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PROGRAMMA 2 Hoe programmeren musea en andere culturele instellingen?

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Presentation on theme: "PROGRAMMA 2 Hoe programmeren musea en andere culturele instellingen?"— Presentation transcript:

1 PROGRAMMA 2 Hoe programmeren musea en andere culturele instellingen?


3 Framing Mieke Bal conditions: 1.museums reason for approaching me 2.confrontation cultural analysis – art history 3.confrontation theorist – curator 4.collection from which to draw 5.undermining the dogma of Sweelinck as a minor artist 6.wish for plurality of frames yet turned into a unity (un-framing and de-framing)

4 Framing: samenhang? Derrida Parergon: a supplement that becomes part of it. What is art? Where does it end, where does it begin? Deleuze Rhizome: Principles of connection and heterogeneity: any point of a rhizome can be connected to anything other, and must be. Principle of multiplicity: geen object geen subject, veelheid of multipliciteit moet zelfstandig bekeken worden… als multipliciteit Principle of asignifying rupture: breuk betekent niet, veroorzaakt nieuwe, onverwachte groei. Principle of cartography and decalcomania: a rhizome is not amenable to any structural or generative model.

5 Culture and Meaning in the Museum Eilean Hooper-Greenhill What is said and how it is said: communicate narrative though the objects are mute, open to interpretation (often contradictory). Thus: pedagogy of display is most important pedagogy, through content and style.

6 Raymond Williams: What is Culture? A general process of intellectual, spiritual and aesthetic development. The works and practices of intellectual and especially artistic activity. A particular way of life, whether of a people, a period or a group. The signifying system through which necessarily a social order is communicated, reproduced, experienced and explored. NB: Seeing relates to what is known and to what counts as available to be observed. Maurice Merleau-Ponty

7 Resonance and Wonder Stephen Greenblatt Resonance: the power of the displayed object to reach out beyond its formal boundaries to a larger world. Wonder: power of the displayed object to stop the viewer in his or her tracks, to convey an arresting sense of uniqueness to evoke an exalted attention.

8 Greenblatt Resonance: niet noodzakelijk binnen het kunstwerk zelf Wonder: type of gaze predomintaly western beweging (Plato en Aristoteles) Conclusie: wonder should lead to the desire of resonance.

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