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Reprograme Tecnologia, Inovação E Cultura Numa Nova Era De Museus

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Reprograme Tecnologia, Inovação E Cultura Numa Nova Era De Museus REPROGRAME TECNOLOGIA, INOVAÇÃO E CULTURA NUMA NOVA ERA DE MUSEUS LUIS MARCELO MENDES [ORG.] REPROGRAMEREPROGRAME TECNOLOGIA, INOVAÇÃO E CULTURA NUMA NOVA ERA DE MUSEUS Uma seleção de artigos, ensaios e palestras sobre práticas de excelência na gestão de relacionamento de LUIS museusMARCELO com MENDES seus públicos. [ORG.] LUIS MARCELO MENDES [ORG.] JULHO 2015 REPROGRAME É UMA INICIATIVA INDEPENDENTE, SEM USO DE RECURSOS PÚBLICOS, VIABILIZADA GENTILMENTE PELA COMUNIDADE POR MEIO DE CROWDFUNDING. Agradecimentos especiais a: Adriana Rattes, Alexandre Fernandes, Anna Chiaretta Lavatelli, Armando e Ilana Strozemberg, Clarice Magalhães, Fernanda Assunção, João Vergara, Juca Worcman, Luiz Alberto Oliveira, Luiza Pinheiro, Magui Kampf, Marcos Ferreira, Maria Ignez Man- tovani, Michael Peter Edson, Renata Motta, Ricardo Oria, Rosana Lanzelotte, Sônia Barreto, Silvana Andrade e Susan Chun. Muito obrigado pelo apoio: Adriana Lins, Alejandro Tapia, Amalia Giacomini, Ana Angélica Costa, Ana Cunha, Ana Grossman, Ana Linnemann, Bárbara Gia- comet de Aguiar, Batman Zavareze, Bebel Abreu, Beth Pessoa, Billy Bacon, Bruna Costa Queiroz da Cruz, Bruna Helena Pereira Soares, Bruno Porto, Carla Branco, Carmen Ferreira, Carolina Bor- dallo, Catarina Faria, Chico Dub, Chris Lima, Christina Lima, Clara Azevedo, Cláudia Porto, Dana Mitroff Silvers, Daniela Alfonsi, Daniela Chindler, Danielle Linzer, Danielle Machado, Deca Far- roco, Dino Siwek, Eduardo Ramos, Enrique Pessoa, Fábio Prata, Fabiano Maciel, Fernanda Bellinaso, Flávia Nalon, Flavio da Costa, Gabriela Alevato, Gabriela Agustini, Gabriela Moulin, Gabriela Werneck, Henrique de Vasconcelos Cruz, Hugo Sukman, Humberto Baranek, Isabela Arruda, Itala Maduell, Ivana Barradas Figueiredo, João Bonelli, Joao Doria, Jorane Castro, Joy Chih- Ning Hsin, Juliana Gonçalves, Juliana Tinoco, Kátia de Marco, Lar- issa Graça, Leo Eyer, Léo Feijó, Leonardo Menezes, Liana Schip- per, Lidia Vales, Liliana Magalhães, Livia Razente, Luciana Araujo 3 Lumyx, Lucimara Letelier, Manu Fantinato, Manuel Thedim, Mar Dixon, Marcelo Pereira, Márcia Guimarães, Marcos Oliveira, Maria Camargo, Maria de Oliveira, Maria Raquel Fernandes, Maria Tor- naghi, Mariana Varzea, Marina Sartori de Toledo, Rafaela Zanete, Regina Miranda, Renata Salles, Renato Cardilli, Renato Salgado, Rosa Lavelberg, Rosane Carvalho, Rubens Ramos Ferreira, Sâmia Batista, Silvia Finguerut, Suzane Queiroz, Tatiana Levy, Theo Car- valho, Tiago Cacique, Valéria Boelter, Vera Lanari, Vera Saboya e Wilson Baroncelli. Esta edição foi viabilizada com o apoio institucional de: 4 SUMÁRIO INTRO PARTE DOIS: DIGITAL Museus, hipertexto e promiscuidade Uma reflexão sobre o digital Marilia Bonas Jane Finnis 6 153 O que faz o MoMA Fazer museus: Criando com ser o MoMA? tecnologias emergentes em Luis Marcelo Mendes museus de arte 9 Desi Gonzalez 166 PARTE UM: ABERTURA PARTE TRÊS: MUDANÇA Matéria escura Michael Peter Edson Em direção ao museu sociocrático 25 Bridget McKenzie 192 A Lua pertence a todos Mike Murawski O que é que temos a ver com isso? 48 Maria Vlachou 205 As virtudes da promiscuidade Construir uma comunidade: Ed Rodley quem, como, por quê 64 Nina Simon 214 O GLAM e o mundo livre Cory Doctorow Museus...e daí? 80 Robert Stein 224 Isto pertence a você Merete Sanderhoff 100 Democratizando o Rijksmuseum Joris Pekel 135 6 REPROGRAME MUSEUS, HIPERTEXTO E PROMISCUIDADE MARÍLIA BONAS MUSEU DA IMIGRAÇÃO A minha geração usou, em 30 anos, o telefone com disco e o smartphone com conexão wi-fi e comando de voz. Partimos em velocidade impressionante do uso do que chamávamos de meios de comunicação para o de ferramentas que trazem novas estrutu- ras de conexão entre seres humanos, seus saberes e desejos, em constante e retroalimentada transformação. Nesse curto período de tempo, a forma como produzimos e orga- nizamos o conhecimento mudou brutalmente – é só lembrar dos trabalhos de escola que saíam dos verbetes da enciclopédia da biblioteca do colégio e que hoje brotam dos milhares de resulta- dos em sites de busca, com os comandos de copiar, colar, fotogra- far, editar e compartilhar em tempo real. Saímos, como diria Pierre Levy, de uma forma de pensamento bidi- mensional e hierárquica, para uma tridimensional e hipertextual. O que imaginávamos antes em uma gaveta, hoje está em muitas ao mesmo tempo, organizadas em infindáveis teias de conexão per- sonalizadas, iluminadas sob diversos ângulos. Se nada disso já não assusta muitos de nós, não é o que ocorre com boa parte das ditas instituições tradicionais da sociedade, como os museus. Os artigos deste segundo volume da série Reprograme fazem uma série de provocações: qual o impacto dessas mudanças na prática das instituições que têm como missão preservar, pesquisar e comunicar o que é eleito pela sociedade como sua base identi- tária? Num mundo onde comunidades e identidades estão atomi- zadas em conexões não lineares, como e o quê preservar? Como encarar de verdade o desafio de compartilhar decisões e coleções? Para o cenário brasileiro, tais provocações atingem pontos nevrálgicos: num mundo que não reconhece mais como entes distintos o produtor e o 7 receptor de conhecimento, em que medida os museus brasileiros usam a tecnologia — seja em exposições ou em mídias sociais — para o diálogo? Considerando o alto custo e a rápida obsolescência de equipa- mentos e mídias digitais, será inteligente a decisão de produzir museus inteiros e/ou exposições de longa duração integralmente tecnológicas, mas não necessariamente dialógicas? Será que não devemos investir em tecnologia na criação de possi- bilidades de experiências personalizadas — in loco ou à distância — calcadas no acesso às camadas de informações não comunica- das pelas frentes mais tradicionais de nossas instituições? E, afinal, quem de nós realmente tem como prioridade o compartilhamento de acervos e seu conhecimento a respeito delas? Em nosso país, ainda nos cabe o desafio histórico de desenvolver uma cultura de preservação vinculada à materialidade e às cama- das imateriais de informações sobre as coleções (e é preciso lem- brar que repositórios digitais, por si só, não preservam em seu acúmulo). Mas partindo da reflexão trazida pelos artigos desta estimulante publicação, penso que neste mundo hipertextual a preservação é mais que o produto maduro do selecionar, docu- mentar, pesquisar e comunicar aquilo que ocupa nossas gavetas e estantes. Preservar é irradiar conexões, eletriza-las, compartilha-las de uma maneira que elas gerem conexões derivadas e reversas, em novas teias e telas pessoais, afetivas e identitárias. Em resumo, se sharing is caring, o que temos a fazer é mesmo esti mular, por todos os meios possíveis, a promiscuidade de nos- sos museus e coleções com a sociedade a quem de fato perten- cem, escancarando e introjetando suas ressignificações, usando e fomentando a inovação de toda e qualquer tecnologia disponível. 8 O QUE FAZ O MOMA SER O MOMA? LUIS MARCELO MENDES ORGANIZADOR 9 Folheando a primeira edição do Reprograme antes de escrever este novo texto, um dos artigos que salta aos olhos é a entre- vista do francês Julien Dorra concedida à curadora, crítica de arte e blogueira belga RégineDebatty. Criador da microcomunidade OrsayCommons, Dorra protestava contra a norma estabelecida em 2010 pelo Museu d’Orsay, de Paris, de impedir os visitantes de fotografarem dentro do espaço do museu. Por meio de um ativismo irreverente e performático, o grupo OrsayCommons realizava mobilizações de desobediência civil con- vocadas pelas mídias sociais onde seus integrantes combinavam de sacar câmeras ao mesmo tempo para fazer fotos no D’Orsay, levando a equipe de segurança à loucura. Dorra afirmava: Nós adoraríamos ver as pessoas ‘hackeando’ seus museus favoritos, organizando visitas piratas que o museu não oferece; imprimindo catálogos alterna- tivos; oferecendo melhores audioguias para down- load; e, é claro, realizando oficinas de fotografia no museu que proíbe fotografar! É isso que chamamos de museu como plataforma aberta. Já em 2015, o mesmo conceito de plataforma aberta é colocado em prática como um negócio lucrativo pela empresa norte-americana Museum Hack que oferece um tipo de reinvenção subversiva do tradicional tour de museu em algumas das principais instituições do segmento (como o Metropolitan e o Museu de História Natu- ral). E com potencial para oferecer seus serviços para museus de todo o mundo. 10 Liderados por guias experientes e bem versados na história da arte, eles oferecem uma maneira nova de ver as obras, envolvendo os visitantes com histórias hilariantes e incomuns embaladas em sexo, escândalo e deboche sobre o mundo da arte com foco em pessoas que “não gostam de museus”. A grande diferença em relação à experiência do OrsayCommons é que agora são os próprios museus como a National Gallery of Art que procuram a empresa para terem suas coleções ‘hackeadas’ como parte da estratégia de desenvolvimento de públicos. Esse é apenas um exemplo do fértil e empolgante ambiente de transformações que está promovendo um debate global sobre o papel das instituições museológicas no mundo contemporâneo e seu posicionamento diante das demandas da sociedade. Museus e marcas: como estamos? O que procuro fazer no projeto Reprograme é mapear e tradu- zir para português algumas dessas discussões surgidas especial- mente nos ambientes de emergência: as palestras, posts de blogs e os artigos que circulam na internet e, de alguma forma, captam um determinado espírito do seu tempo. A gênese desse projeto veio do texto Museum Next, de Robert Jones, diretor da Wolff
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