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Museological-Review-Issue-22.Pdf SCHOOL OF MUSEUM STUDIES Issue 22 · 2018 Museological Review: Museums of the Future A Peer-Reviewed Journal Edited by the Students of the School of Museum Studies, University of Leicester Museological Review © 2018 School of Museum Studies, University of Leicester All rights reserved. Permission must be obtained from the Editors for reproduction of any material in any form, except limited photocopying for educational, non-profit use. Opinions expressed in the publication are those of the authors, and are not necessarily those of the University of Leicester, the Department of Museum Studies, or the editors. ISSN 1354-5825 Cover image: The Louvre Abu Dhabi Museum of Art, Atelier Jean Nouvel,2017. Photo © Sophie Kazan Museological Review would like to thank the following people who helped in the edition of this issue: Gordon Fyfe, Suzanne MacLeod, Cristine Cheesman, Bob Ahluwalia, Suzanne MacLeod, Eve Tam, Valerie Hillings, Maisa Al Qassimi, Elizabeth Merritt, University of Leicester Creative Services Team, in particular Steve Abraham and Trish Kirby, and of course all of our anonymous peer reviewers and the PhD Community of the School of Museum Studies in Leicester. Follow us on Twitter: @LeicsMusReview CONTENTS 3 MUSEOLOGICAL REVIEW ∙ ISSUE 12 ∙ 2018 Contents Note from the Editors .................................................................................................................................... 4 The Editors’ Interview .................................................................................................................................... 5 Sophie Kazan, Gina Wouters, Jimmy Fok Yeung Museums of the Future: Embracing digital strategies, technology and accessibility........................................ 10 Mark D. Osterman The sonic threshold of the Museum of the Future ......................................................................................... 18 Giacomo Pompanin, Stefania Zardini Lacedelli #DayofFacts, Museums, and Socially Purposeful Practice: The Future of Museological Public Service ............. 19 Miranda L. Chavis The Platform-Museum: conceptual revolutions and practical implications .................................................... 30 Stefania Zardini Lacedelli Ongoing Cultural Phenomenon as Future Museum Objects ........................................................................... 43 Sumi Kim When matter becomes a monster:Examining Anthropocenic Objects in Museums......................................... 44 Bergsveinn Þórsson Future museums as educational labs: lessons learned from MoMA’s Young People’s Gallery (1937-1957) ...... 54 Sara Torres Vega How can museums work with hospitals? ...................................................................................................... 63 Nuala Morse, Carolyn Bloor Museums and Innovations ........................................................................................................................... 68 Zoi Tsiviltidou SCHOOL OF MUSEUM STUDIES UNIVERSITY OF LEICESTER NOTE FROM THE EDITORS 4 MUSEOLOGICAL REVIEW ∙ ISSUE 22 ∙ 2018 Note from the Editors Welcome to Issue 22 of Museological Review. This year’s issue takes as its theme the concept of Museums of the Future. It seeks to explore future museum practice, museum ontologies and museum experiences in the light of innovations at a technological, curatorial, educational and communicational level, while analysing the implications that the latter have for the conceptualisation of the museum of the future in a global context and its social sustainability and impact. Our front cover image, captured by our editor Sophie Kazan, is an interior shot of the Louvre Abu Dhabi Art Museum, designed by the Ateliers Jean Nouvel. The Louvre Abu Dhabi welcomed its first visitors in November 2017. Following the trail blazed by previous editions, this issue utilizes a wide range of platforms including academic articles, visual submissions, a book review and a Q&A. However, considering that this year’s issue discusses innovation, it was deemed appropriate to come up with our innovation as well. Hence, this year’s issue introduces a new item: Interview responses with museum professionals from around the world being put together in a single interview format that could be read as a global conversation. Gina Wouters, Sophie Kazan and Jimmy Fok Yeung, members of the editorial team, conducted interviews with museum professionals, participating in some kind of innovation (mostly museum making projects). The responses of these professionals, who have diverse museum experiences from institutions around the world, underscored both the diversity and the similarities of global museum practice and its implications for the future museum. The edition then features two works that contribute to a discussion of the impact of innovative technologies on the museum experience. Mark Osterman’s paper explores how the applications of innovative interactive technology could enhance future museum experience and enable future museums to serve their mission for accessibility and inclusivity. Giacomo Pompanin’s and Stefania Zardini Lacedelli’s visual submission explores a multimedia radioguide which encourages users to envision a virtual museum. The discussion then shifts to discuss the post-digital and communicational concept of platform in relation to the future museum practice. Miranda Chavis examines the future of museological public service in relation to the use of progressive communication platforms. Stefania Zardini Lacedelli’s submission explores a new platform model for museums, examining the evolution of the museum in an intangible entity. Seeking to envision innovation in the curatorial practice, the issue includes two submissions who examine curatable museum objects of the future museums. Sumi Kim’s visual submission comments on the influence of Korean Wave in the curatorial practices of The National -but simultaneously global- Museum of Korean Contemporary History. Bergsveinn Þórsson’s paper discusses the addition of two anthropocenic objects, plastiglomerate and fatberg, in the future museum collections. An academic article by Sara Torres, bridges the past with the future by analysing museums as labs with reference to MOMA’s educational history. And as innovation can emerge through a thorough analysis of lessons learned at the past, a Q&A by Carolyn Bloore and Nuala Morse, draws on a past V&A Museum of Childhood Hospital Schools programme, to envision how future museums could be involved in untypical partnerships to fulfil their social role. Finally, the edition features a book review by Zoi Tsilvitidou. Tsilvitidou reviews Antos, Fromm, and Golding’s Museum Innovations, focusing at the (re)interpretation of the terms ‘museum’ and ‘ethnography’ in the context of a more participatory and socially-driven practice. Katerina Vlachaki (Editor-in-chief), Amornchat Sermcheep, Jimmy Fok Yeung, Gina Wouters and Sophie Kazan SCHOOL OF MUSEUM STUDIES UNIVERSITY OF LEICESTER THE EDITORS’ INTERVIEW 5 MUSEOLOGICAL REVIEW ∙ ISSUE 22 ∙ 2018 The Editors’ Interview Sophie Kazan, Gina Wouters, Jimmy Fok Yeung To celebrate this achievement and inspired by the 2018 Review’s theme of Museums of the Future, the Editorial team have reached out to museum professionals directly in a new item, The Editor’s Interview. Following on from the theme of embracing digital strategies, technology and accessibility, members of the editorial team have interviewed museum professionals with distinctly different museum experiences from around the world, bringing their responses together in a single interview format that we hope will read like a global conversation and show not only global diversities but also world-wide similarities. Note: The museum professionals were interviewed individually (apart from Valerie Hillings and Maisa Al Qassimi). Their responses are not featured in a consistent sequence for the sake of flow. The museum professionals: Eve Tam, Chief curator of Hong Kong Museum of Art, Valerie Hillings, Associate Director of Curatorial Affairs, The Solomon R. Guggenheim Foundation Abu Dhabi Project Maisa Al Qassimi, Programmes Manager, Guggenheim Abu Dhabi. Elizabeth Merritt, Strategic Foresight and Founding Director, Center for the Future of Museums, Arlington, VA, United States of America. As an introduction/background, please could you let us know what museum innovation that you are taking part in? Valerie Hillings / Maisa Al Qassimi - We are fortunate to be a part of building a new institution from the ground up, allowing us to participate in the rethinking of art history. Guggenheim Abu Dhabi will be located in the United Arab Emirates, a historical and contemporary gateway that brings together people and cultures from all over the world. Finding and celebrating points of interconnection in contemporary art will enable us to explore histories and ideas from around the globe and commonalities among cultures. The Guggenheim Abu Dhabi collection includes numerous works by artists that examine the expressive potential of calligraphy. Some artists focus on given letters, for instance Parviz Tanavoli’s Big Heech (1973); others evoke its methods while employing distinctive techniques such as Gu Wenda’s use of human hair in United Nations–Silk Road (2000). Various artists explore the meditative potential of writing in their art as for example Shirazeh Houshiary’s painting Luminous Darkness (1998), and still others evoke the human figure as in Rachid Koraïchi’s installation Le Chemin des Roses (Path of Roses) (1995–2005).
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