ICOFOM 96 Symposium Museology & Art Rio de Janeiro , Brazil May 10-20, 1996 18820 ICOFOM Study SeriesICOFOM 96 XVIII Annual Conference of ICOFOM V Regional Meeting of ICOFOM LAM Simposyum Museology & Art (Basic Papers) May 10 - 20, 1996 Rio de Janeiro, Brasil Pre-Prints - ISS 26 ICOFOM Study SeriesICOFOM 96 XVill Annual Conference of ICOFOM / XVill Conference Annuelle de liCOFOM V Regional Meeting of ICOFOM LAM / V Reunion Annuelle de !\COFOM LAM Xt Conferéncia Anual do ICOFOM / XVI Cenferencia Anual del ICOFOM VEncontro Regional do ICOFOM LAM / V Encuentro Regional dol ICOFOM LAM Simposyum / Simpésio Museology & Art / Museologia & Arte Preprints / Pré-Edigao - ISS 26 Coordinated by / Cooréenagto ‘Tereza Scheiner- Bras Graphic Project / Preto Grtico Marcelo Martins - Basi reparation of righ, Copydesk. {8 Typing / Prepare de Origins, “Tereza Scheiner Marcelo Martins - Brasil Copldesque & Digitpso Nelly Deoarolis/ Carmen Mazza «Argentina ‘Translation & Revision / ‘Pertuguts - Tereza Scheiner “Tradupto & Revisto Espanol - Nely Decarolis/ Cermem Mazza ‘Annaltlea! Summaries! Monica Risncot de Gorgas - Argentina Sumérios Anais ila de Céssla de Mattos - Bras Ivo Maroenc - Croatia iegard Veregg~ Aleman ‘ean Trudel- Canad Eétion / Edr-to ‘TACNET Cuftual Lda Reproduction /Reprodurao Ficha Catalegrties Prof, Lolda Vaz Tera dda Excola de Bibloleconomia da UNERIO. M96. Mussology & Art coordonagto Tereza Schine,adusto dos textos para Kings “Stal Nelly Deals e Carmem Mazza. - Rio de Jancro;Taenet Cllura, 1996 1328; 21 29:7 om (lofem sty seis 26) CColetines de tents para dscaiso n Symposia Muscology & Art realizar ano de ani, de 10220 de mai de 1996, oganizado pola Unsto, Conelio {fucrcional de Messus (ICOM), Con Ineracicnal de Muselogia (COFOM) © Universidade do Ri de Janet, Bscola de Musolia. “Teton em ings, espashol ¢ portugues. ‘lui Eibiografia 1. Musologia Teoria 2, Ante Filosofia, Scent, Tereza. I. Unesso. {IL ConsshoTotemaconal de Muses, TV. Con Iirmacional de Mustlogi 1. Univertidade do Rio ds Janeiro. Bazoa de Museloga. VL. Synposiam Musoology& At (1996: Rio de Janeiro) VI. Sei. eppose01 ISBN: uwICOFOM 96 XVIIl Annual Conference of ICOFOM / XVIII Conference Annuelle de FICOFOM \V Regional Meeting of ICOFOM LAM /V Reunion Annuelle de lCOFOM LAM XVlIl Conferéncia Anual do ICOFOM / XVill Conferencia Anual del ICOFOM V Encontro Regional do ICOFOM LAM / V Encuentro Regional del ICOFOM LAM Simposyum / Simpésio Museology & Art / Museologia & Arte ‘Organizing Agencies / Instituig6es Organizadoras Icom ‘international Council of Museums / Consethointemaconal de Museu Icorom International Commie for Museology/ Comte tntemacional de Musecioga ICOFOM-LAM Regional Organization of ICOFOM for Lain America andthe Cartbean COrganizapto Regional do ICOFOM para a América Latina @o Caribe UNLRIO| Univers of Rie de Janeiro - Schoo of Museciogy / Universidade do Rio 6 Jane - Escola de Musecogia Official Seal / Chancela UNESCO, United Nations Educational, Scientific and Cuural Organization / COrganizapéo das Napbes Unidas para a Edueagto, Cléncla © Cuture Support / Patrocinio ‘The Gety Grant Fund - The J. Paul Gety Trust Sul América Seguros SIA Maison de France - Congulade Geral da Franga- Rd, Brasil ‘General Council of Argentina - Consulade Goral da Argentina - Ru, Brest CESGRANRIO Foundation - Fundapde CESGRANRIO \Vtae Foundation - Fundapto Vitae Collaboration / Apoio icomuac ‘Regional Organization fer Latin America and the Caribbean Bloch’ Manchele -Museu Adoipho Bloch 1 Organizagée Regional do ICOM para'e America Latina e Fundacdo Oscar Niemeyer oCarbe {grejae Mostoro de S. Berto Igrejae Museu N. Sa. da Glia do Outeiro National ICOM Committee / Comité Brastiezo do ICOM MAM Museu de Arte Moderna de Rlo de Janeiro Brazilan Associaton of Museology /Associacao Brasloka Museus Castro Maia, ‘de Museotogia - ABM ‘Musou imperial - Patrepols MIAN - Museu intemacinal de Arte Nai ‘School of Music / Escola de Musica~CLA-UNLRIO -—-MNBA- Museu Nacional de Belas tes ‘School of War Navy Escola de Guerra Naval ‘Museu do Pertal IME - Mitary Inettute of Engineering / Insitute Mitar do CCB Centro Cultural Banco do Brasil Engenharia ‘SPHAN- 6" CR. - Paral Nest RioturICOFOM 96 XVIil Annual Conference of ICOFOM / XVIII Conference Annuelle de lCOFOM \V Regional Meeting of ICOFOM LAM / V Reunion Annuelle de lCOFOM LAM XVill Conferéncia Anual do ICOFOM / XVIII Conferencia Anual del ICOFOM. \V Encontro Regional de ICOFOM LAM /V Encuentro Regional del ICOFOM LAM Simposyum / Simpésio Museology & Art / Museologia & Arte Organizing Committee / Comissao Organizadora Martin Scharer President, ICOFOM / Presidente do ICOFOM “Tereza Scheiner Vice-President, ICOFOM | regional coordinator, ICOFOM LAM and Director, Schoo of Museoiogy- UNF-RIO ‘Vice Presidente do ICOFOM, coordenadora, (COFOM LAM & Diretora da Escola de Museclogla - UNLRIO Noty Decaratts Honorary vice Present, COFOM / regicnal coordinator, ICOFOM LAM Presidente honoraria doiCOFOM e coorderadora regional ICOFOM LAM Regina Bibiant rofesser, School of Museclogy - UNIRIO. Professors, Escola de Museoogia- UNLRIO. AniBnioC, de Canaino ——_Visting Professor, School of Mussoiogy -UNI-RIO Professor Vistano, Escola de Museologia - UNL-IO Marcelo Martine Student, School of Musealegy - UN-RIO Eeludante, Escola de Museatgla -UNI-RIO Fatima Wok Student, School of Musealegy = UN-RIO Eetudante, Escola de Musesiegia- UNL-RIO Special Co-workers /Colaboradores Especiais ‘Ma. del Carmen Mazza ICOFOM LAM- Argentina ddarine Menezes y Ojeda _Vioe-Presigert Brailan Association of Musedlogy / Vice Presidente, Associago Brasileira de Museclogla (ABN) tua Cazar Dantas ‘Musecloyist, 6a, CRI SPHAN/ Musediogo, 63. CRISPHAN - Parti ‘Maria Eralla Mattos Mussotogst, Museum of Sacred At / Musedloga, Nuseu de Ate Sacra Angra dos Reis ‘Ma Gabriella Pantgoso —_-Vice-Director, School of Museology/ Vice-Direlora, Escola de Museclogia - UNF-RIO ‘Candida Corbett isting Professor, School of Museclogy / Pro. Visitant, Escola de Museologia- UNLRIO Jurema Sectéer (Quarter Tours SA Diana Feria Museoiogst and Researcher -IBICT/ UFRJ / Musosioga e Pesquisadora - IBICTIUFR Jorge Amaral Musesiogst, Reo Zoo Foundatn / tusablog, Fundacto Rio 200 ‘Apatecida MC. de Souza Museologist/ Musedioga Marcio F, Rangel Museologist/ Musedlogo Carta ves ‘Student, Schoo of Museology - UNL-RIO /Estudante, Escola de Museologla- UNL-RIO Renata Mai ‘Student, Schoo of Musoology- UNI-RIO / Extudante, Escola de Museologia- UNL-RIO Cidaia Fidelis C. Siva ‘Secretary, School of Museology - UNI-RIO / Secreia, Escola de Musealogia, Special thanks to / Se Agradece a / Agradecimentos Especiais Elzabeth des Portes Secretary General / Secretaria Geral, ICOM Hane J. Dofrmann ‘Vio. Recter Viee-Reltor-UN-RIO Pietro Noveline ‘CCBS, UNE-RIO ‘Mrs, Lindalva Scoffana iv2,OO0000L2 INDEX / INDICE English/French - Portugués /Espanhol L Keynote Speeches / Conferéncias ‘Symposium Museology and Artin Brazil/ Simposio Museologia e Arie no Brasil ‘Sonia Gomes Pereira ‘Coordinator, Graduate Program in History of At, Fe. Univ. of Ro de vanelro ‘Museology and Art Lena Vania Ribeiro Pinheiro Professor & Researcher - Graduate Program In Sclence information, IBICTICNPq/ECO- UFRJ Att, Artistic Objact, Document and Information in Museums Denise Mattar ‘Coordinator of Fine Arts - Museum of Modern Art of Rio de Janeko Museology and Art Vera Maria Abreu de Alencar Director, Castro Maya Museums - Rio de Jancto ‘Museology and Artin Brazi: from theary to practice Constantino B. Viaro Director, Guido Viao Museum - Curtiba, Parana Twenty Years of the Guido Viaro Museum ll Simposyum Museology and Art / Symposium Museologie et Art 02 5 19 24 Provocative Papers Mathilde Bellaigue / Richard Nonas ‘Museclogy and Art/Museclogl at Art Annalitical Summaries English - French - 29Basic Papers / Documents de Base 41. Astudillo, Lucia - Ecuador ‘Musaology and Art the interatonal Blenail of Cuenca (Engst) 2. Bellaigue, Mathilde & Menu, Michel - France Une info Transparence: Art et Museologe (French/Engish) 3, Bibiani, Regina - Brasil ‘Numismatique - a. message, document (French) 4, Decarolis, Nelly - Argentina ‘Reflectors on Musaclogy, Aesthetes and Art Engish) 5. Desvaliés, André - France “Museologe et Art:Ie paint de vue du mussologue (FrenctvEngtsh) 6. Gasnik, Ales - Slowenian Republic From Museums and Exhistons tothe Museum Crlcism and Crtctom ‘of Museum Exhbiéons: From Arto Museology of At (EngishvFrench) 7. Gorgas, Ménica Risnicoff de - Argentina The Museologst Approach fo the Work of Art (Engish) 8. Kennedy, S. B. - Northern Ireland ‘Ad, Museums and their Auctencies: the fon ofesplay (English French) 9, Maranda, Lynn - Canada ‘Museology and Art Engish) 10. Mairesse, Francois - Belgique ‘Les Musoes f'Arstes (FrencivEngish) 11, Mardevic, Ivo - Croatia Ait in Museclogy (EngishFrench) 12, Martins, Marcelo H. - Brasil ‘Musedloge avec da "Art: Un Pont entre (Homme ete "Faire de Ar French) 13. Priosti, Odalice Miranda - Brasil embryone iconographique dans ls génése du musée socal (French) 14, Rizzi, Christina & Cury, Marilla Xavier - Brasil ‘Museum, Museclogy and Art (Engish) 15, Rusconi, Norma & Cubillos, Patricia - Argentina The now Allance: Dislogue between the object (naturafcturl) and the spectater EnghshFrench) 16. Scheiner, Tereza - Brasil ‘Museologe et Art une imprécise rélaton (French) 17, Segall, Mauricio & Araujo, Marcelo Mattos - Brasil Inlegraton Museclogy through contradicfon at At Museums (Engish/French) 418. Shah, Anita - india ‘Museology and Art (English) 19. Trudel, Jean - Canada ‘Miséas of Art hors ls Norms (FronehVEngich) 20. Viana Regis, Denise - Brasil [Naif Art t MIAN: a lovely relaon (Engksh) 21. Vieregg, Hildegard - Germany ‘Museology and Art- the urgency of History (Engish) Wi 35 38 48 52. 58. 6 70 15 80 85, 104 105 108 107 112 124 131 134 41 143UL, Simpésio Museologia e Arte / Simposio Museologia y Arte Textos Provocativos Mathilde Bellaigue / Richard Nonas usedloga e Arte/ Museclogiay Arte Sumarios Analiticos - ICOFOM LAM Espanhol - Monica Risnicoff de Gorgas Portugués - Rita de Cassia de Mattos Documentos. ICOFOM LAM 1. Bellaigue, Mathilde & Menu, Michel - Franga Una infetatransparencie: Arte y Museclogia (Espa) 2. Bibiani, Regina - Brasil ‘Numismica: ate, mensagom, documento (Portugués) 3, Castelli Gonzalez, Amalia - Peré ‘Museo y Ate 4, Correia Lima, Diana Farjalla - Brasil ‘Acervos Artistices e Pesquisas om arte psoas: ‘proposta de um modelo estrtural de lnformagdo om arte (Portugués) 5. Decarolis, Nelly - Argentina ‘Reflexiones sobre Musedlogi, Esiétca y Ate Espafo) 6, Desvallés, André - Franga ‘Museoiogta y Arte ef punto de vista del Musedlago (Esparto) 7. Gagnik, Ales - Repiblica Slovena Do musees y extiicionas aa critica do musoos exhibclones musaolsgices: el arta ae museologia del arte (Espero) 8. Gorgas, Ménica Risnicoff de - Argentina ‘Abordage Museologico a a obra de Arts (Espafo) 9. Mairesse, Francois - Bélgica ‘Los Musa0s de Artistas (Espafio) 10. Maréevic, Ivo - Croatia Aro ena Miuseologle(Espane) 11. Martins, Marcelo H. - Brasil ‘Museologa com Arte: uma ponte entre o homem @ 0 Yazeratstco" (Portugués) 12, Pavéo, Helena - Brasil ‘Museologa o Arte: art sacra, 2 nossa arte (Portugués) 13. Priosti, Odalice Miranda - Brasil (© embrizc iconografco na génese do museu socal (Portugués) 14, Rizzi, Christina e Cury, Marilia Xavier - Brasil ‘Museu, Mussologie 0 Arte 15. Rusconl, Norma & Cubillos, Patricia - Argentina ‘La nueva alenza:cslogo entre la cbra ye espectador (Espanc) yuu 165 168, 163 169 178 182 185 194 202 204 212 216 226 234 241 245 251 28416. $4, lvan de - Brasil -Museologla @ Arte: repansando esta iteragdo (Portucus) 258 17, Sarmento, Theresinha de Moraes - Brasil ‘A Arie do Viro nas Jt (Potuguts) 260 16, Shah, Anita B. - India IMuseotoga y arte 264 19, Scheiner, Tereza - Brasil ‘Museologiae Arto uma kmprisarelagto (PortuguésfEspano) 268 20, Schenker, Libla - Brasil ‘Repensanco a vocag&o dos museus do arte modema (Portugués) 201 21, Segall, Mauricio & Aradjo, Marcelo Mattos - Brasil ‘Museologia da integragBo Através de Contracigdo nos Musous de Arte (Portugués) 206 22, Trudel, Jean - Canadé ‘Musoes y Arte fara das Normes (Espafa) 23, Viana Regis, Denise - Brasil on ‘Arte Naf ho MIAN: Ume Releg8o de Amor Portugués) 308 24. Wilder, Gabriela Suzana - Brasil “Museu de Are Cantemportinea e « Cranga Pré-Escalar: Una Proposta die Museatzagto dos Espegos Escolares (Portugués) at IV. Program of Activities / Programa de Atividades 317 \V. List of Authors / Relagao de Autores 327 wtioFOREWORD / APRESENTACAO CoOCOCLL uxo oO T.. story of ICOFOM is an impressive academic adventure. ‘At ICOFOM, the academic debate is based in the production and analysis of theoretical papers about specific questions - on a conceptual basis of physophical, anthropological and ecological influence. Recognizing the importance of museums for the development of human society, and conscious of the immense potential of information, education and generation of knowledge that exists in each museum, a small group of idealists - among which Vinos Sofka - designed an ambitious aim: to analyze and to study the Museum from the theoretical point of view, as an agency for the production of knowledge and of social debate, and as institution dedicated to the study of Memory. A second aim was designed: the study of Museclogy - would it be a group of practices concerning the museum, a technical specialty, an academic discipline of scientific importance «of @ science under construction? To give body to such proposals a group was Created in the realm of the Intemational Council of Museums (ICOM/UNESCO): the Intemational Committee on Museology, ICOFOM. The first years were difficult and surrounded by prejudice. The daring members of the new group realized, step by step, their immense work, taking the museum into account as object of study and defending, for Museology, the "status" of a new academic discipline. Annual meetings and a permanent work of production, analysis and debate of originals papers of theoretical content have led to the construction of what we understand today as Museum Theory - the embryo of a new discipline. The analysis of practices developed in museums has also led to the study of Museology as a phenomenon, as well as their different manifestations as a part of realty (“le reel’). The contribution of a group of specialists of growing significance, of all the regions in the world, has permitted an enormous deepening of the questions proposed. The consequence was a great valorization of Museology as a field of knowledge. ‘At ICOFOM, the academic affair is based on the production and analysis of theoretical papers about specific questions - grounded in concepts from philosophy of knowledge, social and cultural anthropology and ecological studies of the global change. ICOFOM has immensely developed over time, and today we are around 1.100 members in more than 40 countries, The production on theoretical museology already made available to the general public surpasses the 4.000 pages of original works, in several different idioms. All this production signifies an ‘enormous institutional and personal sacrifice on the part of those involved in the job. From 1990 on the Board of ICOFOM has decided to regionalize the works of the ‘Committee: regional study groups were created for Africa, Asia, Europe, North and Latin America. We are proud to integrate, from the beginning, the group of studies of ICOFOM for Latin America and the Caribbean - the ICOFOM LAM. Its aim is to diffuse the production and the studies of Theoretical Museology in the Region. Bt‘The rise of ICOFOM LAM has signified, for us, the intensification of the academic adventure on regional level: there is a constant struggle for the opportunity of organizing conferences (always so expensivel), of producing, translating and editing original papers, of making available, to all those interested in the matter, questions of theoretical interest. Those who are not able to participate in person may and must study and produce, because it is through academic study that Museology is developed. And only with strong communication and intense debate will we succeed in defining forms of museums that fulfil the needs and interests of our society, The development of a joural - the Bulletin ICOFOM LAM, togheter with the organization of annual meetings in the Region and the production/editing of books with originals papers on theoretical museology, in Spanish and Portuguese, has stimulated considerably the development of Latin American Museology. In such context, it is to admire the representativeness of ICOFOM LAM: within five years, four regional meetings were realized, a book was produced (being the second one under production), eight numbers of our Bulletin were edited and distributed in the Region. All this with private means and a lot of courage - since ICOFOM LAM does not receive any kind of financing. It is therefore with great satisfaction that we organize, this year, the XVII Annual Conference of ICOFOM, togheter with the V Regional Meeting of ICOFOM LAM. We are proud to present to our colleagues of the world the theoretical production of this year - which includes, for the first time, original papers in four different idioms: English, French, Portuguese and Spanish. It is a proof that it is possible to ally knowledge and purpose to integrate the most diverse expressions of the contemporary systems of knowledge. In this book, 26 authors present their original ideas on the theme MUSEOLOGY AND ART. There is a significant participation of the museologists from Latin America and the Caribbean. We hope that this book No. 26 of ISS fulfills the aim of stimulating even more the studies on theoretical museology, as a new step in the development of the works of ICOFOM. Tereza Scheiner Rio de Janeiro, Abril 1996A historia do ICOFOM é uma impressionante aventura académica. No ICOFOM, 0 debate académico se faz tendo como base a produgdo e analise de textos tedricos sobre questdes especificas - a partir de bases conceituais, de conteiido filoséfico, antropolégico e ecolgico. Reconhecendo a importéncia dos museus para o desenvolvimento da sociedade humana, e consciente do imenso potencial de informago, educagdo e geragdo de conhecimento existente em cada museu, um pequeno grupo de idealistas - entre os quais Vinos Sofka - desenhou uma ambiciosa meta: analisar e estudar teoricamente 0 Museu enquanto manifestago social, agencia de produgéo de conhecimento e instituigao dedicada ao trabalho com a memoria. Uma segunda meta seria o estudo da Museologia - conjunto de praticas relativas ao Museu, especialidade técnica, disciplina académica de carater cientifico... ou ciéncia em construgio? Para dar corpo a este trabalho, criou-se, no ambito do Conselho Intemacional de Museus (ICOM/UNESCO), um'Comité Interacional de Museologia - 0 ICOFOM. Os primeiros anos foram dificeis e cercados de preconceitos. Corajosos, os membros do novo grupo realizavam passo a passo a sua tarefa, debrugando-se sobre 0 Museu como objeto de estudo e defendendo, para a Museologia, o status de disciplina académica. Reunides anuais e um permanente trabalho de produgao, analise e debate de textos de embasamento teérico levaram a construgao do que se denomina, hoje, a Teoria Museoldgica - 0 embriéo de uma nova disciplina. Da analise das praticas realizadas em museus passou-se a0 estudo da Museologia enquanto fenémeno, bem como suas diferentes manifestacdes ao nivel do Real. A contribuig&o de um grupo cada vez mais significativo de especialistas, de todas as regiées do mundo, permitiu um enorme aprofundamento das questdes estudadas, levando a uma crescente valorizagao da Museologia enquanto campo de conhecimento. No ICOFOM, © debate académico se faz tendo como base a produgdo ¢ analise de textos tedricos sobre questées especificas - a partir de bases conceituais de contetido filoséfico, antropolégico e ecolégico. Com a evolugao dos trabalhos do Comité, cresceu a sua produgao: hoje o ICOFOM conta com cerca de 1.100 membros em mais de quarenta paises, e a produgéo de teoria museologica ultrapassa as 4.000 paginas de textos inéditos, em diferentes idiomas. Toda esta producdo significa, na maior parte das vezes, un enorme sacrificio institucional pessoal por parte daqueles envolvidos neste trabalho. A partir de 1990, 0 "board" do ICOFOM decidiu-se pela regionalizagao dos trabalhos do Comité: foram criados grupos de estudo regionais para a Africa, Asia, Europa, América do Norte e América Latina. Temos a salisfacao de integrar, desde © inicio, © grupo Latinc-americano e do Caribe do Comité Internacional de Museologia - 0 ICOFOM LAM, cujo principal objetivo e difundir, na regio, a produgo e os estudos de Teoria Museolégica. KitA criagéio do ICOFOM LAM significou, para nos, a intensificagéo desta aventura académica em Ambito regional: ha uma constante tuta pela oportunidade de organizar encontros (sempre to custosos), produzir, traduzir e editar textos inéditos, difundir as quest5es de interesse teérico a todos aqueles que, embora impossibilitados de atender pessoalmente aos encontros, podem e devem estudar @ produzir. Pois @ através do estudo que cresce a Museologia, e so com muita integracdo e debate se chegara a defini¢éo de formas de museus do interesse de nossa sociedade. A criagéo de um jomal - 0 Boletim ICOFOM LAM, a organizagao de encontros anuais nos diversos paises da Regio e a produgdo/edicao de volumes com textos inéditos de teoria museolégica, em espanhol e portugués, tem estimulado consideravelmente 0 desenvolvimento da Museciogia latino-americana, Neste contexto, e grande a representatividade do ICOFOM LAM: em cinco anos, realizamos quatro encontros, produzimos um livro (estando o segundo em produgao), editamos e divulgamos na regido cite nuimeros do Boletim. Tudo isto com meios préprios e muita garra - uma vez que o ICOFOM LAM no dispée de qualquer tipo de patrocinio. E, portanto, com grande carinho que organizamos, este ano, a XVili Conferencia Anual do ICOFOM, juntamente com o V Encontro Regional do ICOFOM LAM. Ee com grande orgulho que apresentamos, aos nossos colegas, a produgo teérica deste ano - que inclui, pela primeira vez, textos inéditos em quatro diferentes idiomas: 0 inglés, o francés, 0 portugués e 0 espanhol, numa prova de que e Possivel, quando ha saber ¢ vontade, integrar as mais diversas expressdes dos sistemas contemporaneos de pensamento, Nele, 26 autores apresentam idéias inéditas sobre 0 Tema Museologia e Arte, com significativa participagdo dos musedlogos da América Latina e Caribe. Esperamos que este volume no 26 do ISS sirva ao propésito de estimular ainda mais os estudos de Teoria Museolégica, constituindo um novo passo para o desenvolvimento dos trabalhos do ICOFOM. Tereza Scheiner Rio de Janeiro, abril de 1996,I- KEYNOTE SPEECHES / CONFERENCIAS & PAPERS / DOCUMENTOS SYMPOSIUM MUSEOLOGY AND ART IN BRAZIL SIMPOSIO MUSEOLOGIA E ARTE NO BRASIL.nose ecoer ttt ttKEYNOTE SPEECHES / CONFERENCIAS 1. Sénia Gomes Pereira (Coordenadora do Programa de p6s-graduagto em Historia da Arto Universidade Federal do Rio de Janeiro/UFRJ) Museologia e Arte 2 Lena Vania Ribeiro Pinheiro (Professora/pesquisadora - Programa de pés-graduagao em Ciénoia da Informagao - IBICT/CNPg, ECO/UFRJ) Arte, objeto artistico, documento e informagéo em museus 3. Denise Mattar (Coordenadora de Artes Plasticas - Museu de Arte Moderna do Rio de Janeiro) Museologia e Arte - Museology and Art 4. Vera de Alencar (Diretora, Museus Castro Maya - Rio de Janeiro, Brasil) Museologia e Arte no Brasil: da teoria a pratica 5. Constantino B. Viaro (Diretor, Museu Guido Viaro - Curitiva, Parand - Brasil) Vinte anos do Museu Guido ViaroSénia Gomes Pereira Coordenadora da pés-graduago em Historia da Arte Universidade Federal do Rio de Janeiro - UFRJ MUSEOLOGIA E ARTE. Inicialmente gostaria de agradecer @ UNI-RiO e em especial a Professora Tereza Scheiner o convite para fazer a palestra de abertura desta XVIll Conferéncia Anual do ICOFOM. Para mim representa um duplo prazer estar aqui: Primeiro, por estar de volta a esta Universidade, onde trabalhei por tantos anos @ onde convivi com colegas admiraveis; segundo, por abordar um tema, que na verdade 6 a sintese da minha vida profissional - uma musedloga voltada para os estudos da arte, sobretudo da arte brasileira. 0 objetivo desta palestra é refletir sobre a relagdo entre Museologia e Arte. Para isto considero importante inicialmente examinar a historia desta relagdo, detendo-me nos momentos de grandes mudangas conceituais, tanto no campo artistico, quanto no campo museolégico; em seguida, pretendo trazer a discusséo para 0 caso especifico do Brasil, tentando evidenciar como se processou esta felago nos momentos cruciais da cultura brasileira e tentando entender melhor ‘como se encontra hoje esta problematica, A relagéo Musew/Arte encontra-se logicamente merguihada na pratica artistica - isto €, toda a rede complexa de conceitos e técnicas que esto contidos nna construgdo das diversas linguagens artisticas, levando-se ai em consideragao a ridade de todo fendmeno artistico: 0 fato de conter ao mesmo tempo a visio ‘dual do artista, expresséio de sua propria subjetividade, e a marca de seu tempo, uma vez que toda obra esté inexoravelmente marcada pela cultura onde se encontra piantada. Mas a relagdo Museu/Arte néo se refere apenas @ atuagdo dos artistas conseqlientemente ao surgimento dos movimentos, das escolas ou dos estilos de arte. Um outro plano - 0 da apreciago da arte - tem uma enorme importancia, talvez mesmo preponderante, como se veré em seguida, na relapo Museu/Arte; ai & importante ressaltar a tradicional separagao enire Historia da Arte e Critica da Arte - separagao bastante questionavel nos termos atuais, mas historicamente bastante demarcada, como campos de atuacéo diferentes e as vezes ideologicamente opostos. Na verdade 0 surgimento da instituigéo Museu no século XIX encontra-se enraizado, n&o na pratica artistica, ou mesmo na Critica de Arte, mas sim na Historia da Arte. Os grandes museus que surgiram nesta época na Europa estavam voltados primordiaimente para a guarda de obras do passado, sé interagindo com a produgdo contemporanea, quando esta se colocava como uma continuidade da tradigao. Assim, 0s movimentos questionadores da vanguarda - 0 Romantismo, oRealismo, 0 Impressionismo - processaram-se fora dos museus @ s6 muito mais tarde, j4 consagrados, serdo aceitos naquelas grandes colegdes ou motivaréo 2 abertura de museus especificos para sua apresentacdo. Também a Critica de Arte contemporanea - toda a calorosa discussdo entre tradicéo e modemidade, os comentarios sobre os salées, as polémicas em torno das academias - ficou totalmente fora dos museus. E interessante reparar que nos textos dos grandes criticos do século XIX, como Baudelaire por exemplo, nado ha nenhuma censura a este devotamento dos museus ao passado; critica-se muito as academias e os ‘salées, mas os museus parecem ser de outra orbita. Realmente, 0 museu do século XIX pertencia a uma outra orbita - a da Historia, Esta nova disciplina surgia como uma decorréncia do lluminismo e, entre suas idéias bésicas, duas delas séo basicas para a compreensdo da Museologia oitocentista. De um lado, 0 conceito de evolucao - a nogdo de que a mudanca & algo mais caracteristico da natureza humana do que a petmanéncia, processando- se graduaimente numa linha evolutiva, Assim, todas as etapas deste proceso ‘assumem enorme importancia para explicar o presente e moldar o futuro; conhecer as origens e 0 passado tomnam-se ferramentas importantes no esforgo do homem de construgdo da sociedade. Dai o enorme esforgo de desvendar este passado, as expedigées, as escavagées, as colegdes, os museus. Por outro lado, @ preocupacao em dotar esta nova disciplina de rigor cientifico explica a adocao de métodos consagrados das ciéncias exatas: a preocupagao com a taxinomia - as classificagdes em categorias, em periados, em estilos, em escolas. As colegdes levadas para os museus so, portanto, submetidas a uma descricéo minuciosa e uma classificagao rigorosa - condi¢éo sine qua non para pertencer a esta Historia da Arte. O grande golpe nesta Historia da Arte evolucionista e classificatéria ocorreu na passagem do século XIX para o século XX com o aparecimento dos teéricos formalistas, alguns ligados diretamente a Teoria da Pura Visualidade, quase todos adeptos da idéia da autonomia da obra de arte. Wolffin, Panofsky, Riegl Werringer, entre outros, a despeito de suas diferencas, concordavam com a desvinculagéo da arte daquela visdo cronolégica, procuravam estudar a obra ultrapassando os limites da simples descrigao e classificago, merguihando em seu universo mais profundo, na tentativa de desvendar a sua estrutura estética ou 8 sua significago simbélica. Em muitos casos, o trabalho dos formalistas caminhou para a concepgéo'da arte como uma instancia independente, inteiramente desvinculada da Histéria - e 0 seu estudo cancentrou-se, entéo, na obra em si, tomada fora do tempo e do espago. Mas alguns, como € 0 caso do Panofsky, trabalharam a relagao da obra com a cultura da época, buscando a similitude entre as suas concepgées fundadoras. As idéias formalistas tiveram enorme Tepercussdo, néo apenas na apreciagao da arte do passado, mas também na compreensdo e na aceitagéo da arte modema, sobretudo na produgdo ligada a0 Abstracionismo, Passam a predominar agora os valores puramente estéticos, logicamente da maneira como foram concebidos na modernidade - a obra de arte como realidade visual e como expressao da subjetividade do arfista, independente das fronteiras geograficas ¢ das peculiaridades histéricas. Novas coleges e Novos museus séo formados, portanto, a partir de premissas totalmente diferentes, justificando, inclusive, a separago entre acervos historicos e artisticos. O papel dos artistas e dos criticos de arte foi fundamental na concepgo e na fundacso dos museus de arte modema, consolidando formas especificas de apresentacao do acervo, como as exposigSes individuais, as retrospectivas e, mais recentemente, as curadorias - enfim, toda uma producdo “autoral” impensavel nos moldes antigos historicistas.Também a Histéria da Arte tem sido repensada nas tltimas décadas. Especiaimente Argan refletiu sobre a relagéo arte e sociedade. Afirma que a Hist6ria da Arte é também histéria da cultura, mas um cultura sui generis. Insiste na especificidade do fazer artistic, mostrando que a obra de are deve ser examinada de um ponto de vista rigorosamente fenomenologico, isto 6, através de uma abordagem que se detém na aparéncia dos trabalhos, “levando em conta ‘somente aquilo que vemos e tudo aquilo que vemos" (ARGAN, 1992: XVI). Para ole, a arte 6 um fazer que se faz aqui e agora e que faz objetos que o tempo néo engole, que permanecem presentes, atualizando experiéncias passadas @ possibiltando a mediagao com 0 passado e o futuro, Esta afirmacdo da arte como um fazer e no como intuigo @ expresso ou como modo de espirito langa a nogao da arte além das concepgées que a véem como cristalizagdo de idéias ou projetos, ou de contetidos a priori, sem a necessidade de enfrentar os problemas de sua propria materialidade. © processo do fazer envolve uma sequiéncia de operagses mentais ou manuais com que um conjunto de diferentes experiéncias culturais se condensa na unidade de um objeto, que se da simultaneamente, como um todo, & percepcao. Assim, 0 estabelecimento de vinculos entre produgo artistica e aspectos socials, éticos, histéricos e cognoscitivos pode se realizar, sem a necessidade de privilegiar qualquer uma dessas instdncias envolvidas, desde que as andlises partam dos trabalhos de arte, observando a sua especificidade. Assim, fica evidente que para a visualidade o objeto sempre fol de extraordindria importancia, tanto na abordagem historicista do século XIX, quanto na abordagem estética do século XX. Dai a enorme relevancia que sempre teve Para as artes visuais os museus, nao apenas como guarda das obras de arte, mas também como espago de pesquisa, de reflexdo, de comunicagdo - uma vez que nada se pode fazer, a ndo ser a partir do proprio objeto, na sua presenga ou na sua vivencia. Apés estas premissas iniciais sobre a longa convivéncia e conivéncia entre Museologia e Arte, gostaria entdo de examinar como este proceso se realizou no Brasil, O surgimento dos museus de arte no Brasil est ligado a0 aparecimento © consolidagao do Modemismo nas décadas de 20/30. & muito importante ressaltar 8 peculiaridades do nosso movimento modemista, ancorado em duas idéias basicas: de um lado, a vontade de romper com o academicismo e acertar 0 paso com a contemporaneidade européia; por outro lado, 0 desejo de criar uma linguagem prépria, que fosse a expressao clara da identidade nacional. Trata-se, na verdade, de uma ambigiidade, pois as vanguardas européias estavam decididamente voltadas para a quebra das fronteiras, em busca de formas de ‘expresso intemacionais., Assim, os nossos tedricos..modemistas forjaram esta utopia: ser contempordneo e brasileiro ao mesmo tempo. Na préti¢a, no entanto, 0 que ocorreu, com algumas poucas excegées, foi uma produgdo artistica medianamente modema; predominou na maioria dos casos @ absorgéo dos movimentos menos radicais; freqlentemente adotou-se uma linguagem pre-modema, ainda ligada aos cédigos de representacdo tradicional: e, como unanimidade geral, permaneceu-se fiel ao figurativismo - portanto, uma pratica artistica bastante conservadora, se compararmos & atuagdo das vanguardas européias, que constituiam os nossos modelos, pelo menos na ordem do discurso.Se a vontade de acompanhar a contemporaneidade européia néo se concretizou, pelo menos com a radicalidade das primeiras vanguardas européias, a outra idéia fundadora do nosso Modemismo - a procura da brasilidade - transformou-se no verdadeiro leitmotiv das décadas de 20, 30 e 40. Alimentada pelos anseios de mudanga na economia e na politica nacionais - primeiro o movimento tenentista € posteriormente o Getulismo - a brasilidade, vivida em nuances diferenciadas, forjou a literatura, a musica, a arquitetura e as artes visuais da época; incentivou a procura e o estudo das nossa origens, levando a criagdo da legislagdo e dos servigos de preservacao do patriménio nacional - assim surgiram diversos museus, originados deste esforgo de reunir obras consideradas significativas da nossa trajetoria cultural. Alguns museus derivaram de colecdes importantes ja existentes, como é 0 caso do acervo da antiga Academia Imperial de Belas Artes, entéo Escola Nacional de Belas Artes, que agora se abre para um pliblico generalizado como Museu Nacional de Belas Artes. Outros museus, como o Museu Histérico Nacional e outros museus regionais, originaram-se de uma politica ficial, interessada em coletar e aglutinar o maior acervo possivel, considerado de importancia para a histéria nacional. E interessante notar que neste proceso nacionalista do nosso Modernismo predominou uma viséo cultural similar 2quela descrita nos Oitocentos na Europa Toda a pesquisa volta-se para a identificago das origens e das diversas etapas histéricas, dando-se ai especial destaque ao pericdo colonial, considerado fundador da brasilidade-e, portanto, matriz dos tragos essenciais da identidade nacional. E exemplar desta mentalidade a atuagdo de Mario de Andrade, que, além das suas atividades de critico de arte, comentador da obra dos principais artistas contemporaneos, como Portinari ou Segall, dedicava-se exaustivamente as Pesquisas etnograficas e também as pesquisas da arte colonial, como no caso do trabalho sobre as pinturas do Padre Jesuino de Monte Carmelo, Origina-se, assim, um conhecimento forfemente marcado pela construgao de cronologias © tipologias, produzindo uma Histéria da Arte fundada nos processos de descricao e classificagdo, uma vez que ela se destina basicamente a informar sobre acervos museolégicos. E espantoso verificar o imenso trabalho de pesquisa, realizado pelas principais instituigdes culturais da época - museus ¢ servigos de patriménio - fato comprovado pela série memordvel de publicacées, que constituem até hoje referéncia obrigatéria e indispensavel para qualquer especialista da area. , apesar de alualmente esta Historia da Arte descritiva classificatéria estar sendo muito criticada nos meios académicos pelas suas inevitaveis limitagées, € muito importante, na minha opinido, ressaltar na atuagao dessas instituigdes culturais neste periodo os extraordinarios levantamentos realizados - ponto de partida imprescindivel para qualquer estudo -, assim como a dedicagéo quase que completa destas instituigdes a pesquisa e a sua divulgagao ‘em publicagées. O final da década de 40 e toda a década de 50 introduziram uma mudanga importante no cenério cultural brasileiro. A fundagao de museus especificos para a arte moderna, no Rio de Janeiro e em Sao Paulo, e a abertura das Bienais revelam © interesse em conhecer melhor as vanguardas européias, ampliar a drea de atuagao dos artistas nacionais, além de conquistar um mercado para a arte contemporénea. Na verdade, processava-se um esgotamento daquele nacionalismo das décadas anteriores, em pro! de um visdo mais internacionalista. O encaminhamento da vida politica, com 0 esgotamento do Getulismo e o advento do desenvolvimentismo de Juscelino Kubitscheck, expressa a vontade de abrir fronteiras e langar o Brasil num universo efetivamente modemo. As artes visuais,num processo mais radical, rejeitam o conservadorismo formal, 0 aprisionamento 20 figurativismo, langando-se na busca das linguagens abstratas. Parece haver, neste momento, uma clara diversificag&o ou mesmo uma demarcagao de territérios, entre a Histéria da Arte e a Critica de Arte. Os historiadores de arte continuam, em geral, trabalhando nos servigos de patriménio ou nos museus de acervo mais tradicional, voltados para a produgdo artistica do passado, ainda prioritariamente preocupados com a descricdo @ a ciassificagéo de seus acervos e quase totalmente distantes das discussées tedricas. Ja os criticos de arte envolvem-se cada vez mais com os artistas contemporéneos, participando ativamente dos novos grupos como verdadeiros mentores - responsdveis por um embasamento tedrico fundamental @ nova produgo artistica: foi este 0 caso da atuacdo de Mario Pedrosa com o grupo concretista e a de Ferreira Gullar como 0 grupo neo-conereto. As décadas de 60 e 70 radicalizaram esta delimitagéo de campos das décadas anteriores, tomando ainda mais distante a separapdo entre os museus de acervo tradicional e servigas de patriménio de um lado e os museus de arte moderna e as Bienais de outro lado, Sobratudo os museus de arte modema tiveram neste periodo um papel predominante, como aconteceu com o Museu de Arte Modema do Rio de Janeiro, que se transformou num espago aberto a experimentacdo artistica, sediando atividades ligadas a arte pés-moderna. Tempos de dura repressao durante os govemos militares, o MAM permaneceu ligado & resisténcia politica e a fidelidade ao espirito mais radical de ruptura da modemidade, Ja os museus de acervo mais tradicional - ¢ acredito que também os servigos de patriménio - comegaram a ser varridos nesta época por um proceso altamente questionador de suas responsabilidades sociais. Acusados, como todos 98 outros museus, de veicularem uma histéria oficial, desprezando toda a producao cultural da grande maioria do povo brasileiro, mantida a margem das manifestacdes eruditas, sempre amarradas aos modelos do chamado Primeiro Mundo, os museus de arte ainda apresentavam um agravante a mais: era vistos como alavanca essencial no desenvolvimento de um mercado de arte, altamente manipulador. ‘Cumpria, entéo, a estas instituiges tomar consciéncia de seu potencial educativo e aprender a empregé-lo @ favor de um puiblico muito mais amplo, interagindo com as escolas, com as associagées de bairro e outros érgdos voltados para os interesses comunitarios, Este questionamento processou-se em geral fora dos museus - ou nos meios académicos ou em érgaos de representado de classe - mas certamente acabaram repercutindo numa nova prética museolégica: o surgimento ou o fortalecimento dos setores educativos, a preocupagao com a comunicagao com o puiblico, a diversificagdo de atividades no espaco do museu - enfim, uma nova estratégia voltada para transformar aqueles vetustos prédios em locais mais Idicos e mais prazerosos. Logicamente estas mudancas visivels em muitos museus brasileiros estéo muito aquém do que sonhavam os contestadores, pois na verdade ‘a motivacao maior da critica aos museus fundamentava-se na idéia de que era preciso haver uma verdadeira mudanga na politica cultural do pais - e isto certamente jamais ocorreu. Vendo, portanto, os esforgos recentes de modemizacao nos museus como um ganho, apesar de concordar que eles se situam ainda muito aquém do que seria desejavel, gostaria finalmente de examinar um lado do problema, que me Parece obscurecido nas polémicas sobre 0 assunto: a questo da pesquisa nos museus, em especialmente nos museus de arte,Acredito que paralelamente ao esforgo de modemizacao, quase todas estas instituigdes culturais deixaram de enfatizar a pesquisa, como ocortia anteriormente. Esmagadas pela caréncia de recursos, obrigadas a responder as demandas de uma revitalizagao até para justificar a propria sobrevivéncla, surpreendidas por uma mutagdo cultural que se processa de forma cada vez mais acelerada, estas instituigdes, com raras excegées, ndo tém mais o corpo de pesquisadores que contavam no pasado, nem mesmo publicam com a reguiaridade e a consisténcia de algumas décadas atras. E certo que muita daquela pesquisa anterior estava ancorada sobre premissas, que néo permanecem mais prioritérias para as questées atuais. E certo também que todo aquele trabalho de pesquisa correspondia a uma politica governamental, que precisava do respaldo cultural para a construgéo de uma idéia de nacionalidade, liderada pelo Servico de Patrimdnio Histérico e Artistico Nacional. Pode ser até dito, embora eu considere um exagero, que muitos daqueles trabalhos “envelheceram". Mas a verdade é que ali museu e pesquisa estavam associados de forma vital. Além disso, ndo me refiro aqui apenas pesquisa histérica, de cunho académico; refiro-me também a pesquisa em arte - a possibilidade de experimentacdo e de reflexao em toro de linguagens, de materiais, de técnicas - como ocorreu no Museu de Arte Moderna do Rio de Janeiro. O enfraquecimento dos museus como prioritariamente centros de pesquisa transforma-os em simples centros culturais - grandes espacos disponiveis para a montagem de exposigées itinerantes, concebidas por curadores de fora, com acervos de fora, usando de dentro apenas uma infra-estrutura material, técnica administrativa. Logicamente a atuagdo dos centros culturais s4o importantes - e aqui no Rio de Janeiro hé alguns exempios de centros cutturais que tem atuado de forma exemplar, como o Centro Cultural Banco do Brasil. Mas acredito que museu no deve ser confundido com um simples espaco cultural: na verdade ele abriga objetos, documentos - dando-se a estes termos a acepcéo mais abrangente possivel. No caso dos museus de arte esta questo torna-se inclusive mais fundamental, pois toda a trajetéria da Histéria/Critica da Arte, como fol visto anteriormente, construiu-se no sentido de evidenciar a especificidade da visualidade como uma forma diferenciada de conhecimento do real. € a partir do objeto - assim como da sua auséncia - que comega toda a reflexdo possivel. Ora, sendo os museus 0 locus préprio destes objetos, que outro melhor lugar pode existir para criar, para fruir, para analisar ou para discutir a obra de arte? Vida em museu para mim @ isso: é pesquisa. E @ esta pesquisa que precisa ser democratizada, faciitando 0 acesso a seus arquivos para todos os interessados € divulgando regularmente os resultados de suas proprias pesquisas, voltando-se de forma sensivel para a diversidade cultural e tornando-se, tanto para o ptiblico quanto para o seu proprio corpo de profissionais, um espago de curiosidade e de indagagao. XVIII CONFERENCIA ANUAL DO ICOFOM 40.4 20 do maio do 1996 - UNI-RIOLena Vania Ribeiro Pinheiro Professora/pesquisadora Programa de Pés-Graduacao de Ciéncia da Informagaio IBICTICNPg, ECO/UFRJ - Rio de Janeiro, Brasit ARTE, OBJETO ARTISTICO, DOCUMENTO E INFORMACAO EM MUSEUS 1. INTRODUGAO ‘As questées discutidas neste trabalho tém sua origem nas atividades académicas de ensino e pesquisa: a primeira, ministrando aulas de Historia da Arte @ de Comunicagao e Arte e, a segunda, coordenando o Projeto Lygia Clark, no Museu de Arte Modema do Rio de Janeiro, com 0 apoio do CNPq-Conselho Nacional de Desenvolvimento Cientifico @ Tecnolégico. Essas atividade foram reforgadas e abriram caminho para outras discuss6es, quando do planejamento ¢ implantagao do sistema/rede IARA - Informagao em Arta e Atividade Culturais, na FUNARTE-Fundago Nacional de Arte. Os desdobramentos dessas experiéncias culminaram, em 1995, com a formalizag4o de uma nova linha de pesquisa no Programa de Pés-Graduagdo em Ciéncia da Informagao, da UFRJ-Universidade Federal do Rio de Janeiro e IBICT- Instituto Brasileiro de Informag&o em Ciéncia e Tecnologia que, por sua vez, se estendeu até outra instituigo de ensino, a UNI-RIO, Universidade do Rio de Janeiro, com a orientagdo de dissertagéo sob esse enfoque, no Mestrado de Memeéria Social e Documento, entitulada Acervos artisticos: proposta de um modelo estrutural para pesquisas em Artes Plasticas *, 2 DOCUMENTO E INFORMAGAO EM MUSEUS DE ARTE A historia da documentago € informag&o em museus néo pode ser dissociada das bibliotecas de Arte, dai as abordarmos, para uma melhor compreensdo do processo de documentagao em museu como um todo, No exterior, a documentagéo em museus é reconhecidamente relevante, tanto que, entre os comités do ICOM destaca-se 0 CIDOC -Comité de Documentagao e, na Europa e nos Estados Unidos, desenvolvem-se projetos cuja contribuigéo é inquestiondvel. A Fundacéo J. Paul Geity desponta por seu Pioneirismo na automagdo e na articulacdo de Informacdo e Historia da Arte, com a criagéo do Programa de Informagéo em Histéria da Arte (AHIP), tendo como principal objetivo a implantag4o de um sistema de informagao integrado, como apoio & pesquisa em Histéria da Arte”,Na verdade, documentagao e informagdo eram areas de dominio das bibliotecas, nas quais a visdo de disseminacdo (servigos e produtos de informagao) e de acesso esta mais presente, em funcdo da atividade de pesquisa de seus usuarios e como uma decorréncia dos avangos cientificos tecnolégicos, principalmente apés a segunda Grande Guerra e a conseqiente avalanche de informagées. As bibliotecas, na sua evolucdo, transformaram-se em centros de documentagdo/informacéo e, com as modemas tecnologias estruturam-se em sistemas ou redes, dai a passagem do enfoque de armazenamento e preservacao Para 0 de disseminago da informago. Mas as bibliotecas de arte nao eram muito conhecidas, existiam para uso de museus e poucos estudantes, estando longe de ser consideradas como um novo campo para “bibiotecdrios treinados" @ 0 sucesso de qualquer dessas bibliotecas era individual.® Embora essa afirmativa de Jane Wright date de 1908, 0 descompasso entre unidades de informacéo de Ciéncias Basicas e Aplicadas e de Artes e Humanidades ainda permanece, principalmente nos paises nao desenvolvidos. Esse problema reflete a viséo parcial e ftagmentada de desenvolvimento, que exclui ou n&o privilegia, nesse processo, Arte, Ciéncias Sociais e Humanas. Devemos ressaltar os esforgos da UNESCO nas politicas de informacdo, em abordar, de forma integrada, como elos de uma mesma cadeia, as Ciéncias, no seu sentido mais amplo. As bibliotecas de arte séo amplamente estudadas na publicagéo “Art libraries and information services: development, organization and management’, em topicos que vo desde as bibliotecas de Arte como centros de informagao, automa¢ao, colecao, recursos visuais, formatos, servigos e pessoal, até os sistemas integrados locais, na sua interface com bases de dados nacionais e internacionais, potencializando o acesso ao documento em Ambito mundial. ‘A emergéncia dos computadores e da automagéo em organismos de informagéo pode ser considerada um fator de aproximagdo, integragéo e articulagao, notadamente de bibliotecas, museus e arquivos, pelas exigéncias de sistemas integrados ou redes e a necessidade de metodologias, formatos, técnicas e tecnologias de processamento com essa finalidade e visando a proporcionar um amplo intercémbio de dados, dai a importdncia de vocabularios controlados e tesauros, entre outros instrumentos, por mais avancadas que sejam as novas tecnologias. Leonard WILL’ compara a misséo de bibliotecas e museus e distingue os Propésitos dos museus, mais administrativos do que de recuperacao da informagao, pela no explorac&o do objeto de museu como fonte de informagao, dai a auséncia de catélogos puiblicos padronizados, recurso amplamente utilizado em bibliotecas, Enquanto no exterior os principais museus posicionam-se na vanguarda das atividades de documentagdo e informacdo, no Brasil estéo ainda em estagio inicial de organizagao e automacao de acervos, com poucos exemplos nesse campo.2.1 Iniciativas brasileiras de documentagao e informagao em museus A situagao da documentagéo e informagéo em museus, no Brasil, tem caracteristicas proprias de um pais no qual memoria, patriménio, identidade cultural € preservagdo se inserem de forma muito fragil nas politicas publicas culturais. SCHEINER *, ao tragar um amplo panorama dos museus no Brasil, assinala, em sua trajet6ria, os grandes marcos e identifica as principais dificuldades abordando, inclusive, problemas de formaco dos musedlogos. O alto indice de analfabetismo € as grandes lacunas na educacéo da sociedade brasileira so agravantes & limitam ou restringem a freqiiéncia aos museus e 0 acesso as informagées neles existentes. Consequentemente, os museus brasileiros, por longos anos, vém enfrentando crises, inclusive de manuteng4o, e avangos isolados nao chegam a reverter 0 quadro geral. Para FERREZ e BIANCHINI ” , a Museologia brasileira tem investido pouco No museu: como sistema de informacao que potencialize o contetido informacional dos objatos museolégicos e os aspectos de recuperacéo e disseminacdo da informac&o, ou melhor, 0 objeto de museu como fonte de informagao. A visdo de sistema de informagéo emerge da automacéo e dela decore todo o instrumental para recuperagdo e disseminago da informagao. A iniciativa pioneira de automagao de acervos de Arte, no Brasil,é do Projeto Portinari, que engloba toda a produgdo artistica do grande artista plastico brasileiro, trabalho independente e sob a lideranga de seu filho, portanto, nao vinculado a museu. No entanto, essa experiéncia nao tem sido registrada em trabalhos publicados em revistas ou apresentados em congressos da drea, 0 que limita o seu conhecimento por outros profissionais empenhados em projetos de automacdo. Em So Paulo, o Instituto Cultural Ita produz bancos de dados da pintura brasileira dos século XIX e XX e de meméria fotogréfica da cidade de S4o Paulo, também fora do Ambito de museus e dentro de uma “nova"entidade, 0 instituto/centro cultural, que proliferou no Brasil a partir da década de 80. Nos museus brasileiros, so tardios os projetos de automagao, pois surgem 1 final dos anos 80 e contam com recursos extra-orcamentarios, como & 0 caso do SIMBA - Sistema de Informagao do Acervo do MNBA - Museu Nacional de Belas Artes @ 0 Projeto Lygia Clark, no MAM - Museu de Arte Modema do Rio de Janeiro. O primeiro é desenvolvido com apoio da Fundagdo Vitae e, 0 segundo, do CNPq, ‘érgaos de fomento que mantém equipes através de bolsas de pesquisa e financiamento de infra-estrutura computacional. © apoio decisivo e louvavel dessas instituigdes pode, no entanto, trazer um novo problema: a descontinuidade dos trabaihos apés 0 encerramento do financiamento, por insuficiéncia ou nao capacitagao em processos automatizados dos recursos huranos de museus, Em trabalho apresentado ao CIDOC, em 1994, FERREZ et al ® enfatizam o papel do MNBA, por representar “um auféntico panorama do desenvolvimento da arte brasileira, durante 0 século XIX", a0 mesmo tempo em que identificam problemas de documentagao/informagéo, como o tratamento técnico varidvel em cada cole¢ao do Museu, com a adoco de catélogos separados e auséncia de vocabulério controlado, O Projeto surge, entéo, com o objetivo de transformar o MNBA “em genuino @ efetivo sistema de recuperagao da Informacéio’, e tem enfrentado dificuldades em chegar a um sistema adequado. 10 HEUSOOGLDiferentemente do SIMBA, que abrange toda a colegéo do MNBA, 0 Projeto Lygia Clark *, como 0 proprio nome indica, direcionado apenas a colegao dessa artista plastica, reunindo documentos de biblioteca, arquivo e museu e tendo como objetivo principal o “levantamento e organizago do acervo especializado da artista, nos campos entrecruzados da Arte © da terapia psicolégica, pare eviler a sua disperséo, promover 0 seu conhecimento e divulgar novas fontes de pesquisa sobre a artista, 0 ‘concretismo @ a arte brasileira’. Portanto, 0 Projeto Lygia Clark trabalhou apenas com uma pequena parcela do acervo do MAM, estava voltado mais para a pesquisa propriamente dita e a sua automagéo foi uma conseqiéncia natural de sua evolugdo, com a producéo de trés bases de dados: bibliograficos, factuais (exposig6es) e artisticos (obras de arte). Ambos os projetos apresentam como Pontos positivos a produgo e publicagdo de trabalhos de pesquisa, relatos de experiéncias e metodologias para o registro de arte, inclusive em eventos nacionais @ estrangeiros. Finalmente, uma iniciativa também recente, de 1993, 0 Projeto IARA - Informagao em Arte e Atividades Culturais,"* "' da FUNARTE - Fundagao Nacional de Arte, cuja atuagdo envolve artes plasticas e graficas, artes cénicas, cinema, musica, fotografia, danga, folciore e arte popular, épera e circo, tendo como objetivo maior “implantar um sistema nacional de informagoes culturais © artisticas para coordenar, organizar, articular e disseminar dados, como instrumento de apoio e estimulo ao desenvolvimentos de programas, projetos ¢ atividades no campo da Cultura e Arte’. Este Projeto encontra-se, atualmente, em fase de migragao de dados para 0 novo sistema (RISC), implantagao de redes locais ¢ entrada na INTERNET. Nao podemos deixar de destacar, ainda na FUNARTE, 0 Museu do Folclore Edson Cameiro, no qual as informagées ja esto automatizadas, constituindo bases de dados bibliograficos e de acervo museolégico de Arte e Cultura Popular (Folclore), para registro de pegas. Nesse Museu, a atividade de pesquisa fundamenta as agdes dos demais setores. 3. DOCUMENTAGAO, INFORMAGAO E PROCESSO DE ARTE EM MUSEUS A documentagéo em museus origina-se do processo criativo da Arte, da mesma forma que bibliotecas e centros de informacao, em geral, lidam com “produtos” da Ciéncia e Tecnologia, sejam dados, documentos ou informacées. Ja © objeto de trabalho dos museus sao as obras de arte e todo e qualquer documento ou informagao a elas relacionado. Para a organizagdo/estruturagdo, processamento técnico, recuperagdo e disseminagao de informagao em Arte é essencial a compreensao do processo de criacdo artistica, em si mesmo, e a capacidade de representar e interpretar a obra de arte, no tempo e espaco, tarefa érdua pela amplitude, complexidade e niveis de abstragéo inerentes a Arte, dai a exigéncia de equipes multidisciplinares, basicamente formadas por profissionais de informacao (museélogos, bibliotecarios, arquivistas, técnicos e cientistas da informagao), historiadores da Arte analistas de sistemas. A representagdo e, sobretudo, a interpretagao de uma obra artistica implica @ sua insercao temporal e espacial, conforme foi dito, na sociedade da qual é oriunda. Esto em jogo conhecimentos, habilidades, técnicas e experiéncias aLdiferenciadas, e miltiplos agentes que interferem nesse proceso: artistas, criticos, historiadores da arte, pesquisadores, musedlogos, galeristas, "marchands’, leiloeiros, colecionadores particulares e institucionais, editores de Arte ¢ livreiros’. E a tecnologia evidencia-se néo apenas como uma ferramenta fundamental, mas como fator de aproximago desses agentes que, reunidos, trazem contribuigbes particulares dos seus saberes, na concepgéo de sistemas de informagdo adequados as singularidades do documento ou obra de Arte. Para o entendimento da complexidade que permeia a obra de arte & importante introduzir 0 pensamento de Walter Benjamim’ acerca das técnicas de reprodugao, até para dimensionar alguns do fatores intervenientes na sua representacao e interpretagao. Ele parte da constatago de que "por principio ‘mesmo, a obra de arte foi sempre suscetivel de reprodugéo. Aquilo que alguns homens hhaviam feito, outros podiam refazer’. Essas técnicas, das quais s4o precursoras a fundi¢ao e a impressdo, vao gradativamente se multiplicando: “Com 0 século XX as técnicas de reprodugéo atingiram um nivel tal que, de ‘agora em diante, elas néo somente poder-se-4o aplicar a todas a obras do passado @ modificar de maneira muito profunda seus modos de influéncia, mas também poder-se-o impor elas proprias como formas originais de arte". Essas técnicas, de acordo com Benjamim, se de um lado permitem a aproximago da obra com 0 espectador e ouvinte, por outro levam a perda do “hic et nunc” da obra de arte, isto 6, “ a unicidade de sua presenca no proprio lugar onde ela 0 encontra". Outras nogées introduzidas pelo autor em relagao a obra de arte séo autenticidade, aura e tradigao, entre outros. As técnicas de reproducao da obra de arte “...desprendem 0 objeto reproduzido do dominio da tradicéo. Multiplicando os ‘exemplares, elas substituem um acontecimento que s6 se reproduziu uma vez por um fenomeno de massa’. Considerando a ascensdo da midia como um quarto poder e a hegemonia dos computadores, com seus bancos de imagem e de som, a reprodutibilidade da obra de arte exige dos sistemas de informagao a integrago e inter-ralagao das informagées, de tal forma que possa representar a meméria de cada obra artistica, reunindo as suas mitiplas formas e faces e refazendo toda a sua histéria, Representagdo e interpretagdo so a¢des indissociaveis, portanto, uma vez que uma depende da outra. A representagéo, segundo LINDSAY ™ constitui-se de uma andlise empitica (titulo, data, tamanho, arfista) e da descrigao pré- iconografica, andlise iconografica ¢ interpretagao iconolégica. Assim, as exigéncias interpretativas esto fortemente alicergadas na Historia da Arte, Estudando outros autores, LINDSAY retin quatro abordagens através das. quais 0 conhecimento de Historia da Arte desenvolve-se: . de "forma e estilo", para “identificagao e definig&o de estilos artisticos"™*, - “connaisseurship’, ou “estudo da personalidade artistica de um ertista individual ou de um grupo ou escola de artistas, conforme revelado em seus trabalhos’ “; - iconogréfica, “estudo da essénola do assunto ou significado em arte" *. da “histérla social da Arte, que interpreta um trabalho de Arte em termos das condieses sociais da sua criagéo e sobre as fontes que a arte tem em comum com outras atividades da sociedade” “. a2| POD eee LOGOS O artigo de LINDSAY faz parte de um fasciculo especial de Library Trends, intitulado “Articulando objetos de Arte e Informacao em Arte" que, de certa forma, abre perspectivas para estudos nessa Area. Recentemente, em 1994, formalizou-se, nos Estados Unidos, a iniciativa nacional para que as areas de Humanidades e Arte, nas infovias ("information highways"), “..ganhem voz no planejamento e desenvolvimento da infra-estrutura nacional de informago. Este é o plano mais divuigado para um sistema nacional de telecomunicagées”."* © relatério, no entanto, néo pode ser utilizado sem a autorizagdo das instituigSes patrocinadoras (The Getty Art History Information Program-AHIP, The American Council of Learned Societies e The Coalition for Networked Information) e, por sua importéncia @ mencionado neste trabalho, apenas como informacao. 4 PILARES DA DOCUMENTAGAO E INFORMAGAO EM ARTE © trabalho de documentagdo e informago em museus esta forte e profundamente assentado em cinco pilares: = a implementagao de pesquisas de Informagao em Arte ou Informagao Estética e o funcionamento de nticleos de pesquisa em museus, como geradores de conhecimento; - a articulagao interna dos diferentes setores de museus, isto 6, bibliotecas ou centros de informagao, arquivos, exposigdes, reserva técnica ¢ outros; = formag&o mais consistente e adequada dos musedlogos, privilegiando a interdisciplinaridade da érea, quer seja por disciplinas com esse cunho, quer seja pela abordagem interdisciplinar dos préprios cursos; = @ atuagéo de equipes multidisciplinares nas bibliotecas, centros de informagao, arquivos e demais setores, pela natureza do trabalho em museus; € = implantagdo de sistemas de informacdo integrados e redes de comunicacao, inclusive via INTERNET. Na pesquisa de informagao em Arte so estudados os fundamentos tedricos © a natureza da representagao da informagao em Arte, assim como a diversidade documental, com suas singularidades, as questées da Arie e as caracteristicas do modelo de sistema de informagdo artistica. A informag&o estética abrange o contetido informacional do objeto de arte, documento em seu sentido mais amplo, oriundo de miltiptas manifestagdes e produgées artisticas, O nuicleo de pesquisa é ‘© motor propulsor da organizagéo de acervos, pois o seu trabalho repousa e 6 desenvolvido a partir de dados, documentos e informagdes do acervo cuja plena utilizagao pressupde a sua organizacao e facil recuperacao. Os grupos de pesquisa devem, por sua vez, ser multidisciplinares, o que possibilita a andlise das obras de arte sob multiplos olhares: da Histéria da Arte, da Sociologia da Arte, da Estética, entre outros campos. © segundo pilar, a articulacdo intema dos setores do museus, 6 a base para a concretiza¢ao do quinto pilar, ott seja, 0 processo de automacdo, sob a forma de sistema de informagéo integrado. Bibliotecas e centros de documentaco arquivos, reserva técnica e demais setores alimentam-se mutuamente, num ciclo de informagao autofagico, pois cada um desses setores necesita de informagées dos. demais € possui documentos ou objetos que guardam estreita relagdo entre si. Um trabalho articulado que privilegie 0 intercambio de informagées, certamente contribuiré para andlise, representagao ¢ interpretagao de obras artisticas mais ricas e completas.terceiro pilar diz respeito a formagdo profissional que hoje, no Brasil, esta ‘em crise, como a educacao em geral. Algumas universidades esto em proceso de mudangas curriculares, entre as quais a UNIRIO, na qual o Curso de Museologia passa por transformagées que visam a sua adequacdo e formacdo menos pulverizada e mais consistente. Tanto que a Uni-Rio” empreendeu, no final de 1995, um trabalho visando & constituigéo de um niicleo interdisciplinar para Museologia, Biblioteconomia e Arquivologia, de forma a estabelecer pontos de contato disciplinares e até profissionais. A atuagéo de equipes inter e multidisciplinares em bibliotecas, centros de informagao, arquivos, nticleos de pesquisa e demais setores de museus também contribuira para minimizar as lacunas de formag4o profissional das areas envolvidas na documentagao, ampliaré os horizontes profissionais, pela troca de conhecimentos e de experiéncia, No caso especifico do Brasil, onde a formagao de profissionais de informagao se dé em nivel de graduagdo, diferentemente dos Estados Unidos e outros paises, equipes com tal formagdo desempenharao um Papel vital nas atividades de museus. © tittime pilar & de cardter tecnolégico, mas nao menos importante, e refere-se & implantag&o de sistemas de informa¢go integrados e a insergao de acervos de museus em redes de comunicagéo, via INTERNET. 5. BIBLIOGRAFIA 1. LIMA, Diana F.C. Acarves ations: proposta de um modelo esinaural para pesquisas em Artes Pidtlcas. Rio de Janeiro: UNL-RIO, 1955, Oissetarto de mestraco {Meméria Sociale Oscumento} 2. ALLEN, Nancy S, The Museum Prototype Project ofthe J. Paul Getty Art History and Information Program: a view from the ibrary. Library Trends, v.37, n2>p.175-193, Fall 1988, 3, WRIGHT, Jane. Plea ofthe At ibrarian. Pubic Libraries, 348-40,1008, apud BACKLAND, Caroline Foreword. In: Ar. Ubraies and information services: development, orgarization and management. Orlando, Academic Press, 1966. pois 4. ART LIBRARIES AND INFORMATION SERVICES: cevelopmert, organtation and management, Orlando: Academic reas, 1988. 343p. ‘5 WILL, Leonard. Museum objects as sources of information. Managing Informatio, v0.1, p-32-34, Jan 1984. 6. SCHEINER, Tereza C. Sociedade, cuture, pamenio ¢ museus num pals chamade Bra, Apontamentos, Memétia & Cultura: Revista do Mestade em Administragao de Centros Cultura v.61, p4-34,jan.fun. 1994 7 FERREZ, Helena D., BANCHINI, Mara Helena 3, Thesaurus para acervas museotglcas, Rio de Jane, Fundagao Nacional Pré-Mieméria, Goordenadoria Geral de Acervos Museo}gicos, 1987. 2v 8, FERREZ, Helena 0. et al A braztan experience in museum automation: the National Museum of Fine Avts, 1994 Joint ‘Annual Meeting, Automating Museums in the Americas and Beyond, august 28- september 3. Scutoebook ‘Washington, iterational Council of Museums, Documentation Committe, Museum Computer Network, 1994 p3049 8, PINHEIRO, Lena Vania R. et a. Proyecto Lypla Clare experiencia braslena en attomatizacion de aceno de Arte Informatica 94. Congreso internacional de Informatica ena Cuftura, Habana, Cuba, rebrero 1904. 10, PINHEIRO, Lena Vania R. IARA- Information on Art and Cultural Activites: the system planeing and implementation ‘within the Brazlian contet of information. 1994 Joint Annual Meeting Automation Musoums Inthe Amerioas and beyond. Sourcebook. Washington, COM/CIDOG Museum Computer Network, 1994, p.106-102, 11. PINHEIRO, Lena Vania R., VIRUEZ, Guilna, DIAS, Maur, Sistema de nformagto erm Arte e Atividades Culturals (AR: aspecte plone, feticenas, eles eters, Cerca da Warmer, «23,3, P3274, sete, 1 12, BENJAMIM, Walter.A obra de Arte no tempo de suas técnicas de reprodurao. In: Socologla da Arte, IV. Rlo de Janeio, Zanar, 1999, .15-47 13, LINDSAY, Kenneth C. Compute input form for Art works: problems and possibities anud MARKEY, Karen, Access toleonographical research colecton. Library Trends, 37, n.2, p 154-74, Fall 1988 14, ACKERMAN, James S., CARPENTER, Rys. Art and Archeclogy. Engleweed Cif, N.J., Prentice Hall, 1963 apud MARKEY, Karen, opus ct p185 15 PANOFSKY, Erwin. Studes inthe visual rts. reprint apud MARKEY, Karen opus oltp. 155 SS HUMANITIES AND ARTS ON THE INFORMATION highways: a pofle, Summer 1994, Daf 17, PINHEIRO, Lona Vania R. Em busca de um caminho iterdiscpnar, proposta de ntcleo telco e pritica de ‘Gscipinas comune aos cursoe de Biblloconcmia, Musesiogiee Arquiologla. Rio de Jano, UNL-RIO, 1905. 23 . Pré-publeapto, 14 poe O oO )Denise Mattar Museu de Arte Moderna Rio de Janeiro, Brasil MUSEOLOGIA E ARTE Um dos problemas que hoje temos no Brasil a ndo disting&o por parte da midia, do publico, do govemo e da critica entre um museu e um centro cultural. Quais séo as caracteristicas de um Museu, 0 que.o diferencia de um Centro Cultural? Como nés da érea sabemos a distingao ¢ simples, um Centro Cultural é um espago para a apresentagao de eventos e o museu tem uma colecdo que ele deve preservar, pesquisar, exibir e aumentar. Nos Estados Unidos os museus recebem apoio especial do Governo Federal, pois dentro de uma viséo capitalista 0 Museu possui um Patriménio, um patriménio que pertence ao pais, um patriménio que deve ser preservado, pois além de seu valor cultural tem também um valor financeiro. Isso absolutamente nao ocorre no Brasil e somos clasificados no mesmo rol de misica, teatro, danga ou cinema o que poderia até servir para as exposices tempordrias, mas nao serve em absoluto para preservacdo do nosso acervo. A fungdo de um museu transcende em muito a nogao de espetaculo, um museu deve ser um lugar dindmico e voltado para o public, mas deve também ter lugar para pesquisa, a critica e a refiexdo. A iniciativa privada s6 se interessa por eventos e despreza o apoio as atividades de conservacdo e restauro pois no proporcionam a tal da “visibilidade”. O resultado desse modo de pensar é claro: os centros culturais saem em nitida vantagem sobre os museus. De uma forma irresponsdvel as colegdes sao vistas quase como um estorvo, como grandes “abacaxis’, ¢ isso é uma absoluta inversao de valores que cabe a nés corrigir. Se a conservaggo © 0 restauro j4 sao atividades completamente abandonadas tanto pelo Governo como pela iniciativa privada mais ainda esta o setor de aquisigao de obras. Qual o museu brasileiro possui hoje uma politica de aquisigao de obras? Nenhum. Viverios de doagées de artistas (por que serd que os bons artistas geralmente no doam nada e os ruins estéo sempre atrés de nés para doar algum trabalho?). Recebemos as vezes doagées de empresas, mas nao exatamente o que Necessitamos, aquele artista que completa um periodo, que faz falta a nossa colegao. Um museu deveria desenvolver coleges que possibilitassem inimeras leituras, colegdes que pudessem ser pesquisadas e que servissem de base a estudos sobre arte. Essas colegées feitas feita ao acaso so constituidas de pecas isoladas que podem até ser boas pegas, mas nao fazem um material para estudo. 1sEstive recentemente na Alemanha e vi um cartaz que me chamou a atengéo, era de uma campanha feita entre a comunidade para a aquisi¢ao de uma determinada obra para o museu local, Para nés isso é inacreditavel Nessa mesma viagem levei comigo meu filho que tem dezessete anos e de 1 fomos para a Franca. Na preparagao da viagem contei a ele sobre as obras de arte que iria ver pessoaimente, a Vénus de Milo, a Mona-Lisa, 0 auto-retrato de Van Gogh, os Matisse, etc, e de fato foi para ele um prazer ver essas obras a sua frente. Sou paulista e por isso fui inimeras vezes ao MASP ver as obras do acervo que fazem parte da minha formagao, 14 esta o “meu” Van Gogh, 0 “meu’Renoir. Fiz essa digress4o para mostrar que o trabalho excessivamente temporério das exposigdes nos tira esse cardter de referéncia, Eu sabia as obras que iria mostrar ao meu filho, eu sei as obras que quero ver no MASP, isso é muito bom, Reunindo agora os dois assuntos, quero relatar a vocés a experiéncia que temos desenvolvido no Museu com a Colegdo Gilberto Chateubriand. A Colegao, que rene cerca de 4000 obras de arte brasileira dos anos 20 até hoje, tem caracteristicas que nos permite mostré-la em diferentes angulos e recortes. Temos adotado o sistema de mostras semi-permanentes, com duragao de seis meses. Esse periodo nos permite desenvolver um trabalho com as escolas & principaimente que as pessoas voltem e tragam amigos. Esse é um fato notével, mesmo num pais com um pUblico téo restrito muitas pessoas voltam e trazem amigos, filhos e também pais. E maravithoso voo8 ver uma crianga levar os pais para uma exposicao em que ele veio com a escola, O trabalho de pesquisa, estudo e produgao de andlises, que ¢ ao meu ver 0 trabalho primordial de um museu, tem sido possivel neste esquema. Nossas mostras com a Colegéo Chateubriand tem nos permitido restaurar, catalogar obras, estudé-las @ fazer publicagdes que colocam todo esse material analisado ao aleance do publica. As principais exposigdes da Colego foram: A Aventura Modemista, Os Anos 60 e 70, Imagens dos Anos 80 e 90, O Desenho Moderno no Brasil, A Poética da Resisténcia (gravuras), O Palco da Diversidade (Anos 80), Vou apresentar para vocés os slides da mostra A Aventura Modemista (Apresentagao dos slides) Acredito firmemente que devemos nos unir para reivindicar tratamento especial para os museus em todas as areas - alfandega, seguro, bolsas na area de pesquisa e verba para a aquisicao de acervo. Fica aqui a idéia e estou & disposig&0 para a briga, Rio de janeiro, Abni de 1996. ‘Denise Mattar Coordenadora de artes Plasticas ‘Museu de Arte Moderna do Rio'de Janoiro 16) > Oo ) ) oO Denise Mattar Museum of Modern Art Rio de Janeiro, Brasil MUSEOLOGY AND ART ‘One of the problem in Brazil today is that the media, the public, the government and the critics cannot differentiate between a museum and a cultural center. What are the characteristics of a museum? What differentiates a museum from a cultural center? ‘As we in the business know, the distinction is simple a cultural center is a space to show events, and a museum owns a collection of art which it must preserve, research, display and expand. In the United States museums receive special support from the federal government because under a capitalist view a museum owns assets must be preserved because they also have a financial value, in addition to their cultural value. This does not happen in Brazil at all, and we are classified in the same group with music, theater, dance or cinema, which could be used for temporary exhibits, but are not useful to preserve our collection. The function of a museum exceeds, by much, the notion of spectacle, A museum must be a dynamic place and public- oriented, but it must also be a place of research, critique and reflection. Private business are only Interested in events and disdain supporting activities of conservation and restoration for these do not offer the so-called ‘visibility’. ‘What results from such way of thinking is cleare cultural centers have a clear advantage museums. Collection are irresponsibly seen almost as a burden, as big “problems", and this is an absolute inversion of priorities and it is our responsibility to correct it. If conservation and restoration are activities already abandoned by the government as well as by private enterprises, the sector of artwork purchasing is ‘even more abandoned. Which Brazilian museum today has an artwork purchasing policy? None. We survive by donation made by artists (why is it that the good artists in general do not donate anything and the bad ones are always after us to donate their work?). Sometimes wa receive donations from companies, but not exactly what we need, i.e. that artist that completes a period, an artist who is missing from our collection. A museum should develop collections which would make possible numerous interpretations, collections which could be researched and which serve as basis for Art studies. Collections created at random are made up of isolated pieces, but which do not constitute material to be studied. 17| was recently in Germany and | saw a billboard that caught my attention. The billboard was part of a campaign in the community for the purchase of a certain artwork for the local museum. To us, that is almost unbelievable. | took my seventeen year old son to this trip, and from Germany we proceeded to France. While preparing for the trip | told my son about the works of art he would see, such as the Venus de Milo, Mona Lisa, Van Gogh's self-portrait, Matisse’s works, etc., and in fact he had great pleasure in appreciating these works of art before his eyes. am from So Paulo and in my life | went numerous times to MASP to look at the collection that is part os my background, At MASP | would appreciate "my" Van Gogh, “my” Renoir. | made this digression to show that the excessively temporary nature of exhibits remove this feature of reference from us. | knew the artworks ! was going to show my son. | know the works | want to see at MASP, and that is very good. Now, putting together the two topics, | want to tell you about our experience in the Museum with the Gilberto Chateaubriand Collection, This collection, which comprises approximately 4000 works of Brazilian Art from the 1920's to the present, has characteristics which allow us to show it under different angles and views. We have adopted the system of semi-permanent exhibits, lasting a minimum of six months. Such period of time allow us to develop our work with schools and, mainly, to make people come back and bring friends. That is outstanding. Even in a country with such a small public many people do come back and bring friends, their children bringing their parents to an exhibit they saw with their school. The work of research, study and production of analyses which. In my opinion is the primary work of a museum, has been possible under that system. Our exhibits of the Chateaubriand Collection have allowed us to restore and catalog works of art, study them, and print publications which place all the studied material within the reach of the public. The main exhibits of the collection were: "The Modemist Adventure", “The 1960's and the 1970's", Images of the 1980's and 1990’s","The Stage of Diversity"{the 1980's). Now | will show you the sides of the exhibit called “The Modemist adventure" (show slides). | strongly believe that we should unite ourselves to claim especial treatment for museums in all areas: customs, insurance, scholarship in all area of research, and funds to purchase works of art for collections. This the idea | want to convey and | am ready to fight for it. DENISE MATTAR Fine Arts Coordinator Rio de Janeiro, Apri 26, 1996. 18-ooOOCSToS LL Vera de Alencar Diretora - Museus Castro Mala MUSEOLOGIA E ARTE NO BRASIL: DA TEORIA A PRATICA Numa Conferencia do ICOFOM, comit8 que trabalha com teorias museolégicas, e para uma platéia de profissionais de museus, acostumados as reflexdes sobre este tema, achei que néo precisaria definir conceitos para falar de nossa area, Cabe apenas deciarar que, apesar de reconhecer que museu nao significa apenas um espa¢o intra-muros, vou me manter nestes limites por ser esta a minha “aldeia’ nos titimos 18 anos. Mas acho necessério frisar a imensa dificuldade que tive em definir como iria trabalhar com os indmeros conceitos de arte, pois poucas atividades humanas estéo sujeitas a tantas interpretagdes diferentes. = um conjunto de preceitos para a perfeita execugo de qualquer coisa? 0 saber ou pericia em usar meios para afingir um resultado?, como define o Aurélio? - ou € a propria esséncia de tudo que & humano e como tal dé forma & experiéncia do homem e as metas tragadas por ele? como quer Hayman? - mas também pode ser traquinada, travessura. Ah! com esta possibilidade de “fazer arte’, travessura, e nao estar fugindo do tema, fiquel mais a vontade para pensar sobre o assunto. Assim, 0 que nao for considerado museolégica, artistica 0u politicamente correto é porque a palestrante estaré fazendo mais uma de suas travessuras. Apés vislumbrar esta salda fiquei com mais liberdade para apresentar aqui algumas reflexes. Dividirei minha comunicagéo em 3 questées que me pareceram relevantes para encaminhar a discuss4o sobre a relacao arte/museologia: 1) os critérios estéticos e filoséficos que avaliam a obra de arte; 2) a exposi¢ao como vetor da relac&o arte/museologia; e 3) o papel do profissional de museus nesta relagdo 1) OS CRITERIOS ESTETICOS E FILOSOFICOS QUE AVALIAM A OBRA. DE ARTE Um objeto sé @ artistico porque foi aceito como tal pelas diversas “competéncias", como museus, criticos ou historiadores através dos discursos proferidos por esses. Quando se diz que uma dessas “competéncias” 6 o museu, logicamente no se esta falando da instituigSo, mas dos seus representantes, os profissionais de museus a quem, entre outros, cabe decidir 0 que é ou nao arte. Vale ressaltar que a esmagadora maioria dos profissionais que estéo atuando hoje, no selecionaram nem determinaram 0 acervo que esté nos museus onde trabaiham. 19Mas, certamente estardo influindo tanto no que é exposto temporariamente, quer de seus acervos, quer de obras de outras instituigbes ou artistas, quanto na linha diretiva das exposigdes. Ai entdo ja se estabelecem duas relacdes: como lidar com 0 j4 consagrado, seja um quadro de Cezanne (alias reconhecido tardiamente) ou uma panela de barro do museu de arte popular, e que critérios Norteiam a selecdo do que esté para ser aceito e posteriormente consagrado. Tendo consciéncia de que sao tantos e tdo diversas os fatores que influenciam os discursos que determinam o estatuto da arte e 0 valor de um objeto artistico, talvez areca ingenuidade tentar estabelecer critérios que permitam alguma seguranca neste campo. Para nao ficar apenas no apontamento dos problemas, gostaria de levantar algumas quest6es com as quais nos deparamos ao exercermos nosso papel de eleger 0 que 0 puiblico deve ou ndo ver nos museus: ~ a necessidade de reconhecer que as teorias estéticas so como os costumes: cada uma delas é valida numa época e num lugar determinados, portanto é preciso saber equilibrar a gangorra do que é valorizado num periodo, passa a ser rejeitado ‘em outro e muitas vezes retora, anos ou séculos depois, revistos sob nova ética, Em ultima instancia, no perder de vista a historicidade dessas obras. = com relagao a arte consagrada, 0 problema @ apenas 0 equilibrio da gangorra (porque dificlmente sera posto em dtivida o valor de um Cezanne, um Shakespeare ou um Bach, por mais que possam oscilar no ‘in’ e “out” das colunas de jormais). Mas ao tratarmos de arte contemporanea as dificuldades aumentam. Qualquer objeto, artistico ou ndo, pode ser fonte de prazer estético e portanto sujeito a contemplado. Mas a‘produgao de obra de arte resulta de uma op¢do diferente da que produz outros objetos, na medida em que lida com a subjetividade, isto é, com os sentimentos, impressdes e percepgdes pessoais do artista. = Outra questo 6 a necessidade de identificar 0 perigo que concorre para uma avaliago incorreta do que é obra de arte e que se traduz no binémio novidade x comercializago. Com os meios atuais de comunicagao de massa e as leis que regem 0 mercado de arte hoje em dia, "sé tem valor o que é noticia e s6 6 noticia 0 que € novidade" como alerta Ferreira Gullar. Estes so apenas alguns pontos que detectei entre intimeros outros que nao podem ser deixados de lado quanto definicdo dos citérios que avaliam obras de arte, 2) AEXPOSIGAO COMO VETOR DA RELAGAO ARTE/MUSEOLOGIA Considerando museu como um lugar de comunicacéo ¢ a exposi¢ao como a esséncia da linguagem museolégica, 0 caminho ( aquele que se faz ao andar) me parece estar nesta aco preponderante dos museus. Sendo através das exposigdes que se dé a relagdo arte/museologia, a opgao de como apresenté-las & determinante para 0 processo de comunicagdo a ser estabelecido, ‘Segundo Bruno e Mattos, “a concepeao e montagem de uma exposic&o, ou seja, 2 passagem do nivel conceitual para o nivel pratico, implica no acompanhamento de um didlogo entre os objetos, 0 espago, as cores, a luz, as linguagens de apoio e a visualizagao do pilblico potencial. Esse didlogo que, invariavelmente, leva a delimitagées, selegdes, tragens, possibilita, também a gera¢ao, a partir de um saber constituido, da elaboragdo ( para o pubblico ) de imagens, saberes e valores.” 20Todas as questdes envolvidas nesse “didlogo’ so portanto manipuladas pelos profissionais de museus que ainda tem como fungdo especifica contextualizar abjetos que foram descontextualizados ao entrarem para o museu. Justamente quando estava preparando esta comunicagao li duas matérias de jomal, que se revelaram apropriadas para exemplificar maneiras diferentes dos museus se relacionarem com 0 piiblico, além de também abordarem a etema questdo do papel de nossas instituigdes na sociedade. No primeiro caso, noticia-se uma exposicéo itinerante, comemorativa dos 150 anos da Smithsonian, com parte de seus 140 milhdes de objetos. Anunciada como a maior exposicao Itinerante jamais vista nos EUA, faré um roteiro de 11 cidades. A selegdo feita pelo curador inclui “tesouros téo raros" como o chapeldo de Abrago Lincoln, a cometa do Dizzy Gillespie e 0 casaco de cour usado por Harrison Ford na série Indiana Jones. Dizem que o chapelao de Lincoln é o mesmo que usava na noite em que foi assassinado, por isso aumenta enormemente seu valor e ele sera transportado de cidade em cidade dentro de uma caixa de vidro equipada com detector de terremotos. Aqui, sem duvida o “ver" esta muito ligado ao culto do objeto “verdadeiro", precioso, histérico etc. © chapeldo do LincoIn, a cometa do Dizzy ou o casaco do Harrison’ndo so mais histéria que quaisquer outros chapéus, cometas ou casacos da mesma época. © fato de terem sido usados e pertencerem a estas personalidades nao Ihes conferiu nenhum atributo que os distinguisse dos demais objetos do mesmo estilo, Ns é que hes conferimos 0 valor ¢ induzimos o visitante a ver esta “aura” que os objetos ndo possuem., evocando uma época, um acontecimento ou personalidade que se quer exemplar. N&o estou julgando esta exposi¢ao especificamente, pois nem a vi, mas apenas usando uma noticia recente para exemplificar maneiras diferentes de se enfocar o tera das exposigdes. A outra matéria refere-se ao que esta acontecendo nos EUA, onde grupos ditos politicamente corretos estariam interferindo no rumo de exposigées em instituigdes publicas. ‘Segundo o articulista Paul Goldberger, do New York Times, o cancelamento, adiantamento ou restruturagéo de exposigées como a vida dos escravos nas plantagées do sul, ou 0 langamento da bomba atémica sobre Hiroxima ou as teorias de Freud , levantam a questéo de como as instituigSes estao funcionando. A exposicéo sobre a bomba atémica havia sido planejada exatamente pela ‘Smithsonian, para discutir se a decisdo de langé-la foi correta ou nao, Ao invés de apresentar todos os lados do problema, optou por montar uma mostra menor, ‘expondo alguns fragmentos do aviéo e homenageando a misséio, sem qualquer tipo de critica. O fio condutor do artigo 6, fundamentalmente, denunciar que as instituigdes culturais americanas vém se curvando a pressées de grupos de interesses particulares de todos os tipos. Como nao é esse 0 nosso tema, estou usando 0 exemplo para contrapor este tipo de exposigao com a da Smithsonian citada acima. Na sua proposta original, tanto esta exposicéo da bomba atémica, como a dos escravos e a das teorias de Freud, seguiam uma linha diretiva diferente da anterior, enfocando os temas inserindo-os em uma visdo histérica e cultural Ha nestes dois artigos duas posturas possiveis dos museus se relacionarem com © piiblico através da maneira de apresentar suas exposigdes. Numa delas, privilegiando apenas olhar (ver), @ na outra privilegiando a incorporagéo dos ‘significados, digerindo-os e recriando-os. 21‘Ao optar por uma ou outra forma de apresentacdo, também corre-se riscos: ‘ou coloca-se 0 objeto completamente descontextualizado, pretendendo que ele fale Por si, ou excessivamente contextualizado, impedindo sua relagSo direta com 0 espectador. 3) | O PAPEL DO PROFISSIONAL DE MUSEUS NESTA RELAGAO. ‘Como ja dizia Malraux, em 1953, no seu famoso texto O Museu Imaginario, os museus contribuiram para liberar de suas verdadeiras fungdes as obras de arte que reuniram. Ao mesmo tempo que 0 museu retira os objets de seu contexto, aproxima-os de outras obras opostas ou rivais, possibilitando sua comparacao, ‘A operagdo intelectual de comparar pintura se opée frontalmente ao abandono que permite apenas a contemplagao. Mas ndo sé para contemplar como também para comparar € exigido um conhecimento prévio, uma alfabetizagao em arte. Consider que é neste ponto que se materializa grande missao dos museus de arte, ou meihor, dos profissionais que atuam nesses museus. Facilitar, intermediar a relagdo entre o espectador ¢ a obra. Ao trabalhar no sentido de facilitar a compreenséo da(s) mensagem(s) das exposigdes, 0 musou esta contribuindo para a socializagao e democratizagao do conhecimento e ai esta todo 0 seu potencial educative, No caso especifico dos museus de arte é necessaria a construgdo de estratégias arte-educativas pois, 4 medida que descemos na escala econémica e educacional, diminui a capacidade de apropriagdo do “capital cultural” transmitido E mesmo as pessoas de um patamar mais alto nesta escala, em geral ndo habituadas ao olhar apreciativo, cuidadoso, critico e criador, necessitam de um conhecimento especifico ao qual precisam ser introduzidas. (Falo do olhar por estar me referindo as artes plasticas, mas o mesmo comentario vale para ouvir, degustar ou cheirar) Passando da teoria a pratica, gostaria de mencionar um exemplo de exposicao realizada na Chacara do Céu, em 1994, onde fica claro o papel do profissional de museus ao facilitar a relacao das obras com o espectador. Sinto-me 4 vontade para cité-la como exemplo pois a curadoria foi feita por Vera Beatriz Siqueira e Elizabeth Baez. Chamou-se “Castro Maya: Arte, Industria, Cidade". Comemorava-se 0 centendrio de nascimento de nosso patrono, portanto era uma exposigao para homenaged-lo. Assim, mostrou-se as trés principais facetas de sua personalidade, sem ter sido necessério colocar nenhum objeto de uso pessoal enfocando-se 0 aspecto do colecionador através das principais colegdes de arte por ele formadas; o aspecto do industrial com testemunhos da sua atividade profissional - a lata de gordura de céco carioca, as pedras litograficas que serviram para imprimir cartazes etc. - e, finalmente 0 aspecto do cidadao, evocado através da sua colegao de iconografia do Rio de Janeiro e de acervo documental, que registra a sua intensa participagdo na fundagao de museus, clubes e sociedades culturais, além de suas intervengées na vida publica da cidade. Acredito que tenha se conseguido aqui 0 equilibrio entre o culto da personalidade e a transmisséo de uma viséo histérica e cultural sobre sua insereao na vida do pais. Para finalizar, cito um trecho de Canclini que diz: *O Museu ...deve tratar os ‘objetos, os oficios e os costumes de tal modo que, mais que exibi-los tornem inteligiveis as relagées entre eles, proponham hipéteses sobre 0 que significam para a gente que hoje os vé e evoca”. 22BIBLIOGRAFIA [ARAQJO, Marcelo Matos ¢ BRUNO, Maris Cristina Olvera. Exposig8e musecligica: uma linguagem para o futur. ‘Catlemos Museoligics. Rio de Janelo, 2, p.12-17, dez. 1988. BOURDIEU, Pierre, A econcmia das rocas simbélcas. Sto Paulo: Perspectva, 1962. (CADERNOS MUSEOLOGICOS, Rip de Janelr: SPHANIpré-Meméria,n.1, set, 1969. 1.2, de2.1980 CCANCLINI, Nestor Garea: © patriménlo cutural @ @ construpo Imagindsia do nacional, Revista do Patrmnio Histrico @ ‘Astsioo Nacional. Ro de Jano. n23, p. 4/118, 1994, COLI, Jorge, O que’ ete. 16, ed S8o Paulo: Brastlnce, 1995, (Cole primeres passos - 46), GULLAR, Ferreira, Argumentagio contra a morte da arte, Rio de Janet: Revan, 1663, MALRAUX, André, Le volcdu sence, 160 pat: Le Musée Imaginalre. NRF, Franca, 1953. p-11 (© GIGANTE americana se mexe. Jornal do Brasil, Rio de Janeiro, 23 fev. 1998, Cademo B, pt. PATRULHEIROS agora atacam os museus. © Globo Rio de Janeio, 25 fev (7) 1996, Segundo Cader, 23Constantino B. Viaro Museu Guido Viaro - Parana, Brasil VINTE ANOS DO MUSEU GUIDO VIARO Conhecendo as dificuldades financeiras do pais, e a pequena parcela do bolo orgamentario destinado a cultura, a incapacidade financeira do governo em adquirir acervos artisticos para seus museus, nos pareceu ser muito importante a parceria entre donos de acervos particulares e 0 poder piblico Existem no pais dezenas de colecionadores de arte com acervos significativos, alguns mais importantes que as proprias colegdes puiblicas, muitas vezes em casas particulares, em depésitos, em geral em locais sem acesso ao publico, Nossa proposta foi enderegada as entidades culturais publicas, no sentido de criar alternativas de que tais patriménios, 140 valiosos de nossa cultura, do ficassem circunscritos a apreciagao de apenas seus proprietérios e familiares. Que através de um acordo entre particulares e 0 poder pilblico, se elaborasse um contrato juridico de comodato, firmado entre proprietarios e o Estado ou Municipio, e esse material pudesse ser visto, estudado @ pesquisado por estudantes, Professores, artistas e pessoas interessadas da comunidade, em sintese um acesso pilblico 8 obra O MUSEU Aprovada a idéia do contrato de comodato pelo entdo prefeito Jaime Lemer, que conhecia a obra de Guido Viaro, foi fundado em 1975 0 Museu Guido Viaro, em prédio public reciclado, situado no setor histérico de Curitiba. O museu foi instalade com uma certa dignidade e comegou a funcionar de uma maneira intensa, com ampla visitagao. Anexo existia o atelier com aulas de desenho e pintura, um setor de pesquisa e biblioteca especializada em arte. Foi desenvolvido também 0 projeto "Dr. Eureca" no qual uma pega teatral contava a histdria das cores, onde as criancas das escolas descobriam os mistérios da arte numa gincana que ensinava sua histéria e contava a vida do artista, O Museu teve seus primeiros dez anos com uma atividade muito intensa e 0 trabalho desenvoivido teve muita importancia cultural para a cidade Apés 15 anos de funcionamento, sua administragao comecou a se impregnar dos vicios do servigo puiblico, embora neste periodo o museu tenha sido oficialmente criado por Lei Municipal. Da mesma forma que a Fundacdo Cultural de Curitiba, a quem estava subordinado_o Museu, também sentiu 0 abandono e 0 declinio da qualidade em sua administragao em virtude da designagao politica de administradores sem a qualificagdo necessdria para ocupar os cargos, 24LQO00CL DESCASO ‘A mudanga politica néo chegou a acabar nem literalmente, nem legalmente ‘com 0 museu mas simplesmente o esvaziou. Cortou a totalidade de seus recursos. Retirou funciondrios, No mais recontratou os professores. Deixou de fazer a manuteng&o do prédio. Tudo foi se deteriorando. © equipamento da reserva técnica, ‘0 ar-condicionado e 0 desumidificador quebraram @ nao foram consertados. O acervo foi prejudicado por goteiras. A iluminagao inadequada comegou trazer problemas nos trabalhos. A seguranca foi substituida e diminuida Houve furto de obras. As atitudes omissas da diretoria da Fundago Cultural de Curitiba levaram a um questionamento - a resposta que recebemos foi a que o Museu ndo estava nas, prioridades do municipio. Até uma exposicéo de 40 desenhos desapareceu do Museu. Ninguém soube, ninguém viu, Nenhuma explicagao foi dada. RETIRADA DAS OBRAS Diante de tais circunstancias ¢ da constatago de que 0 acervo estava deteriorando, sendo que dos 147 trabalhos apenas 5 estavam em bom estado, tesolvemos retirar as obras do Museu, diante de um falso espanto dos diretores da Fundagdo Cultural de Curitiba. Em contrapartida, a diretora do Museu Suzana Lobo foi demitida, pois revoltada chegou a criticar_ em puiblico seus superiores. Assim acabou o museu Guido Viaro e uma experiéncia que poderia ter sido um sucesso, bem como estendida a outros acervos que também jé estavam disponiveis para serem mostrados ao piblico brasileiro. Gragas a0 descaso @ a leviandade de alguns setores de nossa administragao publica, esta 6 mais uma historia das muitas que acontecem no Brasil ¢ que desta vez ocorreu em Curitiba. 25II - SYMPOSIUM MUSEOLOGY AND ART / MUSEOLOGIE ET ART paseo Notes Renter ESP EL e eeet DOCUMENTS English / Frangais 27PROVOCATIVE PAPER Mathilde Bellaigue e Richard Nonas MUSEOLOGY AND ART PREAMBULA Dealing with that theme implies that the “museum’ is not meant as an intra-muros space, but possibly also 2s an outdoor space. Museums do not exist without an audience and involve the visitor in a sensorial approach of “objects (in a broud acceptance) towards a specific communication with their makers through time and space. Art too does not exist without an audience, its function being ‘a social one; it too implies a sensorial and sensitive relation, so as to generate a specific. ‘communication with a world beyond us, ‘Our theme implies that we study the reason why and the process through which the museum ‘can favour both that relation and that communication. ‘The “process of art'can be given two signicances: either the creative process of the artist (including the way society influences him) or the viewer's approach of art. it is not up to us here to study the former, in spite of its crucial interest, but we have to explore the attitudes. of the museologist and the viewer towards the artistical fact, their approach of it (percepcion, appropriation, musealisation) as well as the position of museums regarding art. We usually integrate art inside the well-established limitations of culture, and in doing so we neutralize art, for art lies in ambiguity. Art is not only the physical result of the creative process, it is dynamics of the process. And that makes the difficult for us, museologists, to deal with art; it is probably why, trying to make our task easier, we have categorized art and segregated it and its categories inside specific museums (fine arts museums, Museums of contemporary art, of folk-art, of outsider art, etc). Consequently, the integrity of art perception is ruined. ‘The task of museology in our Rio's symposium is to explore how museum and museology can deal with art without killing its dynamics and tense ambiguity, ORGANISATION OF THE THEME The following organisation of the theme is proposed, and some suggestions made in the form of question for each sub-topic. Its has to be stressed that those ideas are just personal and do not pretend to exhaust the theme. 1. Museum and art: ‘Museums deal with man’s environment and the products of human life (art being one of them) presented though various musealisation process. Our modem categories of art did not exist at the time when the makers created their works: fine-arts, folk-art, “indigenous” attisticat expressions (isnt all art indigenous?), ‘primitive” art, “political “art, crafts etc. betong to our modem language. The manipulation of those terms by curators, art historians, to make museal practice easier, by merchants to favour the commercialization of art, suggests @ ‘question: aren't such categories and separations essentially “cultural? 29Practically, is art bound to the same museal rules as ethnography, archaelogy etc? Is there a special museal context for art objects or not? How does the concept of artwork matches with the concept of museal restoration? What nis the museologist’s responsability vis-a-vis the presence of art in society? 2. How do we connect art and museology in the perspective of museology being “the study of a specific relation of man with reality’, art itself creating reality? Our discipline has to explore man's interaction with the world, his attempt to redefine the world through language, production or behaving. Art is all that. However, culturally, we separate it from the other human expressions. Why? How then can the museums break those boundaries? Can we rub them off and relate organically - anthropologically - archaeology, history, ethnography (without esthetizing the objects), technique, biology ete... and ait? Can we reasonably imagine a “total museum’, or is it a utopia? Or, to put it differently, couldn't every museum be considered as a great “Museum of man’s interaction with the world", each museum dealing its own domain as @ expression of that interaction? 3. The artist and the museum The artist ask question about his own time and space; the character of universality of those questions is due to the artist's ability to ready the power of objects in a way that transcends the limitations of language. He can suggest ways to make perceptible and Understandable man’s interaction with the world which is the proper role of the museum. ‘The museum space is altogether the space of the object, of the community, of the museologist. It can be the artis’s when he has the opportunity of using it (for instance in ‘contemporary art museum): the exhibition is then more than an instrument to him, it is an artwork in the same sense as a singular piece of art, (In the same way, the museum in itself ‘can be an object to the museologist). The time of museum is the time of memory, the museum aims at developing chronologically that time and in the course of the time, art appears of crucial importance. But in the ordinary time of life, art appears “secondary” to the society in comparison with its ordinary daily cares. 4, The attist, the audience, the museologist Itis the role of cuture to isolate certain of its aspects as values to be safeguarded: art is one. But in the concept of human creation, art is a complete alien concept, and society does not take the artist seriously, considering him, in a way, even as a deviant Paradoxically, the separation of art preserves the power of its ambiguity. What do we expect from the artist, what is the “utility” of art, or what is its function? Isn't it, for any artefact in a museum, in showing through its presence how man stands in the ‘world, and in providing the vision of the gap between culture and nom-culture? All that does not make it easy to apprehend. Is then a special disposition expected from the audience regarding its relation to art? And in which way can we, museologists, foster that social communicative power of art? Mathilde Bolla 1, museologist - Richerd Nonas, sculptor 11 August 1995 30PREMIERES REFLECTIONS Mathilde Bellaigue e Richard Nenas MUSEOLOGIE ET ART PREAMBULE Traiter ce théme implique que l'on considére le musée non pas seulement comme un espace intra muros, mais aussi comme un espace sans murs. Le musée n’éxiste pas sans un public, il entraine le visiteur dans une approche sensorielle des ‘objets’ (au sens large) vers une communication spécifique avec leurs ‘eréateurs, a traver le temps comme & travers I’éspace. L’att non plus n’éxiste pas sans un public car il a une fonction sociale; lui aussi implique une relation sensorielle et sensible ‘engendrant une communication spécifique avec un monde au-dela de nous-mémes. Ce théme nous counduit done & étudier les raisons pour lesquelles et le processus grace auquel le musée peut favoriser cette relation et cette communication. Par les termes de “processus artistique", on peut entendre soit le processus de création de tartiste (y compris la fagon dont la société Finfluence), soit ja maniére dont le visiteur appréhende 'ouvre d'art. Ik nentre pas dans notre sujet d'étudier le premier en dépit de son tres grand intéret, mais il nous appartient d'explorer les attitudes du muséologue et du visiteur envers le fait artistique, leur approche (perception, appropriation, muséalisation), tout autant que fa position des mus6es par rapport a l'art. Généralement nous faisons entrer art dans les frontidres bies établies de 1a culture, te neutralisant ainsi, car existence méme de Tart est ambigué. L'art n'est pas seulement le sésultat matériel d'un processus créateur, c'est la dynamique méme de ce processus. La est pour nous, muséologues, la difficulté de notre travail en ce qui conceme Tart; cest probablement pourquoi, afin de rendre les choses plus faciles, on @ fait des catégories d'art et on les a rangées dans des musées spécifiques (musées de beaux-arts, d'art contemporain, dart populaire, d'art brut etc.) On a ainsin détruit linténgrité de la perception artistique. La tache de la muséologie dans notre colloque de Rio est d'explorer ce que peut étre le rapport du musée et de la muséologie a l'art sans tuer sa dynamique et la tension de son ambiguité. ORGANISATION DU THEME. ‘On propose dorganiser le théme avec des sous-thémes engendrant différentes questions. Soulignons quil ne s‘agit la que d'idées personnelles qui nént pas la prétention d'épuiser le sujet. 31Musée et art: Les musées se rapportent 4 environnement humain et aux prodults de Iactivité humaine (Tart étant un d'entre eux) présentés selon processus muséaux divers, Nos catégories modemes dért n‘existaient pas au moment de la création des oeuvres: beaux- arts, art populaire, expressions artistiques “indigénes’ (tout art n’estil pas indigéne 2), art “primitif’, art ‘politique’, artisanats etc, ces appeliations appartienennent & notre langage modeme. Conservateurs et historiens d'art les manient pour faciliter la pratique muséale, les marchands les utilisent pour commercialiser l'art. Tout cela suggére une question: ces catégories et ces cloisonnements ne sont-ils pas essentiellement “oulturels"? Concrdtement, l'art estil soumis aux mémes ragles muséales que l'ethnographie, Varchéologie etc.? Y ail, ou non, un contexte muséal particulier pour objet artistique? Comment le concept douvre d'art ‘s'accomode du concept de restauration? Quelle est la responsabilité du muséologue quant & la présence de l'art dans la sociéte? 2. Quel lien faisons-nous entre art et muséologie si la muséologie est “l'étude d'une relation spécifique de homme avec la réalité”, l'art étant lui-méme créateur de réalite? Notre discipline se doit d'explorer interaction de | ‘homme avec le monde, sa tentative de redéfinir le monde a travers ses lengages, ses productions, ses comportements art est tout cela, Et pourtant,culturellement, nous séparons l'art des expressions humaines. Pourquoi? Alors comment les musées peuvent-ils abolir ces frontiéres? Estil en notre pouvoir de les effacer et de relier organiquement - anthropologiquement - Yarchéologie, histoire, Vethnographie (sans esthétiser les objets), la technique, la biologie etc... et l'art? Pouvons-nous raisonnablement imaginer un “musée total’, ou est-co une utopie? Ou bien, pour dire les choses autrement, chaque musée ne pourraitil étre considéré comme une partier d'un grand "Musée de interaction de "homme avec le monde", chancun se rapportant un domaine spécifique d'expression? 3. L’artiste et le musée Llattiste interroge son temps et son espace; le caractére universel de ces questions est dd a aptitude de | ‘artiste & déchiffrer le pouvir des choses d'une facon qui dépasse les limites du langage. lI peut suggére la fagon de faire percevoir et comprendre interaction de homme avec monde, ce qui est le r&ole mérme du musée. L’éspace du musée est tout 4 la fois espace des objets, de la communauté et du muséologue. Ce peut étre celui de artiste quand il a lopportunité d’en disposer (par exemple dans les musées d'art contemporain): I'éxposition est alors pour lui plus qu'un instrument, cést une oeuvre au sens propre (de méme que le musée peut étre un objet pour le muséologue). Le temps du musée est fe temps de la mémoire, le musée vise développer ce temps chronologiquemnet, Tout au long de ce temps, l'art apparait dans toute son importance. Mais dans le temps ordinaire de la vie courante, art apparait “secondaire” & la société, comparé & ses préoccupations quotidiennes. 4, L’artiste, le public, ie muséologue | appartient & la culture d'isoler certains de ses aspects comme des valeurs & ‘sauvegarder: l'art est lune d'elles. Mais dans le concept de la création humaine, l'art est un concept complétement étranger et ta société ne considére pas lattiste sérieument, le regardant méme en quelquer sorte comme un déviant, Paradoxalement, c'est cette ségrégation de l'art qui préserve son pouvoir d’ambiguité. 32Qu'attendons-nous de artiste, quelle est I"utiité"de Tart, quelle est sa fonction? Nést-ce pas, comme pour tout artefact au musée, d'étre, par sa présence, le témoignage de Tetre au monde de thomme, n’est-ce pas de foumir une vision de l'abime qui existe entre culture et non-culture? Tout cela ne facilite guére l'appréhension de I'art, Faut-il alors attendre du public une disposition spéciale? Et en quoi, nous, muséologues, pouvons-nous favoriser ce pouvoir social de communication de lért? ‘Mathilde Bellalgue, muséoiogue - Richard Nonas, sculpteur 114 aod. 1995 33ANNALYTICAL SUMMARIES / RESUMES ANALYTIQUES 1 2 3. IVO MAROEVIC 34SOCo SYMPOSIUM MUSEOLOGY AND ART BASIC PAPERS - MEMOIRES DE BASE Lucia Astudillo Directora, Museo de Los Metales Cuenca, Ecuador MUSEOLOGY AND ART: THE Ill INTERNATIONAL BIENNIAL OF CUENCA In this presentation | will not dig into the concept of what Museoiogy is. This has been debated in ICOFOM meetings throughout the years | do bellieve that Museology is a scientific discipline ans that to promote and do research on concepts and definitions is a very important toolo for museums and cultural institution workes. | consider myself a doer, maybe a practical museologist. What | have done over time is to work with Museology, in the sense that | have applied it in the field of interpretation, education and communication. The theme of this meeting is museology and art and | have found that during my term as Executive Coordinator of the Ill Intemational Painting Biennal in Cuenca, in 1993, we promoted and realized a series of activies that expressed a close relationship between these two areas: museology and art. | have overhead people in other countries: and even in my own museum directors and art historians - say that the Museum of Art is the only true Museum. They tend to minimize other kinds of museums. this is not commonly the case in Ecuador because the Central Bank, which seems to be stil the hegemonic museum institution in our country, inaugurated last year different Kinds of museums: The National Museum of Archaeology in Quito, The National Museum of Contemporary art in Guayaquil and The National Museum of Ethnography in Cuenca. Alll three museum also have complementary regional exhibitions. Judging from what they exhibit, | ask myself: Could these museums be leaders in not thinking of museums pieces as only art objects? In Ecuador the activities that museums cary out: temporary exhibitions, research, education and so on-are few, due mainly to the lack of economic means, although figures state that there are enormous cultural, educational and touristic resources behind the collections. Nevertheless, and in spite of the fact that the museums of the Central Bank are undergoing change toward privatization by establishing a Foundation, and that there are rumors that they are evaluating their assets only with the future interest of selling their pieces, they are continuing their activies and are leading museums. Regarding Art Museums, there exist the following: the Museum of the central Bank in Guayaquil, already mentioned, the Museums of Contemporary Art of the 35House of Culture in Quito, and Collections of Art in the Museum of the Central Bank in Quito and the Museum of Modern Art of the Municipality in Cuenca. Also there private Museums such as the Guayasamin and Kingman Foudations, named after the painters. Museums of Religious Art, especially of the Colonial time, are in the ‘churches and convents in quito, Riobamba, and Cuenca-worth mentioning are the collections of Colonial Art of the Filambanco Museums in Guayaquil and in Quito. Within the general context of Ecudorian Art Museum, | consider that one of the most valuable activies regarding art, of contemporary Ecuador and perhaps of Latin America, in spite of the limitations that exist, are the Intemational Painting Biennials of Cuenca. The Biennial is under a Regulation of the Municipality that state that: “The realization of an event of this nature and importance will bring to the Country, but particularly to the City of Cuenca, an international recognation of its natural vocation for the conservation of its cultural values, and will motivate in our community a development of pictorial art.” The Biennial promotes at an intemational level the name of Cuenca to the benefit of tourism and culture, which | believe is well understood in the regulation, as leading towar the social and economic development of the city. ‘The Museum of Modem Art of the Cuenca Munipality, wich was established in 1981, was the creator (the director, artists and private citizens) of the Biennial Wich aims to motivate in the people of Cuenca and Ecuador enthusiasm for and devotion to plastic arts. It is well Known in Cuenca that unti the first Biennial, 1989, only literary art was of importance, The regulation also establishes that “the center of all exhibitions will be the Museum of Modern Art. They can also count on other museums in the city as appropriate for the exhibitions". Cuenca is a small city which does not have very many museum rooms or other architectonic spaces suitable for the Biennial exhibitions. So, this event is conductive to sharing among museum. It is Museology promoting museum spaces and exhibitions among museum and people. It is good stimulation for other museum, even though they sometimes complain and are envious of the “economic support'that the Biennial receives compared to the lack of support that they have in their every day museum life. The Biennial aiso carries out some activies in an effort to get clkoser to the community. The Committee of the Biennial organizers painting workshops and contest among children in different neighborhoods of the town. There are also puppet shows which tell children and adults what the Biennial is about. During The Ill Biennial we also organized a National Seminer on Visual Arts and we invited national and intemational lecturers. In addition we organized a course for the people who wanted to act as guides of the Biennial exhibition. The Biennial exhibition, the participation of the artist chosen by curator in their own countries, and the participation of the Foeringn Relations Ministry of Ecuador, open up a wide communication dimension to the Latin Americam Museology and Contemporary Art. We say latin American Museology, not because we think different from Intemational Museology, but because we are refering to a geographic space: our American Continent. It was an occasion to emphazise the fundamental role of Art and its manifestation in painting in a Latin American context. 36We include the United States exhibition because its curator, Julia Herzog, chose to bring to Ecuador an exhibition of painters who lived in the United States but who had Latin ancestor. As the president of the Ill Biennial, Patricio Munoz said “The feeling , thinking and strenghtening of our faith in Latin America, doesn't have an exclusive intent, or even worse, @ sickenning attitude of being dominant. It is a reinforcement of the need for integration with the ones who are situated in the center, south and north in the Andes ‘mountains.". in a sense, the Museology carried on in the Ill Biennial was oriented toward mutual understanding and collaboration among Latin American countries and Art. The message was given by the participating artists and their works of art. 1am not going to dicuss the art tendencies in the paintings of the artists who participated in the Biennial, whose winner was Mari Mater O'Neil from Puerto Rico. | will only state, from ,y a litle bit uniform and the works of art could be considered Latin American Region. This fact makes us question why there is not more originality in Latin American Art, a true Latin American Art? Maybe the answer is global communication. But, even so, lanelly from Brazil, and Jose Luis Cuevas from Mexico as well as exhibitions from Manuel Chong Neto from Panama, Rogelio Poleselloo from Argentina, and other. But, | would also like to say that the exhibitions were organized geographically by countries, and by their representatives, but not according to exact location. Peru for example, was next to the United States. However the visitors could take a trip to the Americas and maybe understand and be close to the ‘American continent in order to have faith in the American community. This was a museology of friendship all the way from Mexico to Argentina, taking account the sons of the immigrants from our Region who had established themselves in the United States. It was Museology and Art Working together. 37Mathilde Bellaigue, Michel Menu Laboratoire de recherche des musées de France, Paris, France UNE INFINIE TRANSPARENCE: - ART ET MUSEOLOGIE “Bientot, je ne sais plus ce que je suis venu faire dans ces solitudes cirées, qui tiennent du temple et du salon, du cimetiére et de I'école... Suis-je venu iminstruire, ou chercher mon enchantement, ou bien remplir un devoir et satisfaire aux convenances ? Ou encore ne serait-ce point un exercice d’espéce particuliére que cette promenade bizarrement entravée par des beautés, et déviée & chaque instant par ces chefs-d'oeuvre de droite et de gauche, entre lesquels if faut se ‘conduire comme un ivrogne entre les comptoirs 2" (P Valéry, 1923) Lart au musée n’est-ce pas un paradoxe 7 Le propre du musée est de conserver les produits de la crédtion. Mais celle-ci est un processus dynamique qui s‘oppose a limmobilité des oeuvres sur les cimaises. L'institution muséale est-elle le lieu le plus approprié pour témoigner de Toeuvre mystérieuse de la création ? Or mest-ce pas ce qui nous importe lorsque nous recherchons le délice de la contemplation ? La question de l'art au musée étant posée, on ne prétend pas ici y répondre - existe-til a proprement parler une réponse universelle ? - Mais la réflexion muséologique nous semble adaptée a apporter tout au moins des solutic partielles. En effet nous avons fintuition de rapprochements possibles entre la Perception du phénomeéne artistique et la démarche muséologique : cette demiére, Par une certaine approche du réel, la réflexion sur le temps et la mémoire, apprehension et la conceptualisation de l'objet peut jeter quelque lumiére sur le phénoméne artistique, Le musée, une abstraction contre le monde (Proust) Les musées d'art nous ont habitués a des parcours obligés, généralement chronolagiques, les musées d'art modeme sforganisent en fonction des mouvements, des écoles, des "-ismes’. Il s'agit le plus souvent dune approche traditionnelle de l'art, qui n'est pas histoire de l'art, Selon expression de Valéry, les musées ne seraient qu'une "succession doeuvres congelées". Certes il faut admettre que le musée posséde une fonction pédagogique, alors autant la rendre claire. Crest ce que cherchent a faire ordonnance historique, la mise en catégories, certains cloisonnements. Fautil en faire reproche ? L'analyse historique elle-méme nous montre bien que, par exemple, la religion, 'évolution des intérieurs, tout comme les musées (des cabinets de curiosités aux musées encyclopédiques par exemple) ont donné a Fart des fonctions successives diverses et bien spécifiques. 38Nous nous trouvons au musée devant une sorte de contradiction : a vouloir dérouler devant nous le temps, le musée se présente comme archive, mais l'archive est morte, le temps est devenu une succession de moments choisis comme significatifs et par la-méme figés : les styles se succédent, on en voit la naissance, apogee et le déctin. Ajoutons que les beaux-arts sont le plus souvent - sinon toujours - séparés des autres collections. Y aurait-l quelque antagonisme, ou quelque échelle de valeurs justifiant cette ségrégation 2 N’est-ce pas ainsi sous-entendre que ces vestiges différents temoignent dorigines ou de processus vraiment différents 7 Un tel état des lieux ne saurait étre admis sans recours : chaque élément peut Gtre contesté : le temps immobilisé, la ségrégation de l'art évoqués plus haut. De telles situations découlent dune vision historiciste, d'une attitude globalement rationnelle, d'une volonté didactique qui ne s'appuierait que sur une approche rationnelle et non sur une appréhension sensible des choses, d'une vision fragmentée de homme. Or quest-ce que le musée, sinon le conservatoire des traces de Thomme, et ce demier, soit altemativement ou simultanément en lui- méme, soit successivement dans le temps, est artiste, artisan, bétisseur, savant, inventeur etc. (A ce sujet, et a titre d'exemple, on regarde avec intérét et non sans un sourire amusé, le projet parisien de faire entrer ce qu'on appelle maintenant les “arts premiers” au Louvre. S'agit-l seulement d'innover, ou vraiment d'une réflexion profonde sur l'idée de culture et surtout de création, on n’en sait rien encore mais le Louvre pourrait bien défendre le champ clos de ses collections actuelles). Pourtant, si l'on se référait aux étymologies des mots "art" et "technique", au sens que leur donnaient les antiques et quils conservérent jusqu'au XVille siécle finissant, on ne les séparerait pas : le geste artistique s'appuie sur une mémoire tres ancienne des savoirs artisanaux (et ce depuis 'époque paléolithique) ce qui le approche d'autres types de "faire". Utilisation d'un temps « périodisé » est plus évidente encore par rapport & la restauration. Certes 'expression de 'artiste s‘incane dans un moment historique dans les matériaux de 'époque et par rapport & lidéal esthétique de cette époque ; puis elle subit les atteintes du temps. Sous ces demiares, la restauration cherche & Tetrouver le moment de la création, comme si fe temps n’existait pas. Formidable illusion car un moment est irrésistiblement perdu avec 'achévement de l'oeuvre celui ol artiste, dans 'absolue maitrise de ses moyens, incarne son intention dans les matériaux. Das lors oeuvre a atteint son « état posthume » (Valéry). Mais dés quil abandonne son oeuvre, celle-ci lui échappe dans sa substance physique méme, sans parler de son sens abandonné désormais aux regards : la matiére continue de vivre, se transformant, s‘altérant, se dégradant au cours de sa traversée du temps. Dans le meilleur des cas, l'on évoque - et respecte - la patine qui est bien la traduction du vieilissement qui a passé (comme les rides sur un visage). « Non point que nous ayons une prévention a priori contre tout ce qui brille, mais & un éclat superficie et glacé, nous avons toujours préféré les reflets profonds, un peu voilés ; soft, dans les plerres naturelles aussi bien que dans les matiéres artificielles, ce briltant Iégerement altéré, qui évoque irrésistiblement les effets du temps. » (J.Tanizakit) Notre tradition muséale repose décidément sur une double fragmentation, celle du temps et celle de activité humaine, sur une résistance permanente au Vieillissement, enfin sur une volonté d'éclaircissement et d'harmonisation esthétique 1111 faut pourtant recadrer Ia phrase de Tanizaki dans son contexte oriental : on sait qu'au Japon, la restauration des temple, par exemple, consiste a les reconstruire périodiquement en totalité, 39des oeuvres (intéressante a signaler en référence a Plotin lorsqu’on sait que pour lui tharmonie repose sur les parties, donc sur la division, par rapport au beau qui est UN). Alors le musée doublement conservateur ? Comme si tout mouvement allait nuire ordre des choses, déranger le déroulement chronologique, fausser cette chronique, comme si présenter [homme unifié dans son expression - et ses traces - allait introduire la confusion. Ne sera-til donc nul pouvoir capable de rendre vie & ce qui désormais est au musée ? et les Szeemann, les Ammann, les Hainard sont-ils autre chose que des conservateurs ? - des artistes aussi, & leur maniére (des poétes, des "montreurs' des maieuticiens...) 7 gens qui cherchent moins nous informer - ou nous former - qu’ nous étonner. Art et muséologie, recherche de la résonance Si nous admettons que la muséologie @ pour tache d’étudier Ia relation spécifique de homme avec une certaine réalité, et si nous postulons que l'art est une partie de cette réalité, alors notre recherche muséologique portera sur un travail continue! d'approche du sens de objet (au sens large), mais aussi du temps qu'l traverse, de espace oi il se situe et que sa présence méme modifie, En disant cela nous nous approchons du phénoméne de la création dans son rapport au temps et a espace, et du méme coup nous outrepassons les limites institutionnelles du musée. ‘Au musée, oeuvre acquiért une valeur actuelle, contemporaine du visiteur, laquelle, dans tous les cas, est différente de la valeur et de la fonction originelles. Le chef-d'oeuvre doit-il pour autant avoir au musée un statut spécial ? Fautil Vabstraire du “commun” des objets comme semble y pousser la classification des musées en vigueur ? Quiest-ce qui nous vaut cette ségrégation ? Serait-ce qu’avec oeuvre d'art nous sortons du clair domaine du concept pour entrer dans celui autrement plus ambigu de la sensation ? Serait-ce qu’é la différence de tout autre objet de musée, accroché a une chronologie, 8 un lieu, le chef-d'oeuvre, Iui, reste indéfiniment contemporain et universel ? Certes il demeure que méme si l'histoire de Tart étudie les conditions de son apparition, oeuvre d'art résiste a Tinterprétation, fuit le didactisme. Et pourtant le musée tend le plus souvent & substituer la visualisation des connaissances qui entourent oeuvre a la relation avec sa seule présence, sa présence authentique, celle d'oit sourd un bien étrange cho, si joliment décrit par larchitecte Louis Kahn : "Taura est silence, absence de voix, absence de parole, mais est pourtant une espéce de voix que lon entend quand on passe auprés des Pyramides”... Walter Benjamin définit 'aura comme « une singullére trame de temps et d'espace, appartion unique d'un lointain, si proche soit ». Lieu des images hors de espace, hors du temps, le musée est pourtant le lieu ou le temps joue le premier réle : le passé y résonne dans la présence actuelle de oeuvre, "la résonance de Fexécution" (Valéry). Car le temps de lartiste est a opposé du temps du musée décrit plus haut. tI échappe 'accélération courante : il est a la fois mémoire-perception des origines et prospection de Tuniversel dans une sorte d'intemmporalité. Le temps n'est plus déroulé mais globalisé : “Défaire fe sujet de ce quil a danecdotique et le placer sous une lumiére déternité. Reconnu par aujourd'hui, par demain, mais aussi par les morts. Une ‘oeuvre offerte aux vivants d'aujourdhui et de demain mais pas aux morts de tous les ages, serait quoi?” demande Jean Genet en pariant de Rembrandt. 40De plus, entre le moment de la création et celui de la réception de oeuvre - @ laquelle prétend le musée - s'est déroulée la vie de oeuvre, avec les changements possibles que nous avons évoqués : non seulement dans sa matérialité, mais aussi changements en relation avec ceux qui la voient, en usent, car au moment oli nous la regardons, son environnement spatial et temporel étant différent de celui de son origine, nous sommes dans limpossibilité de percevoir l'oeuvre dans son identité premiére. Ainsi “fa lecture de oeuvre nous a conduits hors du temps", dit Bonnefoy, car "de plusieurs fagons, la peinture contient du temps. D'une premiere, c'est dans Vacte méme par lequel le tableau se donne, ou plutdt se recrée en nous. Notre conscience de oeuvre s'accomplit dans une durée". Cette durée est & 'opposé de la fragmentation du temps en moments, elle engendre la mémoire, a la fois pierre angulaire du musée et paramétre essentiel de la muséologie, car percevoir, c'est essentiellement se souvenir. Le changement, par exemple, se pergoit grace a la mémoire et par comparaison (ce qu'a matériellement et symboliquement illustré Bruce Nauman avec sa structure-tunne! dans laquelle le visiteur pénetre, passant insensiblement - mais sensiblement - d'une envelope carrée a une enveloppe circulaire, puis triangulaire, tandis que seul le souvenir de la forme précédente lui fait prendre conscience, mais aprés coup et trop tard, de la transformation). Mais percevoir, n'est pas seulement cette démarche mémorielle, c'est aussi se percevoir percevant, c'est-a-dire avoir une conscience critique de la relation du sujet objet. C'est donc un travail d'élucidation de la réalité, du monde que nous percevons et de nous-mémes dans ce monde. Le musée ne devrait-l pas avoir, entre autres finalités, celle de développer, travers la sensation et la perception, la connaissance de notre relation au monde (on retrouve la définition de la muséologie), donc la connaissance de nous-mémes ? artiste donne 4 VOIR, non pas en reproduisant le visible, mais en rendant visible, comme le dit Klee, car c'est le réle des artistes “que de retrouver ce qui est ‘sous c@ qui fait signe” (Bonnefoy). En cela il ne crée pas une réalité nouvelle mais, une nouvelle compréhension du monde. C'est peut-étre cela qui marque l'étemité et Tuniversalité de oeuvre d'art, mais c'est cela aussi qui signe son étrangeté, sa distance. Car le musée montre a la fois le témoignage de ce qui a été et ce qui est la, devant nous (ob-jet), dans sa matérialiteé immobile, dans «/intrication de apparence et de Etre » (Bonnefoy). C’est cette ambiguité-ta qui nous intéresse. Deux exemples, l'un d'un musée, autre d'une exposition temporaire, peuvent illustrer les idées que nous soutenons dans ce texte. A La Haye, ensemble que constituent le Museon et le Gemeentemuseum (musée municipal), tous deux physiquement reliés par une entrée commune a partir de laquelle le visiteur choisit de se diriger vers un ou vers autre, sans quill y ait de hiatus, est exemplaire, tout comme le sont fun et l'autre musées pris individuellement. Le premier présente des collections de géologie, de préhistoire, dhistoire, d'archéologie, d'ethnologie et de sciences naturelles ; le second des collections d'art modeme (entre autres le fonds Mondrian), d'art européen ancien, dart islamique, asiatique, darts appliqués, dinstruments de musique et de mode (utilisant parfois les ‘period rooms"). Mais on n‘est pas la devant un inventaire a la Prévert, bien plutét dans la possibilité d'une relation holistique avec homme fabricant (homo faber), dans son environnement spatial et historique, et dans sa complétude d'artisan, dartiste, dinventeur. Llorganisation interdisciplinaire de la présentation, architecture de Berlage (Gemeentemuseum) harmonieusement relayée une génération plus tard par Wim Quist (Museon) favorisent cette relation. 41Un autre exemple est pris parmi les expositions que réalisa !'Ecomusée du Creusot. I! s'agissait de présenter dans ce milieu de culture technique et ouvriére, le travail d'un artiste qui, parmi les plus grands, fut le premier, sinon le seul de sa génération, a éprouver véritablement fimportance sociale, culturelle et esthétique du travail industriel : Femand Léger. Lioccasion du prét d'une collection particuliére donna lieu a cette exposition (1983) dans les anciens salons des patrons diindustrie Schneider, au Chateau de La Verrerie, siége de l'Ecomusée. Le goit des réalisateurs pour oeuvre de Léger, les liens damitié qui avaient uni le collectionneur - peintre lui-méme et ancien éléve de Léger - a 'artiste, mais plus encore la personnalité de ce demier, sensible dans son oeuvre et ses écrits, sa fratemité attestée avec le monde du travail, tout cela déroulait trés naturellement le fil de cette exposition. Une espace de dialogue se nouait entre le peintre les fondeurs de lusine, les éléves du lycée technique dont on avait intégré les piéces maitresses en fonte et acier ainsi que des dessins techniques dans exposition. Des entretiens périodiques avaient lieu sur place avec ces éléves et les enseignants. Parmi ces deux exemples, le musée de La Haye témoigne du bénéfice de Vinterdisciplinarité offrant du monde et de homme une appréhension holistique. Quant @ exposition Léger, elle manifestait bien ce que l'on peut donner & percevoir de cette "nouvelle compréhension du monde" quioffre l'artiste par sa maniére de “rendre visible” ce qui ne l'est pas directement. Mais il y a davantage, Tout n’est pas dit " Croire que « tout a été dit » et « que fon vient trop tard »", nous dit le poéte Philippe Jaccottet, « est le fait a'un esprit sans force, ou que le monde ne surprend plus assez. Peu de choses, au contraire, ont 6t6 dites comme il le faliait, car fa secréte vérité du monde est fuyante, et fon ne peut jamais cesser de ta poursuivre.. ». \l nous met en garde : “c'est pourquoi nous ne devrions jamais connaitre la mort intérioure ". En ce qui concerne le musée, public, muséologue, artiste sont liés dans cette quéte de la connaissance. Ce désir n’exclut pas la recherche des délices, de 'émotion, cette aigrette de plaisir que Breton exigeait de ressentir pour contempler une oeuvre. " Le public doit (aussi) se convaincre que, pour comprendre des sensations esthétiques auxquelles il n'est pas habitué, il iui faut oublier complétement sa culture intellectuelle, non pour s‘emparer de loeuvre d'art, mais pour se livrer a elle éperdament " (U.Boccioni, C. Carra, L. Russollo, G. Bella, G. Severini, 1912). Cette injonction des futuristes italiens pent ainsi rencontrer les différentes attitudes du public par rapport aux oeuvres plastiques, attitudes que l'on retrouve parmi tant d'autres chez les amateurs qui patientent deux heures aux portes des grandes expositions. On a érigé lobjectivité en principe dans la réalisation des expositions, Mais exposition n’est que le résultat d'une expérience. Cette objectivité est nécessairement de mise en ce qui conceme les expositions & caractére historique. Mais est-ce bien la méme chose pour les expositions artistiques? Une exposition ne révéle que quelques aspects de l'oeuvre d'un artiste ou d'un groupe d'artistes. Cette notion d' «aspect» nous semble ici essentielle. Hubert Damisch en dressa le contour lors de son exposition « Parti pris » au Louvre, en 1995. ll emprunte a Ludwig Wittgenstein essence de l'aspect qui devient le support méme de notre perception. * Le propre de l'aspect est que je vois quelque chose dans une image” dit Wittgenstein, on voit alors bien comment un accrochage, une exposition peuvent 42privilégier tel aspect plutét que tel autre et que cette exposition est le « parti-pris » d'une expérience. “ L'aspect est indice d'une activité jusque dans ce qui fait... sa condition structurale. N'y ayant d'aspect qu'en référence & d'autres, en nombre nécessairement fini, qui lui soient substituables, ou qui puissent s'y articuler, lui faire cho. Mais s'il en va ainsi, ot si la structure ne trouve & se manifester qu’en termes d'aspects, le travail d’aspectualisation .. aoquiert un sens précis, ‘pris en son sens chronique, Vaspect est seulement le mode et la maniére dont nous ne cessons de traiter les figures’ ». Les expositions « Parti pris » du Département des arts graphiques du Musée du Louvre visent 4 rendre compte de cette multiplicité d'aspects des oeuvres d'art. Frangoise Viatte et Régis Michel ont ouvert leurs collections 4 des personnalités notoires pour leur aptitude au discours critique. La série fut inaugurée en 1991 par Derrida, dont lexposition s‘intitulait Mémoires daveugle et jouait sur de nombreux degrés de la métaphore de Vaveuglement aussi bien de l'artiste que du spectateur devant les images. Les conservateurs, par leur connaissance des collections, apportent le support essentiel de l'exposition, la personnalité extérieure traduit par l'exposition sa préoccupation dans le domaine de l'expression artistique. Le terme « parti pris » malgré son sens convenu fait image ici puisque exposer c'est choisir, donc se mettre en jeu, en cause, donc s'expliquer. Et ceci dans tous les sens. Cela va des commissaires des expositions jusqu’aux spectateurs. Pour tous joue assez bien 'heureuse formule d'Alain Bonfand « oeuvre m'explique ». Exposer repose sur un motif, ou plutdt sur une motivation, or la motivation est d'ordre personnel. Il y a d'ailleurs une différence notable entre les collections dart d'un musée et les collections privées : lun rassemble ce quill faut montrer, dans une dynamique ou le temps se déroule linéairement comme successions de moments significatifs, et l'autre ce quif aime et qui en fait le constitue. Sensibilité et affects y entrent en jeu avec leur part d'obscurité et d'indicible, les assises de la raison peuvent paraitre ébranlées, la logique semble ne plus étre de mise. L'exposition apparait « contestable ». C'est en cela, pour cela que le visiteur peut avoir sur elle quelque prise : exposition devient réactive. De plus, dans espace, oeuvre vit, cherche sa place, bouscule ses voisines par sa présence méme, comme porteuse d’énergie. Etrangement le chef-d'oeuvre est plus actif soit a lintérieur de son milieu réel (son environnement) soit complétement seul ; accroché dans les « solitudes cirées » au milieu d'autres chefs- d'oeuvre, du méme artiste ou non, contemporains ou non, le chef-d'oeuvre est comme neutralisé. Dans les musées, «nos trésors nous accablent et nous étourdissent » dit Valéry. Il faut pouvoir se concentrer pour rechercher en chaque oeuvre le message profond au milieu d'une cacophonie stupéfiante. Les oeuvres perdent dans les collections publiques de nombreux pans de leur propre histoire comme s'il s'agissait d'une affaire privée plus de mise ici. L’erudition encore semble étre une solution provisoire mais elle ne permettra sans doute Jamals de dévoiler toute la force de oeuvre dart. Du moins dans sa totalité et dans un méme moment. Un bon exemple nous semble étre l'Origine du monde de Gustave Courbet entré depuis peu au Musée d'Orsay. Le caractére provoquant du sujet représenté semble devoir étre gommé par le voisinage d'autres oeuvres de Courbet. Peut-étre est-ce le souhait inconscient mais le caractére provoquant subsiste et c'est ‘essence méme de oeuvre qui disparait. Qui se souvient alors du parcours insensé du tableau jusqu’a son séjour chez Lacan qui le cachait. L'oeuvre était devenue métaphore du discours psychanalytique et Lacan avait fait réaliser par Masson des volets pour voiler le tableau dans toute la force de sa nudité. Le cache muni d'un systéme secret d’ouverture jouait un réle de protection, Lacan pensait que ses domestiques et la plupart de ses visiteurs ne supporteraient pas le tableau, II le voilait comme il avait toujours &t8, dés son origine, caché derriére un 43rideau vert, puis dans un coffre peint par Courbet lui-méme. Or le voile nous semble essential ici il participe du message de oeuvre. Brutalement mise a nu dans les collections du Musée d'Orsay, ne perd-elie pas a jamais sa part d'humanité ? Présenté @ Beaubourg lors de l'exposition « Masculin-Féminin », le tableau y est encore réduit au seul aspect de sa nudité, lly a plus, toute cette polyphonie de fart, la polysémie, doit étre organisée au sein d'un projet ou si possible chaque intervenant, de formation et de préoccupation diverses, prend sa place propre. C'est la réussite, nous l'avons dit, des expositions « Particpris », dans une approche non seciaire. Uart trouve en effet son intérét dans sa non-ségrégation. Pourtant, nombreux sont les exemples oti les écueils ne purent étre évités bien qu'attendus. Ainsi, par ‘exemple, le Musée d'Orsay qui, selon le projet initial, devait étre le Musée du XIXe siécle prenant en compte toutes les formes d'expression, artistique mais aussi historique, sociale, industrielle, scientifique... En en faisant un musée des beaux- arts, et se donnant bonne conscience par la présentation annexe de mobilier d’époque, de quelques éléments de presse, d'un département photographique, on a réussi a éviter le véritable musée dune époque riche invention, de développement artistique, scientifique, technique, économique, avec tout son envers de miséres et de luttes sociales. On a gagné I'innocuité, limmobilisme, labsence de sens. Pouvait-il en étre autrement ? |I faut alors évoquer une expérience inédite et récente, Dans cette quéte de sens, le Chateau d'Oiron, dans louest de la France, au nord des Deux-Sévres, abrite une collection d'un caractére tout particulier. Vaste chateau de la Renaissance francaise, il fut la demeure prestigicuse d'une dynastie familiale, les Gouffier qui avaient su rassembler des oeuvres d’exception. Du portrait de Jean le Bon (actueliement conservé au Louvre) a la Galerie des Peintures, vaste ensemble de peintures murates exceptionnelles pour I'spoque, le chateau était pensé comme un écrin pour les chefs-d'oeuvre. Depuis 1987, a l'nitiative du Ministére de la la Culture et de la Caisse des Monuments historiques, s'est développée, sous Vimputsion de Jean-Hubert Martin, une collection d'oeuvres contemporaines rassemblées dans un « cabinet de curiosités » modeme sans limites, investissant toutes les salles du chateau. Ce « cabinet de curiosités » est empreint dé mythe et de réve, humour y est rarement absent. Visiter le chateau constitue alors une expérience hors du commun, aux aspects labyrinthiques dans le but de retrouver la mémoire d'un lieu habité aux multiples strates temporelles. Christian Boltanski constitue une Galerie des portraits en prenant en photographie les enfants de 'école primaire ¢Oiron, et jette un regard d'ethnologue avec et sur sa sensibilité d'artiste et sa perception du monde. Daniel Spoerri réalise ses sculptures Corps en ‘morceaux pour la salle d'armes du premier étage. Charles Ross ses Brilures solaires pour le Salon du Soleil... Chaque oeuvre participe ainsi a ce projet commun ou le subjectif a sa part et fait sens. Cet ensemble perturbe ainsi les équilibres et nos certitudes. Ainsi ta notion de subjectivité fait piéce a la sacro-sainte objectivité couramment prénée. Il est en effet possible, comme !'a dit et prouvé Harald Szeemann (en réalisant jadis une exposition sur son grand-pére), que le témoignage Ie plus singulier, personnel et subjectif soit profitablement érigé en objet iintérét général. 44Oo oO Diautre part, il est évident que toute oeuvre présentée est une oeuvre interprétée : exposition est faite par X et X siinterpose entre le spectateur et Tarliste. Méme plus : toute oeuvre pergue est une oeuvre interprétée, cette fois en raison de la personnalité méme de celui qui la pergoit. Cela fait partie de expérience esthétique dans laquelle je suis ce que me fait objet contempié, cela fait partie du travail de la perception. C’est en ce sens que l'exposition peut devenir tun chemin diinitiation nous renvoyant & autre chose, a un espace autre, 4 une autre expérience, et finalement nous-mémes. Conclusion ‘Au musée, on aurait parfois envie de dire « laissez le temps passer... ». Philippe Jaccattet évoque les vieux villages de Provence et les transformations voulues par leurs nouveaux occupants, habitants des villes qui réinvestissent de vieilles demeures paysannes. |! congoit la nécessité de telles restaurations et dévoile son sentiment a l'égard des musées. Sans doute raisonne-til en poéte réfiéchissant au temps : “Le viell Oppéde a été partiellement remis en état, non sans godt... Mais le mensonge est visible ; on se croirait au musée. Le passage du temps ne peut étre masqué, et il faut faccepter, fol-ce avec tristesse *. Ui r'existe pas d'objectivité de l'exposition, mais des subjectivités qui visent lutter contre immobilité du monde, Le musée didactique, pédagogique est un lieu de conservation de la mémoire ou le sensible est l'outil privilégié pour éveiller la réflexion, lnterrogation. Espace de souveraineté plutat que d'autorité, le musée est le lieu d'une expérience indifférente 4 toute autorisation. Ii faut « laisser du jeu » (mécanique) pour créer une perception dynamique. Tous les aspects d'une oeuvre dart ne peuvent étre abordés simultanément ; pour en révéler chacun, il faut rendre les oeuvres mobiles en muitipliant les interventions, les expositions temporaires, en changeant périodiquement l'accrochage afin que les galeries deviennent autre chose que dimmenses réserves d' « couvres congelées » dont on attendrait vainement le réveil. Pour reprendre la métaphore mécanique, le jeu permet le mouvement, en son absence les mécanismes, ici la perception, se grippent, la fatigue nous arréte, linertie nous guette... -» alors que oeuvre n’a pas de limite, ‘oeuvre n'est jamais finie. Rembrandt | ce doigt sévére qu! écarte les orjpeaux et montre... quoi ? Une Infinie, une infernale transparence ” (Jean Genet). Janvier 1996 45REFERENCES BIBLIOGRAPHIQUES ‘Matilde BELLAIGLE, Michel MEN) - 1995. Ala recherche de objet Kgl, In TECHNE n°2, Laborato de recherche des. ‘musées de France / Réunion des musées halicnaux, Walter BENIAWN- 1882, Charlos Baudelaire, Pete biblthéque Pay U.BosctoN, C.CARRA, LRUSSCLO, G.BELA, G.SEVERNI - 1912 -, In Figuraton/Défiguraton - 1975, CRACAP, Le Crouset. Alain BONFAND ~ 1998 -, Liexpdiance esthétique @ épreuve de le phénoménclogl, Le tistesse du rol, Presses Lniverstlres de France. = ‘Yves BonNeFOY - 1900, Mercure de France, 1902, improbable et aures ossas, Foto Gallimard, Hubert Dawson - 1995, Tate ral, Réunion des musdes nalnatx, siacques DerROA - 1991 - Mémotres daveugle, Réunion des muséesnatlonaux ‘Jean GENET - 1995 ., Rembrandt, Galimard E.GotoscHor, J.HOcPFFNER, LJOUBERT, J.H.MARTIN, MPASTOUREAU, Hie Terminus Haoret, (leet la fn), ve ‘guide du Chateau dOiren, Nathalie HEINRICH - 1995, Harald Sreamann, un cas shguler-Entrofen, Echoppe. Phifppe JACCOTTET- 1864, Tout n'est pas cf, Le temps qui fat. Louis Kasay parafre ., Textes 1955-1974, Eons du Unteau Richard NONAS - 1996, Get out, stay away, came back. A propos de Sculpture et de la sculpture en oeuvre. Coteetion Ecrits arises, Les Presses du Réel/La Vie des Fores. aul PHLUPPOT = 1995 . oeuvre ar, le temps, la restauration, In Histoire do Fat, n* 32, dbcembre 1095 Janchio TavszA%s - 1989, LElogo do Fem, ‘Publications arentalstes de France aul VALERY, Le prbléme des mustes, pars dans le Geuiele 1923, La Piiade Gallard, tome 2, pp.1200-1200, Rémy ZAucs - 1900, Conversations avec Jean-Christophe Ammann, Collection Eerts Cartes ~ Arte at 46Mathilde Bellaigue, Michel Menu Laboratoire de Recherche des Musées de France, Paris, France Abstract AN INFINITE TRANSPARENCY: ART AND MUSEOLOGY Isn't art in the museum something paradoxical ? Its true that the museum has to preserve the artworks. But creation itself is a dynamic process as opposed to the immobility of those works inside the museum. Time passes over them as over us, but the museum does not acknowledge time and tends to stop its movement. It also segregates art collections from other types of collections. Why ? Should we, then, and how, integrate art into a holistic approach of men's traces ? Here we study a possible altemative museological attitude, Integrating art collections among others in a real interdisciplinarity, the acknowledgment of subjectivity in making exhibitions, a dynamic conception of those exhibitions with the tumover of the artworks, the effort of showing the multiple aspects of the artists’ expressions, all that may bring the visitor nearer to that « new understanding of the world » which the artist only is able to bring out. 47Regina Bibiani Université de Rio de Janeiro, Brésil Numismatique: Art, Message, Document ‘Le temp passe, tout mourt, lo marbre méme suse, Agrigente n'est plus qu une ombre et Syracuse ort sous fo blanc linceul de son cio! indulgont, Et seu! lo dur métal que fAmour ft doco Garde encore en sa four aux médailes d'argiio Limortollo boauté des vierges de Sicilo” Herédia Pour que artiste puisse produise de art, il tui faut de Ihabilite professionnelle et de l'imagi n créative. La conjonction de ces aptitudes crée quelque chose qui peut étre considéré comme une source de plaisir, quelque chose dlattrayant, de décoratif, et dont usage est pratique et utitaire, Les oeuvres d'art, outre leur fonction denrichir nos vies, révalent les capacités, imagination et fa grandeur des artistes qui les ont créés. Approfondir notre amour envers l'art nous aide a mieux connaitre les oeuvres qui nous entourent. Méme si nous ne possédons guére de connaissances artistiques, nous sommes parfaitement capables de constater excellence artistique en observant les objets nécessaires notre vie quotidienne, comme c'est le cas de certaines pidces numismatiques, et parmi celles-ci, la piéce de monnaie: unité représentative de valeur. Comme instrument d’échange et moyen de paiement, la monnaie est extrémement utile et nécessaire, et se trouve présente dans la réalité quotidienne de tous les peuples, en facilitant les échanges et en libérant 'économie. Outre sa fonction économique comme instrument actif de la vie sociale, ta monnaie a contribué depuis l'antiquite de fagon décisive au progrés de la civilisation, en révélant des événements importants, en servant de témoignage & histoire de Thumanité, en agissant en méme temps comme moyen de communication et véhicule de culture. La numismatique, comme instrument de recherche, est associée aux sciences auxiiaires de thistoire, l'archéologie et 'anthropologie, car elle établit un Portrait des peuples et des nations par le biais de leurs régimes politiques, de leurs conjonctures économiques e de leur culture. Selon Severim de Faria, "A laide des images frappées sur les monnaies et a travers leurs inscriptions, ta mémoire du temps est conservée, beaucoup plus que dans des documents. Il s’agit d'un témoignage concret des faits et des époques” 48En Muséologie Appliquée aux Fonds Muséaux Spécifiques, comme c'est le cas de la numismatique, le chercheur se trouve devant un vaste domaine d'étude: identification, le classement, ses retombées dans histoire sociale, politique, économique, artistique, etc. En observant attentivement tous ces aspects, le chercheur étudie de fagon spécifique, méthodologique et scientifique, les organisations des séries monétaires, en plus de la fonction monétaire, de son domaine de circulation et d'autres détails également en rapport avec son émission, en nous permettant ainsi de visualiser la monnaie dans le temps et dans l'espace. La monnaie, comme nous la connaissons aujourd'hui, est le résultat d'un Jong processus d’évolution et posséde comme ancétres les versions grecques des principales monnaies frappées dans I'antiquité. La numismatique grecque constitue la série la plus importante de antiquité, aussi bien du point de vue chronologique que de celui de la manifestation artistique. Pendant la période de Périclés, considéré comme le summum de la ‘splendeur artistique de la numismatique, le dynamisme de Ja gravure monétaire atteint la perfection. Les représentations des effigies nous permettent d'apprécier le traitement du visage, réalisé grace une technique difficile, si nous considérons la diversité des expressions de ces visages; nous constatons également un profil parfait et la grace qui dérive de Iharmonie des traits, et qui rehausse un visage ‘expressif, un sourire ou un regard énigmatique gravés sur une piéce de faibles dimensions, qui ont exigé certainement beaucoup d'habilité technique pour étre réalisés, En étudiant de plus prés la numismatique, on arrive a percevoir plusieurs autres aspects de l'art, comme lesthétique du corps humain ou la perfection de la ‘reproduction de la faune et de la flore. Beaucoup de soulpteurs grecs - comme par exemple le célébre sculpteur Phidias ~ considéraient que graver une piéce de monnaie constituait un défi, ou une étape de perfectionnement. Notre connaissanoe actuelle de l'anatomie, nous permet de mieux évaluer Ihabilité supréme qu’exige la reproduction, a telle point parfaite, des formes humaines que l'on peut admirer sur les monnaies grecques. Trés expressives, elles révélent un souci de perfection selon les standards de beauté de l'époque. Cette perfection les rend tellement attrayantes que leur possesseur était souvent tenté de les garder. En outre, les piéces de monnaie bien gravées ot portant leffigie d'une divinité protectrice encourageaient et mettaient en valeur les transactions commerciales. Beaucoup de sculptures célébres, comme celles du Zeus Olympique de Phidias, d’Aphrodite d’Escopas, d’Hermas et d’Aphrodite de Praxitéles, et d’Era de Polyclate nous ont été révélées par le biais des piéces de monnaie... Syracuse, ville Corinthienne de Sicile, fondée au Vill siécle A.C., a maintenu pendant trois siécles sa position de prestige et de richesse, fait prouvé par la série de monnaies diffusées par cette ville, o&labres par la perfection de leurs gravures, et qui ont atteint une perfection sans précddent. Beaucoup de cas piéces portent le nom des attistes-graveurs, dont Evanietos, Eukleidas, Kimon et Parménide. José-Maria de Hérédia, poate pamassien frangais, a composé un poéme pour rendre hommage aux effigies des “Vierges de Syracuse” louant le travail du sculpteur, la beauté des divinités, apogee de la ville et le prestige commercial conquis par cette ville dans toute la Méditerranée. 49Parmi ces effigies, se détache une gravure soignée dont l'avers porte le profil d'Aréthuse, une des divinités protectrices de Syracuse, omée de peries et entourée de quatre dauphins. Sur le revers, un quadrige conduit par un aurige expérimenté et surmonté par une victoire allée, étend une couronne de tauriers, symbole du succés oblenu dans ses batailles contre les envahisseurs. Le mouvement des chevaux au galop a servi diinspiration pour la frappe d'une piace de monnaie italienne, en 1961, année de la commémoration du centenaire de son Unification: un quadrige audacieusement stylisé et extrémement vibrant comme celui de Syracuse, La représentation a'Hercuie sur une pigce de monnaie grecque, montre la lutte de cet héros contre le lion de Némée. Ce modéle a conduit le socialisme russe a frapper une piéce de monnale reproduisant le travail d'un ouvrier métallurgiste dans une position similaire a celle d'Hercules. Cet héros mythologique a servi de modéle aussi bien aux grecs qu’aux romains. Plusieurs piéces de monnaies ont é& frappés a Teffigie Alexandre le Grand portant la peau du Lion de Némeée. Plusieurs empereurs romains se sont fait représentés par Hercules, suggérant de cette fagon un rapport avec 'ancétre mythologique. Les piéces de monnaie romaine ne possédaient pas les qualités artistiques de la monnaie grecque, mais étaient, par contre, trés bien frappées et portaient les éléments de l'histoire romaine et de ses empereurs, qui les utilisaient comme véhicule de propagande. L'effigie des empereurs et leurs innombrables titres furent adoptés et utilisés communément par les royaumes européens jusau’a actualité. L'effigie couronnée de la Reine Elisabeth Il est frappée sur les piéces de monnaie du Royaume-Uni avec ses titres en latin, selon la tradition romaine. Aujourd'hui, 1a monnaie constitue un des documents es plus importants information et de divulgation. La majorite des pays actuels suit les modéles anciens, et frappe des piéces et des médailles commémoratives qui représentent les événements de leurs histoires, par le biais d'allégories qui symbolisent la liberté et la République, leffigie de leurs fondateurs, des personages illustres, des faits historiques, des monuments artistiques, des éléments de leurs économie, la faune, la flore, etc... et constituent ainsi des élements sériels. art monétaire d'aujourd'hui cherche @ montrer non seulement une liaison intime avec le passé, mais également un souci du présent; les themes retenus attirent notre attention sur l'avenir. Parmi les thames représentés, un des plus attrayants est celui ou figurent les éléments de la faune et de la flore en extinction. Linstrument monétaire, en attirant notre attention sur l'écologie, joue un réle de divulgation pour fhumanité, en désignant les espéces menacées d'extinction, et Nous invite a une réflexion commune sur importance de la nature et lenjeu de sa préservation. A ces trésors naturels, se joignent les thames relatifs aux monuments de architecture, dont le rdle est non-seulement de montrer les beautés de la nature et le patrimoine historique, mais également celui de préserver tout ce qui posséde une valeur universelie exceptionnelle. UNESCO nous montre, par ses régles de conduite, qu'aussi bien la beauté esthétique de larchitecture d'un Taj Mahal, en Inde, que celle des Cataractes d'iguacu (Argentine/Brésil) font désormais partir du "Patrimoine du monde”, et que tous les efforts possibles doivent étre entrepris pour les préserver. Dans ce contexte, 'argent en espace réalise sa mission auprés de la civilisation comme instrument de valeur et de divulgation de culture. 50Nous constatons, aujourd'hui une certaine monotonie dans art esthétique des monnaies modernes, dont le volume et lintensité de circulation ne permettent plus une frappe de qualité, a exception des émissions commémoratives ou les ‘&vénements en rapport avec histoire et les personnalités des pays émetteurs sont mis en lumiére Le Club de 1a Médaille de I'Hotel des Monnaies du Brésil (Casa da Moeda do Brasil) contribue a la diffusion de T'art de la médaille en frappant annuellement prés de douze médailles commémoratives. Les thémes les plus significatifs sont choisis au préalable par un Conseil de Consultation, formé par des spécialistes liés a la culture du Brésil, Ses artistes et ses graveurs soignent leurs production en adoptant de nouvelles techniques de composition, de frappe et de creusure, créent des formes originales, valorisent et innovent aussi bien en cequi conceme la technique que art. Les musées de numismatique, dans leurs grande majorite, possédent des collections précieuses, préservées dans le temps. Elles contiennent des exemplaires uniques d'une rareté exceptionnelle, et dont la cotation de marché peut atteindre des valeurs trés importantes. L’étude spécialisée de la numismatique fournit un excellent matériel pour les chercheurs, non seulement a ceux qui se référent aux enregistrements des événements et des périodes historiques, mais surtout en permettant d'observer les diverses manifestations esthétiques de l'art travers les siécles. Les piéces de monnaies et médailles, historiées en petits tableaux encadrés de légendes informatives, rapportent d'une fagon concréte les détails de leur circulation et de leur économie. Les themes représentés constituent une importante source d'information et de recherche, et deviennent un moyen de communication significatif, car ils font passer leur message d'une facon claire et précise: 'apogée ou la décadence des civilisation dans le temps. Rio de Janeiro, Brési, mars 1966 : Regina Bibiani Professour de Numismatque, CHéraksque et fOrpanisaton nobiare, ‘de Décoratons at de Drapeatx de FEcole de Muséoioge (Chat au Département de Proctaés Techniques Documentaies- UN-RIO SLNelly Decarolis Argentina REFLECTIONS ON MUSEOLOGY, AESTHETICS AND ART Pour ce qui concems la muséologie,ote n'a rian a'éphéméro, cn tent que scionco du musée. Par contre, ce qui change c'est fe musée, et doncle contenu analysé, on fonction des variations sociales ot cuturofos. ‘André Desvallées The phenomena of art and of the work of art are obviously among the most variable, complex and often intangible of those presented to scientific inquiry. They cannot be reduced to fixed, numerical formulas but, nevertheless, they are not chaotic. it is the function of aesthetics to describe both their constant as well as their variable aspects, For Plato, knowledge (episteme) as distinct from mere opinion (doxa) is a grasp of the etemal forms and the supreme craft is the art of the legislator and educator, for his task is to ensure that the arts play their proper rola in the entire social order and in the cultural life and education of the citizen. So, the first problem is to discover what effect the arts have on people. The fear of their power is accompanied by an equal great respect. A major problem is to ensure social responsibilty of the creative artist, Concem regarding aesthetic problems was not a prominent part of medieval philosophy. The early church Fathers feared that a keen interest in earthly things might endanger the soul, especially since the visual arts were closely associated with the pagan cultures of Greece and Rome. Despite the danger of idolatry, sculpture and painting became accepted as legitimate aids to piety and literature to education. Some important lines of thought can be observed in the works of the two greatest thinkers: St. Augustin and St. Thomas Aquina. ‘An important feature of St. Augustin’s theory is that the perception of beauty involves @ normative judgement. The rightness or wrongness of the work of art cannot be merely sensed. The spectator must bring with him a concept of ideal order given to him by a "divine illumination’. It follows that judgement of beauty is objectively valid, there can be no relativity in it, On the other hand, St, Thomas’ account of beauty is given almost causally. Beauty, he says, includes integrity of perfection; due proportion ‘or harmony (referring to a relation between the object and the perceiver) and brightness or clarity. Though these reflections were primarily theological rather than aesthetic, they raised important questions about the nature of metaphors and symbols and illustrated reflection on the general problem of interpreting works of art. They showed the possibilty of a broad philosophy of symbolic forms, in which all art might be understood as a kind of symbolism. 52a With Renaissance, the concept of faithfulness of representation is fundamental to the fine arts theory. Contemporaneous with the development of neoclassical critical theory, was the divergent line of aesthetic inquiry pursued principally by British theorists in the Baconian tradition of empincism. Towards the end of the XIXth century, Immanuel Kant became the first modem philosopher to make his aesthetic theory an integral part of a philosophical system. German idealism temporariy overwhelmed the empirical approach to beauty and art, which became more metaphysical and transcendental, more devoted to the search for universal principles of aesthetic values. Nevertheless, the empirical study of works of art continued along other lines. ‘The romantic revolution was accompanied by refiecting on the nature of the arts ‘and led, over time, to fundamental changes in prevailing points of view. They generally conceived art as essentially the expression of the artist's personal emotions. For them, imagination is both the creator and revealer of nature and what lies behind it - a romanticized version of Kant's transcendental idealism - ascribing the form of experience to the shaping power of the mind, The idea of the work of art as a symbol, though old in essence, came into a new prominence in the romantic period. In the wake of the French Revolution and the rise of modem industry, political, economic and social changes raised, in a new form, the Platonic problem of the artist's relation to his society. Realism (Zola's naturalism) arose as a broadened conviction of the cognitive duty of art. The theory that the artist has primarily a social responsibility was first worked out by the French sociologists. It was, however, Leo Tolstoy who drove the social view of art to its farthest point, and issued the most fundamental challenge to art's right to exist. Aesthetics has never been so actively and diversely cultivated as in the Xxth century. Benedetto Croce considers aesthetics as the “science” of images and the intuitive knowledge. Many of his principles are based on his formula: intuition = ‘expression. The semiotic approach leads us to many philosophers working along this, line and applying their results to the problem of aesthetics. Among many critics and critical theorists of the XXth century, there has been a strong emphasis on the autonomy of the work of art, its objective qualities as an object in itself, independent of both its creator and its perceivers (Hanslick, Fry, Empson, Warren). This emphasis on the autonomy of the work of art has been supported by the Gestalt psychologists but also by phenomenology, a philosophical movement first developed by Husserl, whose primary objective is the direct investigation and description of phenomena as consciously experienced and as free as possible from unexamined preconception and presuppositions. Part of the task of contemporary aesthetics is to consider how the power of art and of knowedge about art, can be devoted to the best possible ends such as the enrichment of experience and better social and material conditions. ” Aesthetics studies al the arts. It deals with the “useful” as well as the "fine" arts insofar as they appeal to aesthetic taste. Modem aasthetics collects information from ‘every source which may contribute to a fuller understanding of the arts and their ‘changing roles in civilzation. it makes special use of psychology for the fight throws on the processes of artistic creation and appreciation, including the symbolic meaning and ‘emotional effects of various images. It looks to the social sciences, such as anthropology and sociology for information on the ways in which the arts have fitted info the cutural pattems of diferent peoples and periods. It is also closely related to art cxticism, emphasizing general principles rather than the merit of particular artists or works of art, Modem aesthetics makes no claim to proving universal laws of value, but ‘seks to provide relevant knowledge and methods which may help to make evaluation 53‘more informed and inteligent. It ties to describe the many specific processes and configurations involved in the aesthetic experiance, both in the observer and in the work ‘or other object which stimulates #. Though it does not ignore the subject of beauty, itis ess narrowly devoted to the task of defining its meaning than traditional aesthetics. The ‘concept of beauty holds a less pre-eminent place in modem than in tradtional esthetics, being only one of many aspects of art and aesthetic experience which calls for investigation.” * This reflects the tendency of contemporary arists to aim at other important qualities and places less emphasis on beauty in judging the value of art. Jean Dubuffet says: ‘Serious changes are curently taking place in the fled of art as in all others. ‘Certain values which for a long time were considered sound and irrefutable now appear to be doubtful; other values which were neglected before and even despised, have suddenly become those taken most into account. | long for art directly linked to our daily life; art which stems from such everyday life, arising precisely from our state of mind (J. It is generally said that there are beautiful objects and awful objects; pretty people and ugly people; lovely and hideous places (...) In may opinion there is no place where beauty can be found (...) The explanation of this uncertainty is that beauty, although it exists, is out of sight for many people. A special sense lacked by many is needed in order to distinguish beauty (...) Art guides the spint not the eyes (...) Art is a language, an instrument of knowledge and an instrument of communication ... *® There are close mutual relationships between the various big orders of art. Each of them has its pertinent virtual illusion where the unity of art appears as an object of faith. All works of art are creations. The principle of creation is the same in all arts despite the fact that whatever is created differs from one another. Materials are real, but artistic elements are always virtual, Susanne Langer says that ...” studying existent differences among the several classifications of art, one finaly reaches a point in which there are no longer differences; itis then that its unity is not only set forth but indeed proven. At this profound level there only exists the concept of art (..) The work of artis a form of expression created to be perceived by our senses or imagination (..). Within this context, it represents configuration in ts more abstract sense; equal fo structure, to articulation, fo @ whale which resutts from the relationship of ‘mutually dependent factors. Artistic configurations are more complex than ail other symbolic configurations and it is not possible to abstract them from the works of art in which they appear (..) Symbolism has a richness which towers above the personal experience of an artist. All works of art express @ conception of life: emotions, inner realty (..)_They are not frozen emotional ecstasies but rather @ developed metaphor, a rnon reflective symbol which articulates that which is verbally indescribable, the logics of integrity itseit.” > “ Whether a painting, sculpture, poem or novel, architecture or a musical composition, the artist receives @ creative idea in the way of lightening. What this ightening wil represent or reveal is not only the resutt of the talent from which it stemmed but aiso of what it has absorbed from the surrounding environment and his experience. From his entourage, education, parents, comrades, readings and trips; in brief, the whole of his existence to the moment in which the creative eostasies flourished. “* Art can only be evaluated in relation to all other aspects of society from which it comes, because it is an unpredictable social product, conditioned by the environment and by a complicated network of socioeconomic and cultural premises. 54‘Throughout historical events, itis not the values that change but the awareness thereof and their appreciation. The creative thrust of the arfist and his urge for expression are the result of a long-standing spiritual elaboration in which this social ‘element merges with the individual factor, As Hegel said ...” the subjective spirit is nurtured and developed by the objective spirit.” Recalling the words by Henri Focillon ...” @ work of art is a measure of space, itis a ‘shape, it is that which should be considered in the first place. Matter boils down to a function of ‘support; whilst shape is the objectivity of art, the subtle bond which enables to seize continuity, variations, combinations and even overlapping". Authentic art is abstract but its process of abstraction differs totally from that of science, mathematics and logics. The problem of the artist consists in treating specific objects in an abstract manner, without resorting to the logical method of progressive generalization. Thus, in the configuration created by a painter or sculptor - deeply influenced by colour and texture of the material used - it will be necessary to observe the symbolic possibiliies: its logic shape which is abstract, which is not visible, which is conceptual. in general, we only see the configurations, colours, movements, that is to say, the appearance. Roger Fry - an eminent art critic - said among other things that ..with an admirable economy we leam to see only that which is necessary for our purposes (...) only when an object exists in our lives without any other aim than that of being seen, we in fact contemplate it, as happens - for example - with a porcelain omament or a precious stone (...) Vis-d-vis such objects, to a certain extent the person adopts the artistic attitude of pure vision detached from need. Following Romero Brest. Art makes subjective realty objective and nature's outer experience subjective. Artistic education is the education of fesiing and a society which neglects this aspect surrenders to shapeless emotions. This is an important factor exploited by dictators and demagogues. * ‘According to Amold Hauser there has always existed an element of tension between quality and popularity of art: ..” The intellectual world of man today is imbued with the atmosphere of the immediate present, as was mankind of the Midle Ages characterized by an atmosphere of another World and that of llustration due to their disposition for looking expectant info the future (..) The impossibilty of repeating a moment that has not existed beforehand nor wil occur again in times to come, was the fundamental experience of the XIX century. “ * Any work of art entails a metaphor as is all human existence also metaphoric, in permanent movement from the finite world of acquired knowledge towards an infinite ‘world which we intend to get to know but which is continuously out of reach. Man is submerged in teality and it is such reality he expresses when creating works of art, The secret of artistic expression lies in the set of infinite possibilties which exist between man and a reality composed of different series of tangible and ideal objects, and of metaphysical elements to which access is only gained by deduction or perhaps by intuition. ‘Our senses bring one closer to works of art but itis the spirit which provides the teal aesthetic pleasure, endeavouring to achieve a fuller life. When itis said that a work of artis a message, itis presupposed that its essential nature is that of communication. 55The works of art are documents, footprints that man leaves in his struggle to accomplish absolute values. Artistic creation thus penetrates into the depths of our existence. Man does not content himself with just being and wishes to becorne and is therefore in a permanent state of transformation. He thinks it is not enough to exist and Permanently seeks to leave his traces and thus have a place in etemity through his works, which are the result of his creativity. But it is essential to recall that past events -in more or less remote times- are our concem whereas they contribute to be understood in the way we interpret and define them in the present. We-do not exactly know on which sociological grounds this veneration of the past ies. The awareness that what is best is the oldest is stil a strong feeling even nowadays, but critical memory -and not mere nostalgia for the past- is the essential condition for the development of man. The way to achieve a true appreciation of art lies in education and in the capacity of expressing an aesthetic critical judgement as a means of participation of the Public in general, Contact between the public and the work of art induces cultural transmission; but who is in charge of this transmission? what is conveyed? to whom? in what way? The museum through its educational programmes - both general and artistic - is a potential laboratory for testing the effects of different kinds of art on different kinds of Persons. It is the major instrument in prospective memory. An altemative means of communication, it conveys messages and, at the same time, is a laboratory of configurations, with enough capacity to give man a new self-control, achieved through the control of the structures which condition his perception, his action and even his thoughts. Museums deal fundamentally with humanity. They communicate, educate and enhance man's understanding of himself, continuously presenting the cultural and natural heritage of human civilization to the public. They interpret us within our environment, never separately and represent the conjunction where humanity and the world influence each other. Bemard Deloche says that ..." when creating aesthetics, history of the arts and the ‘museum, we have converted objects into works of art and have set the basis of our heritage. As a corollary fo our eagemess for etemity, we invented conservation (..). But the objective and function of conservation are imbued with ideological traces. tis necessary to protect and save heritage, of course... but itis also necessary to know in the name of what and clear away those ‘Principles which are frequently implicit in such an enterprise (...) Since the museum has its roots in collectionism, the museum curator must, above all, be a collector who does not collect for himself but with a view to constituting a collective heritage.” But if all objects are similar regarding their possession, which is merely passionate abstraction, as Baudrillard says, ...” colectionism would operate in the revelation ‘and, in tur, in the subversion of the object which ceases in its practical function to become a ‘museum object. And from the moment the object is no longer specified according to its function, it is qualifed by the subject.” This element of representation, the object itself, sets museums apart from other humanistic, educational agencies, Museum science promotes - among other things - the identification of the subject with the object which is enjoyed, practically enabling him to take its place. This is the aesthetic moment of art, that swift instant, virtually without time, in which the spectator is ‘merged with the work of art he is contemplating, whichever its characteristics. Time and space no longer exist; he has finally achieved the ecstasy of mystical vision. 56Nowadays, the real object of museology is not only situated in the work of art in itself, but also in the structure to which it becomes a means and a support. The study of these structures thus becomes a methodological analysis of the processes which determine history. History, which is the mirror of humanity, the biography of a community, arises when a series of events become significant, marking its evolution with certain circumstances. Bourdieu analyzed how art museums many times expel those who -because of allesser cultural capital- lack the necessary codes to really seize such heritage. Although ..." from the technical point of view, museums give visitors the freedom to organize their approach to the message of the exhibition; but fo feel free to choose, they must have a minimum knowledge or assurance.” And Marta Dujovne adds: ..” The objects speak for themselves fo those who can incorporate them into a network of previous knowledge.” Finally, and quoting Garcia Cancini: "in many cases i will be necessary to once again lay the foundations of _museological work according to the new conceptions of history of art and of interaction with the different publics (..) This becomes urgent at a time when the buildings devoted to exhibiting heritage must compete with the mass media and the new computor techinologies in order to have a significant presence among the various existent ‘communication and entertainment networks. It is not a matter of competing with the ew resources but instead of taking advantage of them in museums. Because the tttimate interest is fo make them widely legible (..) an articulate discourse and not an ‘accumulation of objects.” tn conclusion, | believe that the task of museology, as a scientific basis and theoretical foundation for the development of activities carried out at the museums of art, faces a challenging but exciting future. Artists, citcs of art and aesthetic philosophers are becoming more and more aware of how, in their quest for ways to enhance our ‘communication systems for a better understanding of ourselves, the museum is now a useful and indispensable tool By cultivating a spirt of partnership among the diverse disciplines related to ar, they are able to develop a fuller understanding of the links between people and their tangible and intangible cultures. Art constitutes, from the very beginning of civilization, the engraved memory of people's thoughts, actions, efforts and values and thus, museums have an unavoidable obligation for helping people to get to know and interpret them in their fuller sense Buenos Atos, 15 January 1996 REFERENCES 4. Encyclopaedia Britannica inc; Wiliam Benton Publisher, Vol I, pp. 221-274, US:A,, 1972 2. Dubulfet, Jean: E¥hombre de !@ cate ante la obra de arte, Editorial Debate S.A, Madrid, 1992. 3. Langer, Susanne; Los problemas del arte-Diez_conferencias flosdfices, Ed. Infrito, Buenos Ares 1966, 4, Romero Brest, Jorge: Qué es una obra do arte, Emecé Exitores S.A, Buenos Aires, 1992 5. Ibider. 6. Hauser, Amold: Historia Social de la Lteratura y el Arte, Punto Omega, Editorial Labor, Madrid, 1976 87André Desvallés Paris, France. MUSEOLOGIE ET ART: LE POINT DE VUE DU MUSEOLOGUE A priori on peut considérer que, dun point de vue muséologique, l'art ne doive se traiter que comme une matiére muséale parmi d'autres. On constate pourtant quil en est autrement, aussi bien lorsquion envisage la théorie muséologique que a pratique de l'exposition. Le but que se donne la muséologie n’estiil pas en effet étude des rapports specifiques de homme avec la réalité, tandis que les artistes se proposent de traduire plastiquement ces mémes rapports de homme a la réalité? Il n'est donc pas étonnant de retrouver, dans le processus de conception de l'exposition, de grandes similitudes entre ce que fait lartiste et ce qui est fait dans fa mise en espace d'un matériel culturel préexistant. En effet, dans leur conception classique, quelle que fit 'époque oti elles étaient générées et les finalités qui leur étaient données, les oeuvres d'art n'ont jamais été que la projection, sous des formes plus ou moins subjectives, du monde percu par leur auteur. Mais depuis au moins les ready-made de Marcel Duchamp, les créateurs contemporains ont profondément accentueé cette caractéristique dans une grande majorité de leurs oeuvres, dés lors que les matériaux quills récupérent (quils "détournent’) ne se distinguent plus de ceux collectionnés par les musées de civilisation. Le plus grand nombre des mémes artistes, et certains autres, nous offrent alors voir des "installations" que 'on a souvent du mal a distinguer de certaines mises en espace de sous-ensembles d'expositions - de caractére anthropologique, social ou de sciences exactes - s'exprimant au moyen de matériaux précédemment collectés. Et quelle autre dénomination peut-on attribuer & ces sous-ensembles si ce n'est aussi celle d’ ‘installation’, Il n'est qu’ considérer les installations d'un Joseph BEUYS, d'un BEN, d'un Robert RAUSCHENBERG, d'un George BRECHT, d'un Marcel BROODTHAERS, d'un Stanley BROUWN, d'un. Joseph KOSUTH, d'un Mario MERZ, d'un Larry MILLER, dun Bertrand LAVIER, d'un Joseph CORNELL, d'un Tony CRAGG, d'un Robert GOBER, d'un Jeff KOONS, d'un Lawrence WEINER, d'un Christian BOLTANSKI ou d'une Annette MESSAGER - sans compter celles de ceux qui travaillent d'abord sur espace lui- méme, comme Robert MORRIS, Tony SMITH, Donald LUDD, Dan FLAVIN, Sol LEWITT, Richard LONG, Carl ANDRE, ou Peter CAMPUS - et a les comparer & ce qui se fait au Musée Dauphinois de Grenoble, au Musée d'Ethnographie de Neuchatel, au Musée de la Civilisation de Québec et en bien d'autres désormais. 58On y trouve les mémes étalages sériels, ou au contraire les mémes oppositions de formes ou de concepts, les mémes ruptures spectaculaires qui donnent d'autant plus @ penser - n’était la signature de lartiste-plasticien. Mais pourquoi ceux qui font des expographies (ou des scénographies ?) mettant en ‘espace de complexes rapports de formes ou de concepts n‘auraientils pas aussi les mémes droits a étre reconnus comme des artistes créateurs a part entiére? ‘Trouverait-on méme une différence de degré dans la lecture de leur exposition, telle celle que Gérard GENETTE qualfie de “allographique", parce que devant recevoir dlabord une interprétation pour pouvoir étre lue (dans: L'oeuvre de Tart: Immanence et transcendance. Paris, Seuil, 1994; notamment p.12 et sqq.) Cela n'est pas certain puisque dans les deux cas nous avons affaire a des objets de la catégorie qu'l qualifie de "autographiques" - que l'on pourrait qualifier de lecture primaire -, qui sont utilisés pour un assemblage, dans une construction dont la lecture se fera au second degré. Et la différence de nature qui pourrait distinguer ceux dont fa matiére de départ (les objets) serait fonctionnelle de ceux qui ne le sont pas ne peut tenir davantage dans la mesure ol tous sont devenus des musealies et que linstallation de plasticien est tout autant devenue objet a fonction muséale que celle de l'expographe |'a toujours été par définition. 59André Desvallés Paris, France English summary MUSEOLOGY AND ART: THE VIEWPOINT OF THE MUSEOLOGIST We could consider that we should deal with art like we deal with any museum material. Nevertheless it is not, either when we take up the musem theory, either when we take up the exhibition practice. Is it not the aim of museology the research of specific relationships between man and reality, while artists intend to translate these same relationship between man and reality by plastic ways. 60Ale& Gatnik Slowenian Republic FROM MUSEUMS AND EXHIBITIONS TO THE MUSEUM CRITICISM AND CRITICISM OF MUSEUM EXHIBITIONS / FROM ART TO MUSEOLOGY OF ART 1. Introduction There is a long and venerable tradition of literature, art, music and criticism for more than 200 years. When you read oF listen to a review in one of these fields you can be sure to get what you expect (Waidacher 1985:3). In spite of the greatest respect for traditions, nevertheless everything is not in apple-pie order as one would imagine, We are confronted with problems in every sphere, particularly there is a great number of open questions at the evaluation of recitals, concerts and especially of operatic performances. Can you imagine an opera review being limited to a synopsis of “Don Giovanni" or a description of the libretto of “Rusalka’? - owing to its readers any assessment of the conductor's, the orchestra’s and the singer's performance, the production and its concept, the stage scenery, the costumes, style, pace, atmosphere, overall impression, etc. (Ibidem). Resemblances could be searched and found in the so called museum reviews, especially in the reviews of museum exhibitions, where we get more information about the contents of the research and less about the exhibition itself and its inner structure. In short, similar anomalies take place in those fields of artistic and scientific activities that are subjected to various forms of presentations and communications of the message they are trying to convey. The reasons for such acting can be searched in the unknowingness of the specificity of various media and their languages. 2. Museum Ct ism As the term theatre criticism is broader than the term review of a theatre performance, so the term museum criticism is broader than the term review of a museum exhibition, Within the notion of museum ericism that includes the review of all museum functions and roles being linked with those functions, we must speak about various possible reviews, among them the review of a museum exhibition represents only one of the segments in the structure of a museum being a subject of evaluation. Roughly speaking, the museum criticism is divided into two parts, namely into the museological and museographical one. In the field of museological criticism the subject of evaluation is the complete spectrum of activity on the theory level that is linked with the methodology of museology. 61The subject of the museographic criticism is above all linked with the so called applied museology and the reviews being connected with it, i.e. with the eviews of the museum management, marketing, architecture, ‘conservation, information, exhibition design, public relations, promotion®, and with the criticism of Pedagogical and educational programmes and animations that are either self- dependent or can be found in the complex of “permanent” or “temporary” exhibitions. Basic functions of the museums are: preservation, research and communication, preservation and communication being “museological functions” (Mensch 1995: 8-9), and the research is the domain of different basic scientific disciplines. The criticism of museum functions is derived from the understanding of those functions that should be, in case of the criticism of particular fields, linked with preservation and communication, derived from the methodology of museology. In case of research that should be achieved by using the methodology of different naturalistic and technical sciences and humanities, The museum review addresses us with ontological questions about museum practice and museology. The dilemmas being linked with it are the reflection of the relation between museology and basic scientific disciplines. Through the evaluation of the museum review we can recognise and evaluate also the relation between the museology and basic scientific disciplines. 3. Review of a museum exhibition 3.1. Matija Murko, one of the pioneers of the European museum criticism Among the more significant pioneers of the European museum criticism we must place also the Slovene {inguist, ethnologist and museologist Prof.D.Sc. Matija Murko (1861-1952), who reestablished in his “reports” "Thoughts on the Czech Exhibition” in Prague in 1891 and “The Ethnographic Czechoslavonic Exhibition in Prague in 1895" the valuable origins of the international review of a museum exhibition. Murko as an excellent observer and journalist, an authority on Czech history and culture and as a museum critic was capable to evaluate a museum exhibition and its accompanying activities. He also exposed certain museographic elements related with the museum presentation, communication and education’ (Gaénik 1995: 67-76). Historically, exhibition reviews have been conducted by people outside the field (Waidechor 1996: 7) In spite of some historical attempts we unfortunately cannot boast about the continuity of museum criticism and the review of museum exhibitions and its identification in the context of other possible reviews. 3.2. The Review of Museum Exhibitions between Museology and Basic Scientific Disciplines Can we speak about the culture of exhibition reviews? F. Waidacher answered a similar question in the context of the common European practice: Not yet, | am sorry to say. Museum professionals have for generations been extremely reluctant to any attempts to evaluate the quality of their communication. 62SoOCOC TLL Therefore it was impossible so far to develop a significant culture of exhibition reviews at all (Kenneth Hudson) (Waidacher 1995: 3) Problems and dilemmas connected with the questions of museum criticism and the review of museum exhibitions, open fundamental questions about the relation between the museology and basic scientific disciplines in a museum. The review of a museum exhibition is surely one of the most important fields of museum work, treating the museum exhibition as a medium with its own recognisable language. Presentation and interpretation of authentic collection objects are what makes museum exhibitions fundamentally different and specific (Waidecher 1995:.1) from other media, Museum communication has its own language. This language is typical and must never be overlad with alien forms of communication, such as texts and audio-visual media. Objects and exhibits are images, metaphors which speak directly 5. The museum exhibition must not be analysed only by methodologies that are typical for different basic scientific disciplines (ethnology, history of art, history, archaeology etc), but it must be above all evaluated in accordance with the methodology of museology. The necessity to reestablish a holistic and interdisciplinary approach to the museum review seems to be almost self-evident, but only in case, if it doesn't exclude also the disciplinary evaluation of the museum exhibition. The museum criticism must be derived from understanding the specificity of the museum institution related with other institutions and upon the recognition of ‘a museum exhibition as a specific medium compared with all other media. In today's society, the museum is challenged from both sides: as the conserver of the cultural heritage and as transmitter of culture (Schouten 1980: 106). Therefore the museum exhibition uses objects as submedia that transmit its individual message and takes part in the transmission of the complete message (Marooviee 19930: 125), its reception principally happens visually (Waidacher 1995: 6) Every museum exhibition is a sort of edition. And also an integral presentation of different functions of museum work (collecting, researching, restoration etc.). The charm of the museum exhibitions is also based on the fact that we can create unreal, imaginary...contexts which usually cannot be found in ‘everyday life, An (museum) exhibition is by no means an imitation of reality but is its ‘own reality (1) resp. hyperreality (Umberto Eco). Museum reality is by definition metareality (ibidem), because the museum object is not only the a data carrier, but also a medium used for manipulation with ideas (Gaank 1996: 17) 3.3. About the Relation between Research and Exhibition/ Specificity and Diversity of Medi The basic difference between a research and an exhibition should be sought in the communication tanguage. A museum exhibition isn't and shouldn't be an academic lecture or a book. If somebody had made a good research and published it by chance in the catalogue accompanying the exhibition, this doesn't mean that he made a good exhibition. When speaking about the traditional museum practice, it is true that the author of the research is as a rule also the author of the exhibition. The automatism is certainly possible, as far as the author of the exhibition also deals with the process transforming the research into exhibition, i.e. by re-coding one programme language into another. 63That transfer is not only the visualisation and aesthetisation of the research, but above all a rational museological and museographical act. For a more evident comparison of a museum exhibition as a specific medium with other media, we can resort for a moment to a film or to a theatre performance. | would like to call attention to the fact that a direct transformation of a literary work, @.g. the novel “Interview with the Vampire”, written by Anne Rice, into the film of the same title, directed by Neil Jordan, is impossible, because it should be, in accordance with the rules of the game and the lawfulness and limits of the medium, “translated” from one medium into another. We are aware of the pretentiousness of such a procedure at least at the end of the film, when we see the list of numerous Professionals that have been creatively taking part at the transformation of a literary work into the film language. That goes also for the “translation” of a research into the language of a museum exhibition. And as it is not inevitably and even less necessarily and reasonable that the author of a bestseller is also the author of the film, so it is not a matter of course that the author of the research is also the author of the exhibition. 3.4. Professionalising the Museum Work and the Reestablishment of the Structure of Museum and the Museum Exhibition ‘What is a museum?. Museum is a place, where, in institutional form, the museology is being embodied in relation to the basic scientific disciplines (Geénk 19962: 17). The period, when the museum curator was an ‘all-rounder’, must become above all a matter of museum practice history and less a matter of its future (even in small museums). Complexity of a museum exhibition surpasses the abilities of individuals, even those, who seem to be ‘homo universalis", because the Professionalisation of museums demands more and more a better specialisation and organisation that must be reflected also at planing museum exhibitions®. Only when we reestablish a stratified structure of most different professions in museums, we'll be able to deal with museum criticism and museum exhibition reviews. New professionals - museum critics - will be needed for that job. Critics must be able to encounter an exhibition fresh each time, and using their own style. Unlike evaluation, which is grounded in some form of objective assessment, criticism is subjective; it is a personal judgement, no matter how sincere and informed (Waidechor 1995: 8), And McLean thinks that all good criticism is based on direct experience (in Weidecher 1995: 8) and must originate in museological paradigms, because museology is the scientific basis for the museum profession (Mensch 1989: 85.95) and its evaluation, Museum exhibition is communication of a message (Waidacher 1995: 1) Therefore it is the business of museum communication to build a bridge of willingness (Kenneth Hudson) across exhibition and visitors (4). If we want to communicate with others through a museum exhibition, we'll have to deal in the future incomparably more intensive with the research of the medium itself, its structure and roles linked with that structure. And as we speak about directing a cinema or a theatre performance...we'll have to speak in the future about directing an exhibition and about a director of a (museum) exhibition, 644. Exhibition of Works of Art as a Museological Project / From Art to Museology of Art ‘As an example of differences occurring at the evaluation of an exhibition from the aspect of the basic scientific discipline and museology, science and art, | ‘expose the exhibition "Mythology of Oohar’s Kurent”. At the exhibition we didn't present the artist, the self-taught painter Boris Johar as the author of numerous paintings and statues connected with the masks of demonic “kurents”, On the contrary. His relation to the phenomenon “magic’ and “supernatural” was shown through mythology that can be felt in his works of art! The exhibition has got a structure similar to a theatre or cinema performance. It has got an introduction, a gist, a plot, and an epilogue. A component of the exhibition was the authorial ambience music’ that was in our case derived from the museological scenario of the exhibition, the research and the works of art. ‘The ambience music hasn't been used only as a scenery, but as an autonomic element in the structure of the museum exhibition that under the director's lead helps to a greater aesthetic delight and to a more profound mythological experience ‘The term “ambience music for the exhibition” was defined and denoted as a specific field in music, we determined the role of music in the structure of a museum exhibition. At the exhibition we used in different ways the enlarged and diminished (photographic) details of pictures having a function of a commentary or a remark! With them we established a specific interaction between the picture, the detail and the visitor. By focusing the look we helped the visitors to become aware of the artist's depicted world. In the structure of the exhibition "Mythology of Cohar’s Kurent’ we defined the independent role of the director of the museum exhibition, whose basic task was to create a global atmosphere of the exhibition. And that in such way that he in an authorial manner linked together the objects with the context, text, music, colour, light ...attached to the museological scenario of the exhibition and its dramaturgy (museum exhibition must also follow the basic laws of dramatics (Watdacher 1995: 6) I mentioned an example, where the function of the director has been initiated into the structure of the museum exhibition, in order to point out the necessity of introducing new roles into the structure of a museum exhibition. At the same time we must be aware of the fact that those innovations are only possible, when museology is being included into the process of planing a museum exhibition. ‘According to Ivo Maroevize we proved with the exhibition that the art resp. the picture can be museologically interpreted, we also indicated the possible transformation of art galleries into art museums. 5. Between the Methodology of Evaluation and Awarding ‘A question is being raised: What can be evaluated at a museum exhibition? It surely cannot be the object itself. Maybe luxurious and expensive showcases, the latest tachnology, the price of the project, the splendour of the opening ceremony, the number of official speakers and guests...? Sure not! Even the number of visitors as a quantitative criterion at the evaluation of the museum exhibitions remains questionable from the viewpoint of the qualitative evaluation. it is not a matter of course that the quality of visits grows parallel with the growth of visitor number (Sola 4993: 22), 65With a recipe for a “good” museum exhibition is the same as with the recipe for a “good” film or theatre performance. It's impossible to give such a recipe! in spite of all W. Jones (1986) has given a list of essential characteristics of a good exhibition (Waidecher 1995: 7). 5.1, Between Museology and Theatrology The reciprocal proportion between the theatre, a theatre performance and theatrology can be denoted in the museum practice as a relation between the museum, a museum exhibition and museology (Gaénik 1996e: 20)! In order to compare the methodology of evaluation between a museum exhibition and a theatre performance, we must take a look into the methodology of awarding at our national theatre contest and the so called Borstnik’s awards. They could be divided into permanent and occasional awards. The permanent ones include the awards for the best performance as a whole, the best direction, the best man’s and woman's role, award for the best young actor and actress and the main award for lifework (BorStnik’s ring). The occasional rewards are presented for scenography, costumography, make-up, dramaturgy, music, light... From that example also the museum workers in different countries can learn a lot! Namely, all elements being holders of the theatre (resp. museum) language can be awarded, because each one represents a rounded up authorial work! In the national and in the international practice this would mean that e.g. a museum project gets an intemational award for the best scenario or direction, for the best music ete. When we, in order to achieve a clearer comparison, compare the theatre with the museum or the theatre review with the museum review, we must be aware of the difference, the specificity and similarity of both media. The difference between them doesn't lie so much in the structure of a theatre performance when comparing it with the structure of a museum exhibition, but in the fact that a theatre performance is a pure artistic creation, an unique and an unrepeteable event. The museum exhibition must reestablish not only an aesthetic but also a rational comfort. 5.2, Multimedia Syncretism, Fashion and Hierarchy In the era of multimedia syncretism and fashion we must not confound the technological innovations with the conceptual ones, thinking that the introduction of the latest technology will save the crisis of museum communication and presentation (Gaénik 19950: 20-24)°, The museum object must remain the alpha and omega of the museum and museological interest, either as an original, imitation, reconstruction, miniature, model, hologram etc. And that in spite of trends, when the museums of palpable truth are approaching the museums of ideas. (Sole 1993: 24), but this fact doesn’t exclude the needs in contemporary museums to collect not only Objects but also information (Schouten 1988; 110). In the context of the international presentation of awards in museum practice and museology (EMYA) we must not expose the hiearchial sublimity of one object over another one. 66From the viewpoint of historical memory both objects can be equally important In the context of the presentation of awards it is not important how many “valuable” objects were exhibited, but how they were presented! Last but not least, we must take into consideration different genres within the basic scientific disciplines and in museology as well. How can we in the end compare Jeff Koons’ sculpture with Michelangelo's David. On the one hand we have sculptures, on the other hand exhibitions, either about Jeff Koons’s art or the art of the Renaissance. Both exhibitions can be “good” or ‘bad, that means that valuableness and antiquariness of the exhibit still cannot give an assurance for a creative and innovatory exhibition, Even with the finest works of art a very bad exhibition can be made. 6. Epilogue Stereotypes in museums and about museums can blur their image. Therefore our future will be dependent not only on the professionalising the work in museums and on the recognition of museology as a scientific basis for the museum profession, but also on the reestablishment of the museological methodology of evaluation and presentation of awards. Museum criticism and museum exhibition reviews can contribute not only to a greater social affirmation of museums as institutions having their own and recognisable identity, but also to a more competitive struggle of museum exhibitions as a specific medium against all other media References ICOM, CIDOC - Dictionarium Museologicum, ICM (CIDOC), Budapest, 1986 Gaenik, AleS - 1995: Matja Murko - Museum Criic and Museoiogist | Between the Ethnographic Czechoslavonic Exhibition in Prague in 1895 and its Centenary in 1995, The Development of Slovene Ethnology trom Strekelj and Murko to Modern Ethnological Efforts, Slovene Ethnological Society, Uubljana, p. 67-75 = 1995a: Museum “Oscars” / A Contribution to the Roostablishmont of the Musoum Ghiicism and the Museum Exhibition Reviews in Slovenia. (Muzejski Oskari / Prispevek k vzpostavitvi muzejske kritika in krtike muzejskih razstav na Slovenskem), Zborovanja Slovenskega muzejskega druétva, ldrija, p. 16-25. Maroeviae, vo - 1986: Museum Object as a Link between Mussology and the Basic Scientific Discipline {(Muzejski predmet kao spona izmedu muzeologiie i temeljne znanstvene discipline), Informatologia Yugoslavica, 18 (1-2), p. 27-33. ‘= 1993a: introduction fo Museology (Uvod u muzeclogiju), Zavad za informacijske stu Zagreb ____ - 1993: The Role of Museology and is Relation to the Basic Scientif Disciplines (Vioga muzeologije ter njen odnos do temeljnin znanstvenih ved), Muzeoforum, Zbornik muzeolo&kin redavanj (1991), SMD in ZMS, Ljubljana, p. 35-45. Mensch, Peter van - 1989: ‘Museology as a Sciontiic Basis for the Museum Profession, in ;Professionalising the Museurn, Amsterdam, p. 85-95. = 1992: Towards @ Methodology of Museology, doctor's thesis, University of Zagrab, Faculty of Philosophy, Zagreb, = 1995: Towards @ Methodology of Museology (kK metodologili muzeologije), Muzeoforum, ‘Zbornik mizooloskih predavan) (1999/94), ZMS, Ljubljana, ‘Murko, Mata «1862: Thoughts onthe Czech Exh (Mills bbe raztave), LZ, 1, p.42-182, p = 1896; The Ethnographic Czechoslavonic Exhibtion in Prague in 1895 (Narodopisna Tazstava SeSkoslovanska v Pragi leta 1895), LMS, Ljubljana, p. 75-137. ‘Schouten, Frans - 1989: Magatrands, in; Professionalising the Muses, Amsterdam, p. 107-116, ‘Stransky, Zbynek Z. - 1995: Introduction to the Study of the Theory of Presentation, International ‘Summer Schoo! of Museology, course C, Bo 67Sola, Tomistev - 1985: Towards @ Total Museum (Proma totalnem muzeju), doctor's thesis, Edcard ‘Kardelj University in Lubljana, Philosophical Faculty, Ljubljana, = 1983: Presence and Future of a Musaum (Sedanjost in bodobnost muzeja), Muzeoforum, ‘Zbornik muzeoloskih predavanj, SMD and ZMS, Ljubljana, p. 19-24 Waidacher, Friedrich 1993: Handbuch dor algemoinen Museoiogie, Mimundus 3, Wissenschattliche Reiche des dsterreichischen Theatermuseums, Wien. 1995: Reviewing Musou Exhibition, international Summer School of Museology, Special ‘Session © on museum communication and education, Brno, Notes: 1. In ICOM museotogical dictionary we cannot find the terms museum enticlsm, museum exhibition ‘review, musoologica’ entcism, museographic orfciem. But we can find the term critique of sources, (p.73) and the term evaluation (p, 101) Dictionarium Museologicum 1986). 2. | am not carrying out the system of museographie ericism in relation to the system of museology of Z, Z. Stransky, who divides it into metamuseology, historical museology, social museology, theoretical museoiogy, museogrephy (applied museology (Stransky 1995: 9) ‘3. Onthe basis of mentioned works we can convince ourselves that Matija Murko’s writing cannot be denoted only as a “report, but as an excellent example of @ museum exhibition review. In the latter case moreover as the national museological programme. 4. He also draws attention how to musealize the heritage in museums and how to research the present time. We can compare Murko’s understanding with the Swedish system SAMDOK, a system enabling the documentation of objects and people in 2 contemporary way. 5. According to Stransky the planning of a muscum exhibition must be based on six stages: 1. conception, 2. libretto, 8. introductory scenario, 4. technical scenario, §. production, 6. instal {Stransky 1995: schemme-composition of exhibition form). 6. The exhibition was arranged by the Provinci fi Gallery’ (23rd February - 28th May 1995), Authors of the Exhibition: Stanka Gaénlk, Ales Gaénik; Design of Exhibition: Janko Marini®; Exhibition Presentation: Ale& Gadnik, Stanka Gadnik, Janko Marinié; ‘Authorial Music for the Exhibition: Milko Lazar; Director of the Exhibition: Ale’ Gaénik. 7. The authorial atnbiental music was on this very oocasion composed and released on a CD by Mr Milko Lazer, composer and multiinstrumentalist 8, If someone makes a good multivision,flm, computer programme ete. that doesn't mean that he ‘made a good exhibition! And how should we evaluate the use of contemporary technology in ‘museums and at museum ‘exhibitions? For sure not by using the extraordinary technology, because itis, from the viewpoint of the evaluation of a museum exhibition, completely irelevant how many slide-projectors, TV-sets, computers. havo been used. The use of the contemporary nology cannot be evaluated as a matter of course, but inthe context of the museum exhibition structure, In spite of the fact that itis necessary to include the contemporary technology into museums, we must be aware of the specificity of a museum exhibition as medium in comparison ‘with all other media (television, muttision, CD, book ete.) 68 COCOCIL LLAle’ Gatnik Slowenien Republic DES MUSEES ET DES EXPOSITIONS A LA CRITIQUE DE MUSEE ET CELLE DES EXPOSITIONS DE MUSEE/ DE L'ART A LA MUSEOLOGIE DE L'ART Le musée représente un espace oil la muséologie prend son corps en forme insfitutionnalisée dans ses rapports avec les disciplines scientifiques fondamentales. En méme temps, la ctiique de musée pose des question ontologiques concemant la muséologie et dautres aspect du musée. Ses dilemmes reflént des rapports entre la muséologie et des disciplines scientifiques foundamentales. Ainsi, la valorisation de la critique de musée permet de reconnaire et d'évaluer des rapports les-cits Comme le terme “critique de théatre” se fait plus large du terme “critique d'une pidce de théatre", méme fe terme “critique de musée" reste plus large du terme "critique de exposition muséale’, Il est possible de diviser la ertique de musée en deux parties: la critique muséologique, la critique muséographique Du point de vue de la critique muséologique, le sujet de la valorisation révele un spectre des activités au niveau théorique lié a la méthodologie muséologique. Le sujet de la critique muséographique est lié & la muséologie appliquée de méme qua ses critiques. I faut quelle fasse partie de la méthodologie muséologique en cas de la critique des domaines concemant la protection et la communication. En cas dune recherche, elle s'adresse a la méthodologie de diverses sciences humaines, techniques et naturelles. La relation réciproque entre le thédre, la presentation de thédtre et la théatrologie se refléte aussi dans ta réalté de musée comme une relation entre le musée, exposition de musée et la muséologie. La critique de exposition de musée se manifeste comme un domaine de la critique de musée faisant une analyse de texposition de musée qui représente un média spéciique cisposant de sa propre langue. Dans l'avenir, on doit prévoir des recherches plus complates du média, da sa structure et de ses réies liés & catte structure. Comme on parle de la mise en scéne, de {a réalisation d'un film, on parlera aussi de la mise en scéne et du metteur en scéne dune exposition de musée, Vu des stéréotypes au musée et du musée, son image peut apparaitre toute fausse. Pour cette reison notre avenir ne dépendra seulement de la professionnalisation du travail au musée, mais aussi de la déclaration de la muséologie comme une base scientifique pour la profession da musée. Elle dépendra aussi de la conception de la valorisation de la méthodologie muséologique et de la récompense. Grace @ la critique de exposition de musée, les musées peuvent réussir a s'affimer comme les institutions leur propre identité, Toutes les deux pretendent que exposition de musée puisse ‘ivaliser comme un média spécifique avec les autres médias. 69