M USEOLOGICA BRUNENSIA
STUDIE/ARTICLES
HOW DOES THE CIRCULATION OF WORKS OF ART AND EXHIBITIONS FUEL ACCULTURATION?
HARUMI KINOSHITA https://doi.org/10.5817/MuB2017-2-3
ABSTRACT/ABSTRAKT: KEYWORDS/KLÍČOVÁ SLOVA: Museum and MNAM-CCI (Musée National d’Art Moderne-Centre de A museum should be considered acculturation – appropriation – Création Industrielle/the Georges not only a local anchorage but also circulation – diffusion – turnkey Pompidou Center), and describes a place that is integrated into the exhibition the process of acculturation in logic of the flow. Thus, the study akulturace – apropriace – zápůjčky – Japan. If the circulation of works of of the circulation of works of art difúze – „výstava na klíč” art and exhibitions is an instrument and exhibitions is crucial from of acculturation, this acculturation a museology standpoint. This paper phenomenon can be identified, shows the effects of the movement Introduction particularly in Japan, a country of works of art and exhibitions in that often hosts turnkey exhibitions the cultural field. The analysis of A strategy for cultural diffusion by organized by worldwide museums. these effects determines the taste the circulation of works of art and of the public, the construction of exhibitions has experienced strong Chapter 1 introduces the history of a museum’s reputation, and the development over the last ten years the circulation of works of art and phenomenon of acculturation. at museums. Museology, which exhibitions, especially by French By focusing on the process of takes a keen interest in various museums in Japan. Chapter 2 acculturation in Japan through aspects of the museum world, has explains the notion of circulation French museums, this paper argues overlooked that the circulation from a communicational point that the circulation of works of art of works of art and exhibitions of view by referring to that of and exhibitions is one strategy for is part of museums. In fact, such Raffestin (1980), Latour (1996), cultural diffusion. circulation is not just a technical and Jeanneret (2008). Chapter 3 issue that emerges at the artwork describes the diffusion strategy of Jak přispívají zápůjčky management level; it is a social French museums, which lends its uměleckých děl a výstav phenomenon that is intensifying collections around the world, and k akulturaci? and raising questions about the effects of such loans. This work development of a museum’s shows the strategy of cultural Muzea by měla být považována activities. Analyzing the circulation diffusion at museums by the nejen za lokální kulturní centra, of the works of art and exhibitions phenomenon of acculturation. ale i za místa integrovaná do lets us determine symbolic logiky kulturního pohybu. Studie operations in the dimension of 1. Historical approach věnovaná zápůjčkám uměleckých social impact at a museum: what děl a výstav má tedy z hlediska are the effects of the movement Historical research, which is muzeologie zásadní význam. of works of art and exhibitions? necessary to understand the Článek představuje účinky pohybu What are the strategies for their circulation of works of art uměleckých děl a výstav v oblasti circulation? and exhibitions, allows us to kultury. Analýza těchto účinků comprehend the origins, determine určuje vkus diváka, přispívá When considering the circulation of the purposes, and recognize the k budování pověsti muzea works of art related to temporary acceleration of this movement. a fenoménu akulturace. Studie se exhibitions, we should discuss the Chapter 1 treats cultural diffusion soustředí na proces akulturace question of cultural diffusion on from the 1920s until the 1990s. v Japonsku prostřednictvím muzeí an international scale. This paper ve Francii a ukazuje, že zápůjčky focuses on the circulation of works uměleckých děl a výstav jsou of art and exhibitions, especially jednou ze strategií kulturní difúze. at French museums such as the Louvre Museum, the D’Orsay
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1.1 Initial circulation of works In 1954, the Asahi newspaper described as thirsty for French of art and exhibitions by French company sponsored in Tokyo, Kyoto art. He remarked that many museums in Japan and Fukuoka an exhibition entitled young people saw this exhibition a French Art Exhibition in Japan, and bought many catalogues. In I show first the beginning of the which displayed about 360 works addition to Japanese contemporary circulation of works of art and of art from the early medieval art, he argued that Japanese art exhibitions by French museums in period to the mid-19th century had an international aesthetic. In Japan to explain that the cultural from such artists as Poussin, Le other words, it provided a Japanese diffusion between the two countries Brun, Boucher, Fragonard, Chardin, flavor instead of just importing has been remarkable already in Ingres, Gericault, Delacroix, a western style, and he believed the 1920s and that the process of Chasseriau, Courbet and Renoir. that Japanese art successfully acculturation or appropriation has Note the France and Japan had just united Japanese traditional already been seen. reached a cultural agreement in sensitivity with European 1953. Even though this exhibition’s contemporary art.9 The exhibition of Contemporary realization was due to this cultural Art in Japan was held in 1922 until agreement, nevertheless, it was not 1.2 A symbolic event: lending the 1931. The 8th exhibition held in easy to send to Japan more than Venus of Milo to Japan for the 1929 presented about 250 works three hundred works of art from 1964 Olympic Games of art from such artists as Boudin, the number of different French Fantin-Latour, Pissarro, Rodin, museums. Prime Minister Shigeru The lending to Japan in 1964 of Van Dongen and Zadkine. Houshin Yoshida5 declared that the French the Venus of Milo, which was Kuroda,1 one of the organizers of culture is admired by the cultured authorized by André Malraux, this exhibition, argued that the people of the world, including the is emblematic because it shows cultural exchange between French Japanese, and believed that this how temporary exhibitions can and Japan through the exhibitions exhibition greatly contributed to function as an instrument to satisfy fueled a mutual understanding the development of the Japanese social demands and to promote between both countries.2 In the culture.6 acculturation. same year, Paris hosted a Japanese art exhibition, as early example of In 1961 in Tokyo, an exhibition The Venus of Milo was shipped reciprocal intercultural knowledge. called French Art Exhibition to Japan in 1964 and exhibited at 1840–19407 presented art from the the National Museum of Western In 1951, the following exhibition mid-19th century through World Art in Tokyo and at the Kyoto was shown in Tokyo: Exposition War II, including works by Millet, Municipal Museum of Art. The d’art français contemporain; œuvres Manet, Degas, Cezanne, Van Gogh, Japanese government sought to présentées à Pairs au Salon de Seurat, Daumier, Redon, Lautrec, display the Venus of Milo as well Mai 1950. About 60 works of art Bonnard, Modigiliani, and Soutine. as the Olympic Games because were presented from such artists This exhibition set a record for both symbolized Japan’s admission as Coutaud, Dufresne, Hartung, visitors: 1 477 388 over a period into the realm of developed Labisse, Schneider and Soulages. of 119 days. It offered not only countries. To achieve this goal, Teiichi Hijikata3 wrote that this a collection from the number of the Asahi newspaper company exhibition offered insights into French museums but also a display took a cultural, diplomatic, and what the new French generation is method. In an interview with economic initiative. thinking.4 Art magazines featured the Asahi newspaper company, this exhibition, and artists and art Bernard Dorival8 said that he was Takio Ena, the department head critics discussed French artists and touched by the positive attitudes of the Asahi newspaper company’s artistic movements in France. Many of the Japanese visitors whom he cultural project, sent a letter on Japanese felt great interest in this May 23, 1963 to Bernard Dorival: 5 Shigeru Yoshida (1878–1967) was former Prime exhibition. Minister of Japan from 1946 to 1947 and from “Following the great achievement of 1948 to 1954. French – Japanese cultural exchange 1 Houshin Kuroda (1885–1967) was an art critic. 6 Cat.Expo. Exposition d’art Français au Japon. program in the two French Art 2 Cat. Expo. Exposition d’art Français Tokyo: Asahi Shimbun, 1954, p. 4. contemporain. Tokyo: Nichifutsu Geijutsusha, Exhibitions in Japan, and it concert 7 This exhibition was also shown in Kyoto in 1929, p. 3. 1962. with the coming big sports event of 3 Teiichi Hijikata (1904–1980) was an art the Tokyo Olympic Game in 1964, 8 Bernard Dorival (1914–2003) was a French historian and art critic. art historian and art critic. He was named the Asahi Shimbun again plans a unique 4 Cat. Expo. Exposition d’art français contemporain; assistant curator of the National Museum of œuvres présentées à Paris au Salon de Mai 1950. Modern Art in 1941. He was the Commissioner- 9 Interview with Mr. Bernard Dorival, in Asahi Tokyo: Mainichi Shimbun, 1951, p. 4. -General for this exhibition. Shimbun, 1961, December 4.
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and quite an ambitious project, directly related to this exhibition Japan, often welcomed them. dynamic enough to cope with the with goodwill and friendliness. We To name a few of these turnkey great international sports event both believe we should not ignore the exhibitions, Japanese museums in its impact on public psychology significant fact that this cultural hosted collections from the Louvre and in its cultural significance – an project contributed a great deal Museum in 1991, 1993 and 1997, exhibition of a single but the supreme to the betterment of the friendly the D’Orsay Museum in 1995 and treasure of France, VENUS OF relations between the two countries 1999, the Barnes Foundation in MILO.”10 through these direct people-to-people 1994, the Tate Gallery in 1998, and contacts.”12 the National Gallery of Washington On February 12, an agreement in 1999. was concluded between the 1.3 Operation of turnkey Japanese and French governments exhibitions in the 1990s and the In 1997, a new program for for lending the statue to Japan. start of the Pompidou Center’s exhibitions called the Hors les Its presentation in Tokyo and Hors les murs murs opened its doors. Such Kyoto was a great success. It set exhibitions, which were formulated a new attendance record for an Collections that are distributed by the Pompidou Center during its art exhibition in Japan: over outside of museums are considered renovation to enhance the value 1.7 million visitors over a 74-day loans. Lending of works of art of its collection, were designed by period compared to almost 1.5 for the exhibitions should not MNAM-CCI and presented outside million visitors to an exhibition produce profit.13 However, when of the Pompidou Center. Hors entitled French Art 1840–1940 in the lending is remunerated as part les murs program of exhibitions 1961 over 119 days. of an exhibition from a collection, developed a partnership between such a situation is called a turnkey MNAM-CCI and foreign cultural The economic effect was reported exhibition which allows museums institutions and allows major works another huge success. The sale to crate benefits by circulating of art to be rent to reach larger of catalogues reached 431 583 their collection. An exhibition audiences. copies. And the souvenirs sold entitled Des collections royales au over 180 million yen. Japan paid Grand Louvre14 brought the Louvre During the period 1997–1999, to France ten percent royalty on Museum 10 million French francs,15 seventeen Hors les murs exhibitions total sales.11 To thank this success, and when the Barnes Foundation were realized and thirteen Takio Ena, the department head organized an its turnkey exhibition countries hosted them. of the Asahi newspaper company’s called Great French Paintings from cultural project, sent a report on the Barnes Foundation in Paris and Japan became the first foreign June 2, 1964 to Jacques Jaujard, in Tokyo,16 this foundation received country to benefit from the Hors the Sectretary-General of Cultural about 7 million an exhibition from les murs exhibition program. An Affairs: We“ of the Asahi Shimbun Paris and between 4 million and 5 exhibition entitled a Collection are unanimously delighted at the million from Tokyo as loan fees.17 from the Pompidou Center: fabulous success of this exhibition Masterpieces of MNAM was and happy with the fact that we The operation of turnkey shown in Tokyo and attracted could return the Statue safely exhibitions was remarkable in the over 300 000 visitors.18 Another without any mishap to the Statue. 1990s. Asian countries, especially exhibition called the Photographers We would like to take this of Paris was presented in both opportunity to express our sincere 12 Ibidem. Tokyo and Osaka. In Italy, the thanks and appreciation to Décret n°81-240 du 3 mars 1981 relatif exhibition of Kandinsky was shown 13 19 Minister Malraux and you for your aux prêts et aux dépôts d’œuvres des musées in Milano. An exhibition entitled coordinated high considerations nationaux, JO, 13 mars 1981. In CHATELAIN, Figures de peintres was presented in Jean. Droit et administration des musées. Paris: 20 extended to us for this great cultural La Documentation française, 1993, p. 434. Bogota and in Mexico. project. We would like to express 14 This exhibition circulated in 1993 in Japan; our gratitude to Mr. Landais, Mr, in Yokohama (Yokohama Museum of Art) and in The year 1998 was characterized Qunium and all of the 9 people Kobe (Kobe City Museum). by the relationship with the 15 SPAAK, Isabelle. L’essor du clé en main. of Louvre Museum who kindly Le Journal des Arts, mars 1997, no. 34. United States; an exhibition called cooperated with us all the time 16 This exhibition was shown at the D’Orsay and impressed on the Japanese Museum between 1993 and 1994, and at the Rapport d’activité du Centre Pompidou 1997, National Museum of Western Art (Tokyo) in 1994. 18 p. 59. 17 PALMER, Norman. Art Loans. London: 10 Archives des musées nationaux, 4CC49. Ibidem, p. 66. Kluwer Law International and International Bar 19 11 Documentation AGER, Ma0399. Association, 1997, p. 40. 20 Ibidem.
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Rendezvous. Masterpieces from Even so, this distinction, where of the circulation of networks, the Centre Georges Pompidou and the everything may be useful, can privatization of communication Guggenheim Museum was shown appear ambiguous because it networks.”23 in New York and another exhibition might help us accept whether entitled Premises: Invested Spaces circulation or communication is Circulation, which is a spectacle in Visual Arts, Architecture and appropriate. In reality circulation because it cannot be masked, Design from France, 1958–1998 and communication, simultaneously allows us to see its networks; but was presented in also New York. exist in all ‘transportation’. The men communication can conceal itself. or the goods that circulate are the In 1999, an exhibition called Les carriers of information, and therefore Furthermore, Raffestin’s notion of Années Supports/Surfaces dans they ‘communicate’ something. circulation, such as the spectacle les collections du Centre Georges Similarly, information that is of power, can contribute to our Pompidou, Musée national d’art communicated is simultaneously subject; the circulation of works moderne circulated in the world; a ‘good’ that ‘circulates’.”21 of art and exhibitions make this exhibition was presented visible all of the effects on such in Madrid, Namur (Belgium), Circulation and communication mobile museums. The movement Lodz (Poland), Rome and in Pori can be distinguished; circulation of works of art and exhibitions (Finland). transfers men and goods, drapes museums with a positive and communication transfers reputation. What is specific to the Hors les information. However, such murs program is that it validates circulation and communication as 2.2 Circulation of information: the reputation of the Pompidou men or goods that circulate depart Bruno Latour’s metaphor Center to wider audiences, from information. Communicated especially those less familiar with information is a good that Bruno Latour poses a question Western art history and expands circulates. about circulation through the diffusion networks. institution of libraries and Presupposing that the notion emphasizes the mechanism of 2. Circulation and of circulation is more general registration that he calls a “center communication than communication because the of calculation”.24 A library is not an first gathers everything that is isolated place or a haughty place. From a theoretical point of view, mobilizable, Raffestin argues that Latour considers it the “node of I am trying to comprehend the circulation is a spectacle of power a large network where neither signs notion of circulation in the that extends the theory of Stroudzé. nor materials circulate, but instead communication field. How does Circulation is a spectacle of power the materials become the signs”.25 the circulation of works of art and because it is visible by the flow of exhibitions affect communication? men/women and the mobilized Using the example of the drawings From three points of views, goods by the infrastructure that it of naturalist, Pierre Sonnerat, I investigate the circulation assumes.22 In this context, power who displayed his self-portrait of information related to the cannot be hidden or controlled, as during a journey to Papua New manifestation of power and how Raffestin emphasizes: Circulation“ Guinea in 1776, Latour defined it builds a new system that allows itself as spectacle should be made, the information: “Information in confrontation (Latour) and re- we cannot conceal it, hide it, in not a sign, but a report established appropriations (Jeanneret). short, it is futile to make it invisible. between two places; the first becomes Consequently, we have to exalt it, a periphery, and the second becomes 2.1 Circulation as a spectacle of show it, and exhibit it to the light a center, provided that a vehicle power of day. Thus, we can know all or circulates between the two that we almost all about the networks of often call a form, but I insist on Claude Raffestin proposes circulation.… The function of the a circulation-communication mobility of power is not finally combination: “Circulation and as well known as the material of 23 Ibidem, pp. 183–184. English translation by communication are two sides of circulation and is known well as author. mobility.… We discuss circulation communication: the popularization 24 LATOUR, Bruno. Ces réseaux que la raison every time we transfer men ignore: laboratoires, bibliothèque, collections. In BARATIN, Marc and Christina JACOB (eds.). Le and goods lato sensu, while we 21 RAFFESTIN, Claude. Pour une géographie du pouvoir. Paris: Librairies Techniques, 1980, p. 181. pouvoir des bibliothèques: La mémoire des livres en reserve the term communication English translation by author. Occident. Paris: Albin Michel, 1996, p. 23. to the transfer of information. 22 Ibidem, pp.182–183. 25 Ibidem.
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its material aspect and call it an Networks that pass information constitute a group or an institution inscription.”26 reach the center of calculation, manifests a circulation of ideas where information is registered. In in all the people’s heads.”34 Once Latour is pressing hard for this the center of calculation, as soon ideas appear, spread, multiply, point: “information is not a ‘form’, as many pieces of information and disperse, they are not in the Platonic sense of the word, but are registered, they become concentrated in a place but they a very practical and material report comparable. circulate. Jeanneret explains how between two places”.27 According to culture circulates: “Talking about Latour, information is not a sign, In this mechanism of the center triviality does not mean that we are but a loading of registrations.28 of calculation, the networks reach especially interested in the banal, it by bringing information; the in the hackneyed, or even in the Latour explains this process of library becomes a laboratory: dregs. Rather we embrace the culture registration using the example “A library is considered a laboratory in a certain way since objects and of collections in museums, that cannot remain isolated, as if it is representations do not remain closed especially the collection of the accumulating, maniacally, scholarly, in themselves, but they circulate Natural History Museum29 whose and in a cultivated fashion, signs by and pass through the hands and the Old Gallery gathered birds from the millions. It serves as a shooting minds of people. This choice however around the world. Information yard, as a bank, playing in the is not absolutely neutral. It suggests about each bird is reported in universe of networks and the center’s that these objects enrich and change the museum from other locations role in Wall Street or the city for across social spheres. And even they and established a comparison capitalism.”33 become cultural by this creative among the birds. The museum circulation.”35 collections, like the library, become Latour emphasizes that a library commensurable with all other is not a simple isolated place at For Jeanneret, culture is comprised information once the information which papers are accumulated, of objects and the representations registered.30 but a center of calculation where that circulate in society through information is registered: this the people, and Tarde’s theory is In this context, the library or registration allows information to that “ideas appear and then spread, a museum’s collection is a center circulate. reproduce, and disseminate”.36 of the calculation where the Through that circulation, objects information circulates through This notion of a center of and representations become networks of transformation that calculation can be applied to cultural. connect each registration in the museums. A museum is in a place world and each registration of all where a work of art is registered, By highlighting the trivial life those who are commensurable.31 and once this registration is of being cultured, Jeanneret Latour clarifies this mechanism realized, the work of art and the argues that society manifests the of the center of calculation: “The exhibition, in the sense of the circulation of ideas. networks of transformations send to assemblage of works of art, have the center of calculations, by a series an opportunity to be circulated by The notion of triviality defined by of displacements – reduction and networks. In this context, current Jeanneret allows us to designate amplification – an increasing number museums no longer operate as how ideas and culture circulate of registrations. These registrations a place for the preservation of and permits us to recognize that circulate in both directions, which is works of art; they are destined the circulation of works of art and the only way to ensure the fidelity, to circulate works of art and exhibitions in museums are social the reliability, the truth between the exhibitions. facts. This definition broaches the represented and the representative.”32 problem of the formation of taste. 2.3 Circulation and Public taste is influenced by the appropriation circulation of works of art and exhibitions which Francis Haskell 26 Ibidem, p. 24. English translation by author. Yves Jeanneret promoted the shows through two exhibitions: 27 Ibidem, p. 25. concept of triviality, which also Mostra della Pittura Italianna del Sei 28 Ibidem, p. 26. serves as a theory of circulation. 29 Ibidem, p. 31. He referred to the theory of Gabriel 34 JEANNERET, Yves. Penser la trivialité. Paris: 30 Ibidem, pp. 31–32. Tarde: “Anything that appears to Lavoisier, 2008, p. 28. 31 Ibidem, p. 36. 35 Ibidem, p. 14. English translation by author. 32 Ibidem, p. 38. English translation by author. 33 Ibidem, p. 39. English translation by author. 36 Ibidem, p. 29.
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2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 Total The Louvre Museum 0 2 2 1 0 1 1 0 2 1 10 The D'Orsay Museum 3 3 1 4 0 0 0 1 0 1 13 MNAM-CCI 1 0 0 1 2 0 0 2 0 1 7 Total 4 5 3 6 2 1 1 3 2 3 30
Fig. 1: Lending in context of turnkey exhibitions to Japan from 2007 to 2016 organized by the Louvre Museum, the D’Orsay Museum and MNAM-CCI e Settecento at the Pitti Palace in 3.1 Flow of turnkey exhibitions Museum lent a turnkey exhibition Florence in 1922 and Peintures de from 2007 to 2016 in 2012 and in 2013. Since the la réalité at the Orangerie Museum programming of exhibitions in Paris in 1934 and 1935.37 The Here I show statistics about three depends on specific plans and the Florence exhibition concentrated on French museums that lent 30 relations between museums as well such 18th century Italian painters turnkey exhibitions to Japan from as questions of time and space, as Caravaggio, and the Paris 2007 to 2016 (Fig. 1). inferring the cause of this decrease exhibition concentrated on such is difficult. But note that a massive 17th century artists as Georges The Louvre Museum lent ten earthquake struck northern Japan de la Tour and Le Nain. Haskell turnkey exhibitions during this on March 11, 2011.40 Also keep in argues that these exhibitions period, the D’Orsay Museum lent mind that the turnkey exhibition modified the public understanding thirteen, and MNAM-CCI lent seven from the Louvre Museum in 2012 of art evolution’s through history: during the same period. Breaking (the year after this earthquake), “What is remarkable about the down the number per year, four as is the form of the turnkey Palazzo Pitti and Orangerie turnkey exhibitions were lent in exhibition but an exhibition exhibitions is not only the way 2007, five in 2008, three in 2009, called Rencontre was organized to in which they did alter people’s six in 2010, two in 2011, one in support the devastated areas and understanding – and, of course, both 2012 and in 2013, three populations. For this exhibition, the the way in which they promoted in 2014, two in 2015, and three Louvre Museum gathered 24 works a certain misunderstanding – of the turnkey exhibitions in 2016. and showed them at museums in Old Masters of Italy and France, Morioka, Sendai, and Fukushima.41 but the impact that this had on The year 2010 witnessed contemporary art and on larger a remarkable movement of turnkey Figure 1 points out that Japan intellectual circles.”38 exhibitions. The amount for this has annually hosted turnkey year reflects four lendings from exhibitions by French museums 3. Manifestation of French the D’Orsay Museum: an exhibition over the last decade, suggesting museums’ turnkey exhibitions in entitled Post-impressionnisme, chefs- that the country is one of the the last decade d’œuvre du musée d’Orsay39 was main destinations for turnkey shown at the National Art Center exhibitions organized by French In my last chapter, I analyze the in Tokyo, an exhibition called Art museums. Japan or Japanese circulation of works of art and Nouveau et industrie du luxe en museums welcome those organized exhibitions, especially at French France circulated in the Nagasaki not only by French museums museums. I chose three French Prefectural Art Museum, the but also by museums from all museums (the Louvre Museum, Hiroshima Prefectural Art Museum, over the world for three main the D’Orsay Museum and MNAM- and the Setagaya Art Museum in reasons. First, the Japanese public CCI) and focused on their turnkey Tokyo, an exhibition entitled Manet appreciates Western art. Second, exhibition programs to show how et le Paris moderne was presented at some museums in Japan don’ t have this exhibition mode influences the Mitsubishi Ichigokan Museum their own collections, including the public’s taste, the construction in Tokyo and a Degas exhibition 40 An exhibition of surrealism organized by of a museum’s reputation, and the was held at the Yokohama Museum MNAM-CCI that was shown at the National phenomenon of acculturation. of Art. Lendings slightly decreased Art Center in Tokyo on February 8, 2011 was in years 2012 and 2013. Of the disrupted for ten days, but after it reopened, this exhibition scored a strong frequentation. Refer to three museums, only the Louvre Centre Pompidou. Les bilans d’activité 2011, p. 123. 37 HASKELL, Francis. The Ephemeral Museum: 41 Rapport d’activité 2012 – Musée du Louvre Old Master Paintings and the Rise of the Art 39 This exhibition also circulated in the National [online]. p. 94, 98 [cit. 2017-8-24]. Available Exhibition. New Haven, London: Yale University Gallery of Art in Canberra between 2009 and 2010 from www:
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the National Art Center in Tokyo, The exhibitions in the first and anticipated exhibitions that which since its inauguration in category show the masterpieces of provided new knowledge of 2007, has hosted many turnkey a museums, such as an exhibition Western art. exhibitions organized by museums entitled Post-impressionnisme, from around the world. Finally, chefs-d’œuvre du musée d’Orsay The popularity of turnkey Japan has a specific exhibition was presented at the National Art exhibitions in Japan suggests that system, that is the exhibition Centre (Tokyo) in 2010 and an exhibitions are events that offer sponsored by major newspapers exhibition called Masterpieces knowledge of Western art history which permit to carry out this type from the Centre Pompidou, to a non-western public. The of operation paying the huge loan 1906–1977 was shown at the success of such turnkey exhibitions fees. All of the turnkey exhibitions Tokyo Metropolitan Art Museum in reflects the fact that they are presented in Japan are sponsored 2016. These exhibitions showcase revenue sources for museums. by major newspapers. This the most representative works of Indeed, turnkey exhibitions are in exhibition system allows hugely art from a particular collection great demand from countries with expensive turnkey exhibitions to and give a non-western audience adequate financial resources, such be shown in Japan, subsidized a knowledge of Western art history. as Japan. by a newspaper company. For The turnkey exhibitions started example, an exhibition entitled from this premise. 3.3 Formation of public taste: Paris du monde entier: artistes Japanese public’s taste on étrangers à Paris 1900–2005, The exhibitions in the second Impressionism organized by MNAM-CCI in 2007, category focus on a particular was produced at a cost of 750 000 artist and his or her art and also Cultural diffusion from museums euros.42 This turnkey exhibition often show the work of other artists due to the circulation of exhibitions was sponsored by the Asahi who have a connection, such as creates an image of museums, even newspaper company; an exhibition an exhibition entitled Corot et son images of Western art during the called L’art de Monet et sa postérité, époque, organized by the Louvre reception process and promotes which was organized by the Museum, that circulated in the acculturation. In this section, D’Orsay Museum in 2007, cost National Museum of Western I analyze the most frequently 500 000 euros43 and was sponsored Art (Tokyo) and in the Kobe City visited exhibitions over the last by the Yomiuri newspaper Museum in 2008, and an exhibition decade as part of the turnkey company. called Renoir. Chefs-d’œuvre des exhibitions of three French collections des musées d’Orsay museums (the Louvre Museum, the 3.2 Construction of public et de l’Orangerie, presented at D’Orsay Museum and MNAM-CCI). authorities: tendencies for the National Art Center (Tokyo) thematic turnkey exhibitions in in 2016. These monographic Figure 2 shows the most visited Japan exhibitions, in other words, one- turnkey exhibitions among thirty person shows, are cost-effective due exhibitions organized by these I trace the thematic tendencies to the artist’s reputation. three French museums from 2007 of the turnkey exhibitions of to 2016.44 The result is that the first French museums in Japan. When The exhibitions in the last places of this rank are occupied by we see the themes of the turnkey category attempt to show the more the exhibitions on Impressionism, exhibitions organized by three advanced exhibitions, such as an except an exhibition entitled Les French museums (the Louvre exhibition entitled Paris du monde Révolutions de l’âge classique. La Museum, the D’Orsay Museum and entier: artistes étrangers à Paris peinture européenne du XVIIe siècle, MNAM-CCI) over the last decade, 1900–2005, organized by MNAM- organized by the Louvre Museum the themes are divided into three CCI and presented at the National in 2009.45 As shown in the figure categories: a collection’s highlights, Art Centre (Tokyo) in 2007. This 2, from second to fifth places in one-person exhibitions, and exhibition not only featured this rank are occupied by the exhibitions that focus on specific Picasso, Brancusi, Modigliani, exhibitions on Impressionism. subjects. Chagall and Giacometti but also such relatively obscure artists 44 I counted the number of visitors to each as Simon Hantaï, Jean Tinguely, museum. If the exhibition circulated in several Matta, and Thomas Hirschhorn. places, I did not count the total number of visitors. 42 MESMER, Philippe. Le Japon, nouvel eldorado pour les musées français. Le Monde, le 15 mai We can see that Japanese public is 45 This exhibition circulated in the Kyoto 2007. becoming increasingly interested Municipal Museum of Art during the period from July 30 to September 27, 2009 and attracted 43 Ibidem. in more specialized subjects 618 321 visitors.
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Rank Number of visitors Exhibition's name Period Lender Borrower Les Révolutions de l’âge classique. National Museum of Western Art 1 851 256 2009/02/28–2009/06/14 Louvre La peinture européenne du XVIIe siècle (Tokyo) Post-impressionnisme, chefs-d’œuvre du 2 777 551 2010/05/26–2010/08/16 Orsay National Art Center (Tokyo) musée d’Orsay 3 704 420 L’art de Monet et sa postérité 2007/04/07–2007/07/02 Orsay National Art Center (Tokyo) Naissance de l’impressionnisme. 4 696 442 2014/07/09–2014/10/20 Orsay National Art Center (Tokyo) La liberté de peindre Renoir. Chefs-d’œuvre des collections des 5 667 897 2016/04/27–2016/08/22 Orsay National Art Center (Tokyo) musées d’Orsay et de l’Orangerie Musée du Louvre. Peinture de genre. 6 662 491 2015/02/21–2015/06/01 Louvre National Art Center (Tokyo) Scènes de la vie quotidienne
Fig. 2: Rank of most visited turnkey exhibitions in Japan from 2007 to 2016 by volume in descending order
Attracting 777 551 visitors, it provided the opportunity to An exhibition called The Body an exhibition called Post- experience some great works from Beautiful in Ancient Greece impressionnisme, chefs-d’œuvre du collection of the D’Orsay Museum, from the British Museum was musée d’Orsay (Rank 2) was shown such as Manet’s Le fifre (1866), presented at the National Museum at the National Art Center (Tokyo) Caillebotte’s Raboteurs de parquet of Western Art (Tokyo) in 2011 in 2010. The D’Orsay Museum, to (1875), and Cabanel’s La naissance and received 257 400 visitors. An achieve this turnkey exhibition, de Venus (1863). exhibition entitled Goya: Lights lent 115 works of art from its and Shadow. Masterpieces of the collection. This exhibition shows An exhibition entitled Renoir. Museo del Prado was presented at the origins of Impressionism from Chefs-d’œuvre des collections des the National Museum of Western the end of the 19th century to the musées d’Orsay et de l’Orangerie Art from 2011 to 2012 and got beginning of the 20th century. (Rank 5) was presented at the 333 910 visitors. An exhibition Japanese public could see the National Art Center in 2016. The called 400 Years of European works of art from such artists as D’Orsay Museum and the Orangerie Masterpieces from the State Monet, Degas, Cézanne, Gogh, Museum46 gathered over 100 works Hermitage Museum was presented Gogain, and Seurat. of art for this turnkey exhibition to at the National Art Center in 2012 illustrate Renoir’s art throughout and received 392 949 visitors. An exhibition entitled L’art de his whole life and received 667 An exhibition called Earth, Sea, Monet et sa postérité (Rank 3) was 897 visitors. Le Bal du Moulin de and Sky: Nature in Western presented at the National Art la galette, one of the masterpieces Art; Masterpieces from The Center in 2007, the museum’s first of the D’Orsay’s collection, and Metropolitan Museum of Art was year, and was visited by 704 420 Les baigneuses, a masterpiece of shown at the Tokyo Metropolitan people. 97 works of art were shown Renoir’s later years, were presented Art Museum from 2012 to 2013 and that had been mainly borrowed in Japan for the first time. received 328 770 visitors. Featuring from the D’Orsay Museum. This works from Impressionism to exhibition focused on Monet’s art To demonstrate the Japanese Surrealism, an exhibition entitled and explained its influence on his public’s appreciation of Masterpieces from the Kunsthaus posterity. Impressionism and the exhibitions Zürich was shown at the National organized by French museums, we Art Center in 2014 and marked An exhibition called Naissance compared the number of visitors to 300 086 visitors.47 de l’impressionnisme. La liberté de turnkey exhibitions organized by peindre (Rank 4) was shown at other museums. We understand that the circulation the National Art Center in 2014. of works of art and exhibitions, Planning for 140 years since the 46 Since June 1, 2010, the Orangerie Museum is attached to the D’Orsay Museum considered to be first impressionist exhibition one single public institution of an administrative 47 Note the following exception. An exhibition held in 1874, this exhibition was nature. JORF n°301 du 30 décembre 2003 page entitled Masterpieces from the Royal Picture Gal- organized around 84 masterpieces 22464 texte n°74. Décret n°2003-1300 du 26 décem- lery Mauritshuis was presented at the Tokyo Me‑ bre 2003 portant création de l’Etablissement public tropolitan Art Museum in 2012 and received 758 from the collection of the D’Orsay du musée d’Orsay et du musée de l’Orangerie. 266 visitors. This result reflects that this museum Museum and received 696 442 NOR: MCCB0300911D [online]. [cit. 2017-11-14]. reopened in this year after the restoration and Available from www:
43 M USEOLOGICA BRUNENSIA
especially turnkey exhibitions the Louvre Museum, the D’Orsay CHATELAIN, Jean. Droit et administration which expose a collection to wider Museum, and MNAM-CCI, Japan des musées. Paris: La Documentation audiences, builds the images is an important partner with these française, 1993. of museum, forges branding three museums because it is the HASKELL, Francis. The Ephemeral Museum: strategies, and adds to the main destination for their turnkey Old Master Paintings and the Rise of the reputations of museums. Indeed, exhibitions. The Japanese public Art Exhibition. New Haven, London: Yale such turnkey exhibitions organized gained knowledge of Western art University Press, 2000. ISBN 978-0-300- by three French museums (the and were exposed to new ideas -08534-1. Louvre Museum, the D’Orsay and concepts of art. They became JEANNERET, Yves. Penser la trivialité. Paris: Museum, and MNAM-CCI) familiar with Western art and the Lavoisier, 2008. ISBN 978-2-7462-1878- attracted the attention of Japanese knowledge it advances through -9. art-lovers and set attendance increasingly popular thematic JORF n°301 du 30 décembre 2003 page records. exhibitions in Japan. This process 22464 texte n°74. Décret n°2003-1300 shows acculturation with regards to du 26 décembre 2003 portant création The exhibitions ranked from the circulation of works of art and de l’Etablissement public du musée d’Orsay second to fifth were well planned exhibitions. et du musée de l’Orangerie. NOR: to generate public interest. As MCCB0300911D [online]. [cit. noted in Chapter 1, since Japan In addition, from a cultural point 2017-11-14]. Available from www: has historically hosted exhibitions of view, the movement of works 44 2017 /06 /02 fichiers/pdf/louvre-rapports-d039activi‑ Tokyo Metroplitan Art Museum. Annual te-2008.pdf>. Report 2012 [online]. [cit. 2017-8-24]. Rapport d’activité 2009 – Musée du Louvre Available from www: 45