Den Fraværende Utstillingshistorie Indhold

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Den Fraværende Utstillingshistorie Indhold 209.qxp 01-12-2009 12:04 Side 1 NORDISK MUSEOLOGI 2009 ● 2 Indhold Dette nummer fortsætter med at have fokus på udstillingsmediets virkemidler og dets samspil med publikum. Der har været stor interesse for temaet, og de optagne artikler kommer ind på mange forskellige aspekter og rummer spændende og provokende synspunkter. Men temaet er dermed langt fra udtømt, og vi håber – som også Marc Maure, inviteret medredaktør og ophavsmanden til temaet, skriver i nedenstående forord – at Nor- disk Museologi hermed har skabt grobund for mere systematisk forskning i de nor- diske landes brug af udstillingsmediet, historisk og på tværs af landegrænser og fag. Ane Hejlskov Larsen Den fraværende utstillingshistorie MARC MAURE “Jag har många starka utställningsminne” skri- forsømt studiefelt; det gjelder internasjonalt, ver Eva Persson.1 ”Ibland önskar jag att jag kun- men med nasjonale variasjoner. Det finnes en de få dem historiskt belysta, insatta i svenskt mengde tekster av beskrivende karakter om och internationellt sammanhang. Men den utstillinger i museene, men analysene er man- boken över Sveriges utställningshistoria finns gelfulle. Vår kunnskap om feltet er sporadisk, intet. Om man anstänger sig kan man få ett fragmentarisk. Vi vet en del om enkelte insti- hum om utställningsutvecklingen i Sverige i tusjoner eller perioder, og lite om resten. Vi enskilda museers jubileumsskrifter och års- mangler dypere innsikt, forståelse om fenome- böcker.” net. Vi savner den systematiske oversikten Hva med de andre nordiske land? Har de over geografiske eller institusjonelle variasjo- skrevet sin egen utstillingshistorie? Jeg vil tro ner, de ulike genrene og stilene, m.v. at Sverige tross alt har gjort mest med hensyn Det er egentlig paradoksalt at museumsfolk til publikasjoner om utstillingsspørsmål. Alle- har vist så lite interesse for den historiske utvik- rede i 1970-årene utmerket landet seg interna- lingen av utstillingene, et medium som er et så sjonalt med et aktivt utstillingsmiljø og mange sentralt element i museenes egenart og virk- interessante utgivelser, blant annet med Rik- somhet. De kan dessuten oppføre seg som sutstâllningar som drivkraft. vandaler i egen institusjon ved å rive ned de Det er et faktum at utstillingsspørsmål er et gamle utstillingene uten å ta hensyn til deres 209.qxp 01-12-2009 12:04 Side 2 MARC MAURE 2 kulturhistoriske, narrative eller estetiske verdi- part in social communication. Cultural institutions, er. museums and galleries present exhibitions. In our dai- ly lives too, in shops, homes, on the street in the coun- Det er paradoksalt at museumsfolk, som ellers er så tryside etc. We are constantly the creators or users of opptatt av å definere alt mellom himmel og jord som exhibitions.3 kulturminne, har vist så liten respekt for utstillingene som forgjengerne skapte. Det som har blitt tatt vare Dette skrev jeg i 1995, og mye positivt har på, i form av utstillingsfragmenter, bilder og beskri- selvsagt skjedd siden, men kanskje ikke så mye velser, er forholdsvis lite systematisert og studert. Der- som en kunne ønske seg. For det første har vi for er vårt syn på disse utstillingene ofte preget av ukla- opplevd en enorm internasjonal øking i antall re og feilaktige forestillinger. Vi tror gjerne at de var publikasjoner av museologisk karakter, og i et primitive og besto av tilfeldige sammenstillinger, eller slikt omfang at det er vanskelig å holde seg kjedelige typologiske oppstillinger av gjenstander.2 orientert. For det andre, er temaet nå blitt mer populært i universitetsmiljøer; før var det i På et mer praktisk nivå, har denne historieløs- hovedsak museumsfolk som skrev om mu- heten negative konsekvenser for utstillings- seums- og utstillingspørssmål, med stor inn- produksjonens mangfold og kvalitet, fordi ku- sikt men ikke alltid med den nødvendige av- ratorer og formgivere ikke har tilgang til en stand til stoffet. bred repertoar av konsepter og former utviklet Tidligere i år hadde jeg en samtale med den gjennom mediets historie. Ofte kan jeg tenke, franske etnologen André Desvallées – pensjo- når jeg besøker en nyere produsert utstilling, nert museumsdirektør og internasjonalt kjent at resultatet kunne ha vært så mye bedre, hvis som redaktør og forfatter av museologisk litte- de som hadde laget den hadde hatt bedre ratur – om boka hans om det omstridte Mu- kjennskap til tidligere erfaringer, så som en- sée du Quai Branly i Paris,4 og om museolo- kelte produksjoner fra 1970-årene, for ikke å giske publikasjoner i Frankrike mer generelt. snakke om eksperimentene fra 1930-årene. Han mente at det var nå kommet mange Sett i et bredere perspektiv, representerer gode publikasjoner, men samtidig at situasjo- museumsutstillingen bare én kategori eller ett nen var preget av at universitetenes krav til økt område av utstillingsmediets allsidige anven- publisering hadde ført til at ansatte og studen- delser i mange ulike kontekster. Jeg er av den ter i stadig økende grad valgte museene og ut- oppfatning at utstillingsmediet, et kommuni- stillingene som studieobjekter. Resultatet var kasjonssystem karakterisert ved iscenesetting en stor øking i mengden av stoffet som var pu- av objekter i et rom, er verdens eldste og mest blisert, mens kvaliteten kunne være skuffende. anvendte massemedium, og jeg har derfor Ikke så sjelden fikk en inntrykk av at det var vanskeligheter med å forstå at det ikke har bare gammel kunnskap som var presentert i vært gjenstand for større interesse. ny emballasje. De faglige analyseredskapene kunne være i orden, men problemet var ofte et It is remarkable and in fact paradoxical that the exhi- svakt empirigrunnlag i mangel av eksisterende bition as cultural phenomenon has aroused so little kildemateriale og faglitteratur. En annen ting attention at the theoretical level. Exhibitions are a fa- er at mange studier bare omhandlet ”utenfor- miliar sight in everyday life and play an important liggende” faktorer av økonomisk, idéhistorisk 209.qxp 01-12-2009 12:04 Side 3 DEN FRAVÆRENDE UTSTILLINGSHISTORIE eller av annen karakter, uten å kunne relatere 3 dem til selve utstillingen som uttrykk. Men Sverige har en tidskrift som dette var nok barnesykdommer i et studiefelt i full utvikling. regelbundet och kritisk I senere tid et det kommet publikasjoner av gransker sakmuseernas høy kvalitet, som kombinerer teoretiske inn- sikt med empirisk kunnskap, og viser hva en utställningar utstillingshistorie kan være. Jeg har her spesi- elt lyst til å nevne og anbefale følgende bøker, som hver på sin måte omhandler en periode Det är nättidskriften Utställningsestetiskt som var en gullalder i utstillingshistorien. forum – www.UEForum.se Mark Sandbergs Living pictures and missing persons; mannequins, museums and modernity,5 Som enda tidskrift i Sverige tar UEFo- et originalt og spesielt spennende studium av rum.se utställningsmediet på allvar. utstillingene i de første skandinaviske folke- og friluftsmuseene, en banebrytende muse-ums- Genom recensioner, reportage, samtal, modell som påvirket utviklingen internasjo- teoretiska essäer, litteraturbevakning och nalt. Mary Anne Staniszewskis The Power of debattartiklar ökar Utställningsestetiskt Display: A History of Exhibition Installations at forum den offentliga samtalet om sakmu- the Museum of Modern Art,6 en presentasjon av seernas utställningar. utstillingseksperimentene som den internasjo- nale avantgarde gjennomførte i 1920-30 årene Vi menar att kritiska resonemang kring med stor mediebevissthet og omfattende sam- museernas utställningsverksamhet höjer funnsengasjement. kraven och därmed kvalitén på de många hundratals natur- och kulturhisto- riska utställningar som varje år produce- ras i Sverige. NOTER Vill du att UEForum skall recensera fler 1. Har Sverige en utställningshistoria, Utställningses- utställningar och engagera skarpare kriti- tetiskt Forum, 01.10.2008, www.ueforum.se ker, tipsa oss gärna om skribenter. 2. Marc Maure, ”Bonder, ånder, dukker og skuespil- lere i de første folkemuseene”, Nordisk Museologi, Kanske vill du själv medverka?! 2004/1. 3. Marc Maure, “The Exhibition as Theater - on Hör av dig till chefredaktören the Staging of Museum Objects”, Nordisk Museo- logi, 1995/2. Eva Persson 4. André Desvallées, Quai Branly: un miroir aux [email protected] alouettes? Ethnographie et “arts premiers”, Paris 2007. 5. Princeton University Press, 2002. 6. MIT Press, Cambridge, 2001. 209.qxp 01-12-2009 12:04 Side 4 UDSTILLINGSFORMER- OG TYPER ● NORDISK MUSEOLOGI 2009 ● 2, S. 4-15 Computerspil og kunstmuseer ANDRÉ WANG HANSEN* Title: Computer games and art museums. Abstract: Via a range of examples, the article discusses connections between tech- nology, computer games and presentations of art. On the basis of Walter Benjamin’s notorious dictum from the past that the illiterates of the future will not be those who cannot read or write but those who are not capable of dealing with the visual culture of their own time, the article argues that current worldwide visual digital communications, including computer gaming, also have interesting potential for the art museums, especially regarding youth as a forthcoming core group of art con- sumers. The focus is on – amongst others – the former virtual presentation of the Van Gogh Museum and the first shooter action game Duke Nukem, the Louvre Museum and the Da Vinci Code game and on remediating performances in the Second Life virtual universe. Key words: Computer games, art and museums, virtual reality and visual multitasking, interface and reception theory, Van Gogh Museum, Louvre, Se- cond Life, remediation,
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