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The Politics and Poetics of Museology Politique Et Poétique De La Muséologie Política Y Poética De La Museología

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The Politics and Poetics of Museology Politique Et Poétique De La Muséologie Política Y Poética De La Museología ICOFOM Study Series 46 | 2018 The politics and poetics of Museology Politique et poétique de la muséologie Política y poética de la museología Electronic version URL: http://journals.openedition.org/iss/781 DOI: 10.4000/iss.781 ISSN: 2306-4161 Publisher ICOM - International Council of Museums Printed version Date of publication: 15 October 2018 ISBN: 978-92-9012-445-0 ISSN: 2309-1290 Electronic reference ICOFOM Study Series, 46 | 2018, « The politics and poetics of Museology » [Online], Online since 15 October 2018, connection on 26 September 2020. URL : http://journals.openedition.org/iss/781 ; DOI : https://doi.org/10.4000/iss.781 This text was automatically generated on 26 September 2020. ICOFOM Study Series 1 TABLE OF CONTENTS Foreword Ann Davis and François Mairesse Avant-propos Ann Davis and François Mairesse Prefacio Ann Davis and François Mairesse Introduction The politics and poetics of Museology François Mairesse Politique et poétique de la muséologie François Mairesse Política y poética de la museología François Mairesse Papers Le statut de conservateur dans les musées nord-américains : perspectives géopolitiques Yves Bergeron and Lisa Baillargeon Museology in Colonial Contexts: A Сall for Decolonisation of Museum Theory Bruno Brulon Soares and Anna Leshchenko The Politics and Poetics of the Bushman Diorama at the South African Museum Patricia Davison Museums and city aestheticization policies: controversies between the touristification of public spaces and the social role of museological institutions Karla Estelita Godoy and Sarah Borges Luna Practicality and Value: Historical Influences on Museum Studies in the United States Sheila K. Hoffman The Origins of Puritan Politics in US Museums: Nation Building and “The Arts” from 1776 to 1806 Sheila K. Hoffman The Politics of Representation in South African Museums Ayanda Ngcobo Museos militares: dispositivos exhibitorios y el borramiento de la memoria de la lucha social en México Maai Enai Ortíz Sánchez Museología — Poética, Política y Ética: Dimensiones transformadoras de las relaciones entre lo Humano y lo Real Teresa Scheiner ICOFOM Study Series, 46 | 2018 2 Crafting a Poetic Museology Elizabeth Weiser Museology and Museum-making: Cultural Policies and Cultural Demands Olga Zabalueva ICOFOM Study Series, 46 | 2018 3 Foreword Ann Davis and François Mairesse 1 This volume 46 of the ICOFOM Study Series is special. For four years now, we have continued on the path to which ICOFOM is committed: a deeper and more rigorous peer review procedure, but also a more advanced editing and printing process for our journal. This year 2018, after a two-year process, our journal has also been accepted to appear in the digital portal of revues.org/OpenEdition Journals hosted by the OpenEdition, a scientific publishing platform supported by the CNRS and several French universities. This portal, which hosts several hundred academic journals, will help us to increase the visibility of our activities within the professional community. 2 We also took this opportunity to radically transform the graphic design and format of our journal, in its paper version, in collaboration with the graphic designer and typeface designer Bruno Bernard who also drew for us the covers of the collection of ICOFOM monographs that we launched in 2017 and which is available on our website. 3 Volume 46 of the ICOFOM Study Series contains a selection of the papers presented at the ICOM's 40th Symposium of the International Museum of Museology held in Cuba in October 2017. This is the first time that ICOFOM and, apparently, an international committee of ICOM met in Cuba; a rich and intense experience, remarkably well orchestrated by our hosts, just a few weeks after the cyclones hit the city of Havana. Cuba proved to be a really good place in which to discuss politics in the museum and museology, and the discussions around these different concepts were particularly rich and fruitful with participation from all five continents. 4 This review cannot function without its many contributors, including the anonymous peer reviewers as well as all the members of ICOFOM who participated in the work of secretarial, proofreading, correction and editing. We thank them here very sincerely. ICOFOM Study Series, 46 | 2018 4 Avant-propos Ann Davis et François Mairesse ICOFOM Study Series, 46 | 2018 5 1 Ce volume 46 des ICOFOM Study Series est particulier. Depuis maintenant quatre ans, nous poursuivons la voie dans laquelle l’ICOFOM s’est engagé, à savoir une procédure plus longue et plus rigoureuse de peer review des articles, mais également un processus d’édition et d’impression plus abouti pour notre revue. Cette année 2018, après deux années d’évaluation et de mise au point, notre revue a par ailleurs été acceptée pour figurer dans le portail numérique de revues.org/OpenEdition Journals abrité par la plateforme d’édition scientifique OpenEdition soutenue par le CNRS et plusieurs universités en France. Ce portail, qui accueille plusieurs centaines de revues académiques, contribuera à renforcer la visibilité de nos activités auprès de la communauté scientifique. 2 Nous avons par ailleurs profité de cette occasion pour transformer radicalement le graphisme et le format de la revue, sous sa version papier, en collaboration avec le graphiste et créateur de caractères typographiques Bruno Bernard qui a également dessiné pour nous la collection de monographies d’ICOFOM que nous avions lancée en 2017 et qui est accessible sur notre site Internet. 3 Le volume 46 des ICOFOM Study Series reprend une sélection des interventions présentées lors du 40ème symposium du Comité international pour la Muséologie de l’ICOM, qui s’est tenu à Cuba, durant le mois d’octobre 2017. C’est la première fois que l’ICOFOM et, semble-t-il, qu’un comité international de l’ICOM se rendait à Cuba ; une expérience riche et intense, remarquablement bien orchestrée par nos hôtes, quelques semaines à peine après le passage de cyclones ayant frappé durement la ville de La Havane. Cuba s’est avéré un lieu réellement profitable pour évoquer la question du politique au sein du musée et de la muséologie, et les discussions autour de ces différentes notions furent particulièrement riches et fructueuses entre la centaine de participants, venus des cinq continents. 4 Cette revue ne peut fonctionner sans ses nombreux contributeurs, mais aussi tous les évaluateurs anonymes ainsi que tous les membres d’ICOFOM ayant participé au travail de secrétariat, de relecture, de correction et d’édition. Nous les remercions ici très sincèrement. ICOFOM Study Series, 46 | 2018 6 Prefacio Ann Davis y François Mairesse ICOFOM Study Series, 46 | 2018 7 1 Este volumen 46 de las Series de Estudio de ICOFOM (ICOFOM Study Series) es especial. Desde hace cuatro años, hemos continuado el camino en el que ICOFOM se ha comprometido, a saber, un procedimiento más largo y riguroso de la revisión por pares de los artículos, pero igualmente un proceso de edición e impresión más avanzado para nuestra revista. Este año de 2018, después de dos años de evaluación y puesta apunto, nuestra revista ha sido aceptada para aparecer en el portal digital de revues.org/ OpenEdition Journals alojado en la plataforma de publicación científica Open Edition respaldada por la CNRS y la mayor parte de las universidades francesas. Este portal, que alberga varios cientos de revistas académicas, contribuirá a aumentar la visibilidad de nuestras actividades dentro de la comunidad científica. 2 Aprovechamos también esta oportunidad para transformar radicalmente el diseño gráfico y el formato de la revista en su versión en papel, en colaboración con el diseñador gráfico y diseñador de tipografías Bruno Bernard, quien también diseñó para nosotros la colección de monografías del ICOFOM, que lanzamos en 2017 y que está disponible en nuestro sitio web. 3 El volumen 46 del ICOFOM Study Series contiene una selección de los trabajos presentados en el 40º simposio Internacional del Comité internacional para la Museología del ICOM celebrado en Cuba en octubre de 2017. Esta es la primera vez que el ICOFOM y, aparentemente, un comité internacional del ICOM se reunieron en Cuba; una experiencia rica e intensa, notablemente bien orquestada por nuestros anfitriones, solo unas semanas después de que los ciclones golpearan duramente la ciudad de La Habana. Cuba demostró ser un lugar realmente apropiado para debatir sobre la cuestión política en el museo y la museología, y las discusiones sobre las diferentes nociones fueron particularmente ricas y fructíferas entre la centena de participantes venidos de los cinco continentes. 4 Esta publicación no podría funcionar sin sus numerosos colaboradores, pero tampoco sin los evaluadores anónimos, así como también aquellos miembros del ICOFOM que han participado en el trabajo de secretariado, revisión, corrección y edición. A todos ellos nuestro más sincero agradecimiento. ICOFOM Study Series, 46 | 2018 8 Introduction ICOFOM Study Series, 46 | 2018 9 The politics and poetics of Museology François Mairesse 1 It has become rather common to speak of the museum as a place of power. Whether one refers to it as media (Davallon, 1992), as medium (McLuhan, Parker & Barzun, 1969), or as device (Bennett, 1995), we must understand that this institution, emblematic of occidental civilization, has always aroused the interests of local political régimes, whatever they may be. The creation of the British Museum and the birth of the Louvre (Déotte, 1994; Pommier, 1995) illustrate the many different ways the public has of seeing the links between knowledge and collections. Furthermore the advent of each new political régime (from democracy in America to the Marxist-Leninist system in the Soviet Union, passing by fascist Italy and national-socialist Germany) marks museums with its imprint, as well as its system of communication, preservation and research. 2 Politics is always integral to the functioning of museums, affecting both directly and indirectly the neutral and objective image that this institution presents to the public.
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