Agent la ICA Londra, în 2008. Este colaborator permanent al Artforum și colaborator ocazional al October (MIT Press).

Dan Perjovschi folosește în arta lui desenul, caricatura și graffiti-ul, jucînd un rol activ în dezvoltarea societății civile din România prin munca sa redacțională la Revista 22. Desenele sale sînt adesea comentarii politice asupra problemelor contemporane și a evenimentelor culturale. A reprezentat România la Bienala de la Veneția în 1999 și a expus în bienale și muzee din întreaga lume, cum ar fi Bienala de la Istanbul (2005), Tate Modern (2006), MoMA, New York (2007) sau Trienala de la Paris (2012). Și-a publicat desenele sub forma unor ziare gratuite sau mici cărți, între care se numără Mad Cow, Bird Flu, Global Village (2007), Postmodern Ex-Communist (2007) și București, Brussel, Chișinău (2008). Trăiește și lucrează la București și Sibiu.

Genres: Art, Nonfiction, Art History, Curation, Politics, History, Academic

88 pages, Paperback

First published January 1, 2013

Reviews

[Lu luentreletras · Rating 5 out of 5]

Disfruté muchísimo leyendo este libro.
Este es un libro que me mandaron a leer para una materia de la carrera y estaba súper entusiamada cuando vi de qué se trataba, porque es todo lo que a mi me interesa: toca el tema del arte contemporáneo, habla de curaduría y de los museos. Además, mis ganas de leerlo aumentaron aún más cuando el librero que le vendió el libro a mi papá habló tantas maravillas de este texto y de lo interesante que estaba.
La verdad, que es un ensayo muy interesante y está muy bueno porque siento que es bastante fácil ingresar a él y leerlo. Es un muy buen libro para arrancar a leer si a uno le interesa leer más sobre cuestiones de arte, arte contemporáneo, curaduría, trabajo de museos, etc. Y la propuesta de la autora me encantó, porque justamente busca romper con el modelo tradicional de museo que viene existiendo hace siglos, y reflexiona a lo largo de las páginas sobre qué es el arte contemporáneo y qué puede aportar el arte contemporáneo y específicamente un museo de arte contemporáneo a la cultura y la sociedad actual. Sus reflexiones y propuestas son súper interesantes y recontra recomiendo este libro

[Ірина Шарова · Rating 5 out of 5]

Окей, ви мали б чути про такі яскраві терміни, як КУРАТОРСТВО та музей СУЧАСНОГО мистецтва.

Пафос пафосом, а я до пуття не розуміла, що це таке, з чим його їсти і взагалі.

Якщо коротко:
▪️"СУЧАСНІСТЬ" для музею - це інсценізація образу чогось нового, "крутого", фотогенічного, з кльовим дизайном і звісно комерційно вигідне.
▪️КУРАТОР - це протилежність колекціонера.
▪️КОЛЕКЦІОНЕР - барахольщик, який цитує слова та предмети поза контекстом, чим руйнує чари історії, її правдивість, її зв'язок із сучасністю.

Крім того, книга розбирає ще два аспекти музеології:
▪️Як зовнішній дизайн музеїв мистецтва "застилає пеленою" від нас сам музей з його вмістом.
▪️Як три абсолютно різні музеї руйнують традицію "колекціонування" і пропонують нові методи дослідження виставок.

До речі, представлені три музеї не ідеальні - хто збитковий, хтось не забезпечує достатньої комунікації відвідувача з експонатами, а в когось є просто недолугі композиції.

Тим не менш, кожен з цих трьох запропонував щось таке, чого музеології потребувала, але не могла вигадати.

[Lilia · Rating 4 out of 5]

An absolutely fantastic survey of developing museum practices.

[Elba · Rating 3 out of 5]

3.5

[Margarete Maneker · Rating 4 out of 5]

loved this, such a great perspective on curational approaches in museums

[Agnes Ársælsdóttir]

Frábær!

[Anaclara · Rating 4 out of 5]

schattig en geeft me zin om nog eens naar het van abbe te gaan

[Adriana · Rating 5 out of 5]

Una din acele cărți de care nu știai ca ai nevoie

[Nicoleta Giurgi · Rating 4 out of 5]

no ăsta da început de an

[Suze Geuke · Rating 4 out of 5]

ik had er nooit bij stil gestaan dat 'moderne kunst' hele andere perioden per ander deel van de wereld belichaamt

[Ma. Victoria Ulloa · Rating 5 out of 5]

Que importante este libro
El museo como un desfetichador de obras como un archivo común como un narrador del pasado por le medio del diagnóstico del presente y manteniendo siempre la vista al futuro.

[Shokai Sinclair · Rating 5 out of 5]

This is a brief investigation into the way that 3 unique museums are are going against the norm of presenting and contextualizing historic and contemporary art. It's a compelling study of how can both reproduce and challenge power and determine value through how they interact with different cultural narratives of past, present, and future. Also check out Bishop's past works on relational aethetics/antagonism.

[Allison T · Rating 5 out of 5]

i <3 claire bishop

we have been looking at Dan Perjovschi's drawings in class and read a bit of participatory hells. was at an art gallery's inaugural exhibit last night and felt disappointed, so it felt like a palate cleanser to sit with this short book tonight.

really interesting proposals of how a museum can serve as an "active, historical agent that speaks in the name not of national pride or hegemony but of creative questioning and dissent."

If you find this opening page of the book compelling, you may want to read more!

It’s remarkable to think that the last polemical text to be written on museums of contemporary art by an art historian was Rosalind Krauss’s “The Cultural Logic of the Late Capitalist Museum” back in 1990. Her essay is indebted to Fredric Jameson’s critique of late capitalist culture not just in its title but also in its relentless pessimism. Drawing from her experience of two contemporary art museums—the Musée d’Art Moderne de la Ville de Paris and the projected site of Mass MoCA in North Adams, Massachusetts Krauss argued that a profound encounter with the work of art had become subordinated to a new register of experience: the unanchored hyperreality of its architectural container, which produced effects of disembodiment that, in her view, correlated to the dematerialized flows of global capital. Rather than a highly individualized artistic epiphany, viewers to these galleries encountered a euphoria of space first, and art second. Krauss’s essay was prescient in many ways: the decade to come saw an unprecedented proliferation of new museums dedicated to contemporary art, and increased scale and a proximity to big business have been two central characteristics of the move from the nineteenth-century model of the museum as a patrician institution of elite culture to its current incarnation as a populist temple of leisure and entertainment. Today, however, a more radical model of the museum is taking shape: more experimental, less architecturally determined, and offering a more politicized engagement with our historical moment. Three museums in Europe—the Van Abbemuseum in Eindhoven, the Museo Nacional Centro de Arte Reina Sofía in Madrid, and Muzej sodobne umetnosti Metelkova (MSUM) in Ljubljana—are doing more than any individual work of art to shift our perception of art institutions and their potential. All three present compelling alternatives to the dominant mantra of bigger is better, and better is richer. They do not speak in the name of the one percent, but attempt to represent the interests and histories of those constituencies that are (or have been) marginalized, sidelined and oppressed. This doesn’t mean that they subordinate art to history in general, but that they mobilize the world of visual production to inspire the necessity of standing on the right side of history.”

[Kotryna · Rating 3 out of 5]

What does contemporary mean?
How one theorizes on contemporary art?
How a contemporary art museum, often depending on a few philanthropists, exhibits uncomfortable (e.g. political) art beyond tastes, views, or even private collections of its multimillionaire trustees?
How does a contemporary art museum survives and accounts to the public in a place outside few biggest world metropolises with no thriving art market surrounding it?
Should art institutions be built on values? Whose values then?
All of these topics are explored through particular case studies. From MoMA to Tate, the book presents public contemporary art museums in a context of fifty shades of white privilege; from Eindhoven to Ljubljana the author explores contemporary as a method of critical reflection, rather than a point in the chronology.
And though this book is highly informative and makes one think beyond the architecture of the newest contemporary art museum, it should not be taken as an objective research, but rather as a highly political manifesto, full of [leftist] ideology and personal views of the author.

[Rohit Gupta · Rating 3 out of 5]

I found this book when I was trying to understand what is contemporary in art as museum I visited had contemporary in their names but they didn't feel like it. The text is radically worded and introduces several ideas on contemporary curation. I visited René Sofía during the read and found that the ideas made sense. I feel, the book can help me differentiate between a museum and a monument. I didn't enter Guggenheim Bilbao on a recent visit to Bilbao as I felt the museum is just an attraction and may not provide me with a way to interact with art. This is based on concept of 'Starchitecture' in the book. I think if you like visiting museums you should read this book.

[Alen Lee · Rating 5 out of 5]

Хорошо очерченный манифест «современного музея» как института в первую очередь общества, (а не государства и олигархии) направленного на развитие критического мышления публики, расширения границ восприятия культурной идентичности определённого общества в контексте мировой истории.

Прекрасные живые примеры на трёх довольно разных музеях в Эйндховене, Мадриде и Любляне.

Настоятельно рекомендую начинающим энтузиастам кураторского мастерства и теории критики.

Однако, неизвестно сколько ещё этот труд останется актуальным.

[Julio César · Rating 4 out of 5]

Muy buen ensayo corto, bien fundamentado y con un punto conciso. Es de lectura ágil, no deja afuera a los no especialistas. Las ilustraciones de Dan Perjovschi son ocurrentes. Quizás tipografía muy grande e interlineado generoso...

[Amirah · Rating 3 out of 5]

Lovely little book featuring three case studies of museums presenting their collections in interesting, and more progressive ways (in the 2010s). Only three stars from me, because I would have liked a little more context vs just the three examples, but it is a mini-book.

[Amy · Rating 5 out of 5]

A short but inspirational read.

[Sian · Rating 3 out of 5]

this was really interesting - and possibly a bit over my head.
its only short tho, so even idiots like me can get through it.

[Caterina · Rating 4 out of 5]

very interesting, looking into what is contemporary and what is the curatorial. i just wish it would have gone deeper and further, i am sure Bishop had a lot more to write on the matter.

[George Sutton · Rating 4 out of 5]

art-affirming and forward looking, if a bit dutifully "good leftist"

[George Squires · Rating 4 out of 5]

8/10

[Bryn Foreman · Rating 4 out of 5]

Love the case studies that Bishop uses to reimagine the museum field.

[Fatima Sheriff · Rating 4 out of 5]

Fatima in her curatorial placement application era? Is it possible to read and talk my way into the arts, Bishop is my first step to finding out.

[Kijung Song · Rating 5 out of 5]

dialectical contemporaneity

[Anton Lapov]

Despite there is some evidence of compilation style of this book it's very useful as reference lighthouse for further investigation in topics related to studies of contemporaneity. In fact author strongly argued to methodical flip from presentism strategy of refined "world-market" museum management to conceptual historical paradigm with precise attention to reactualizing and rethinking the past on the way to shape the future of art free from diktat of neoliberal capitalism ideology.

Using such line of thinking Bishop shows three types of museological conceptualization exemplifying it by analysis of curatorial exhibition practice in three european museums (Van Abbemuseum in Eindhoven, the Museo Nacional de Reina Sofía in Madrid and MSUM in Ljubljana). Each one from it trying to re-assemblage cultural heritages of country's past due to new economic condition and new historical trends of polynarrativeness.

The book is tasty refined by drawings of romanian visual artist Dan Perjovschi and photos of exhibitions of mentioned museum.

[Lieske Huits · Rating 3 out of 5]

I don't think I understood more than the general gist of the book, so I am going to try to re-read this one soon...

For now, I felt like Claire Bishop tries to show us a path to follow in the labyrinth of contemporary museology and exhibitions of contemporary art. The problem with these subjects is that they are vague and multifaceted, and in no way easily explained.
Bishop tries her best with three strong, independent examples to illustrate her plea for a different view and approach to museums of contemporary art, but unfortunately her examples remain abstract and very theoretical.

But as I said, I don't think I understood her essay in it's full complexity, so I will be re-reading this soon, and probably changing my review according to that reading experience.

[Julia · Rating 4 out of 5]

Довольно интересно, есть много новых для меня мыслей. Конечно, рассмотреть все музеи современного искусства невозможно, поэтому выбор трёх удачных вариантов существования музея современного искусства вполне оправдан.

Кстати! Тут ПОТРЯСАЮЩИЕ иллюстрации, они едва ли не круче текста:)