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Change of Perspective ISSN 0253-9004 ICOM Education 25 n. 25 - 2014 Change ICOM Education 25 of Perspective Change of Perspective (New) ideas (New) ideas for presenting museum objects for presenting museum objects Edited by Emma Nardi, Cinzia Angelini and Stéphanie Wintzerith Change of Perspective. (New) ideas for presenting museum objects Contents / Sommaire / Indice Edited by Emma Nardi, Introduction / Introduction / Introducción Cinzia Angelini and Stéphanie Wintzerith Emma Nardi, Change of perspective. (New) ideas for presenting museum objects. Introduction Susanne Popp, Jutta Schumann, The Change of Perspective. The concept of the EMEE-project Ricardo Rubiales Garcia Jurado, Gramática museológica Jutta Schumann, Susanne Popp, Change of Perspective. A local museum object in trans-regional and cross-cultural perspectives ICOM Education 25 National identity / Identité nationale / Identidad nacional Mette Boritz, Citizenship in a cupboard Daniel Castro, Camilo Sánchez, ¿Todo por un florero? Las varias dimensiones de una pieza de museo Urška Purg, We introduce to you Lili Marlen Specific audiences / Publics spécifiques / Públicos específicos Delia Pizarro San Martín, Enigma museográfico en 140 caracteres María Antonieta Sibaja Hidalgo, La imagen se mueve. Maneras de imaginar, pensar y sentir Stéphanie Wintzerith, Rondin de bois, rondin de pierre – ou comment favoriser l’intégration avec un banal morceau de bois Leena Tornberg, The sound of a single museum object Mediation and exhibition concept / Concept de médiation et d’exposition / Concepto de mediación y exposición Viviane Panelli Sarraf, Audio-description and sensory approach: different ways to understand contemporary art in the Modern Art Museum in São Paulo Arturo Vallejo, Tear the banknote apart: the reinterpretation of an everyday object Magaly Cabral, Do you know? Do you remember? It’s hot... It’s cold Lucía Astudillo, El arma secreta de las mujeres Saraguro Jean-Marie Baldner, L’heure décimale. Une visite au Musée des arts et métiers à Paris Abstracts / Résumés / Resumen Funded by the Culture Programme Authors / Auteurs / Autores of the European Union www.nuovacultura.it 21.00 EURO Change of Perspective (New) ideas for presenting museum objects Edited by Emma Nardi Cinzia Angelini Stéphanie Wintzerith Edizioni Nuova Cultura Description of the collection This collection gathers the results of the research and professional experiences of the members of the Committee for Education and Cultural Action (CECA) of the International Council of Museums (ICOM). Editor in chief Emma Nardi Scientific board Emma Nardi, Università Roma Tre, Italy Cinzia Angelini, Università Roma Tre, Italy Ani Avagyan, National Gallery of Armenia, Armenia Pino Monaco, Smithsonian Center for Education and Museum Studies, USA Željka Jelavić, Ethnographic museum – Zagreb, Croatia Ana Margarita Laraignée, Centro Cultural Alfonsina Storni – Buenos Aires, Argentina Ayumu Ota, National Museum of Japanese History, Japan Arja van Veldhuizen, Landschap Erfgoed Utrecht, the Netherlands Daniel Castro Benitez, Casa Museo Quinta de Bolívar and Museo de la Independencia, Colombia Juliette Fritsch, Peabody Essex Museum – Massachusetts, USA Colette Dufresne-Tassé, Université de Montréal, Canada Nicole Gesché-Koning, Académie royale des Beaux-Arts & Université Libre de Bruxelles, Belgium Sonia Guarita do Amaral, Independent Museum Educator, Brazil Marie-Clarté O’Neill, Institut national du patrimoine - Ecole du Louvre, France Stéphanie Wintzerith, Independant evaluator and visitor research, Germany Editing Cinzia Angelini Stéphanie Wintzerith Evaluation criteria All the texts published in this collection are blind peer-reviewed according to the following criteria: originality and relevance of the text proposed; theoretical consistency with the thematic areas of the collection; methodology and appropriateness of the research tools; language correctness and impact of the analyses. _______________ Copyright © 2014 Edizioni Nuova Cultura - Roma ISBN: 9788868123772 - DOI: 10.4458/3772 Cover: by the Author. Graphic design: by the Author. Any type of reproduction, even partial, by any means and for internal or external use, is strictly forbidden and only permitted after written approval from the publisher. Contents / Sommaire / Indice Introduction / Introduction / Introducción Emma Nardi, Change of perspective. (New) ideas for presenting museum objects. Introduction pag. 7 Susanne Popp, Jutta Schumann, The Change of Perspective. The concept of the EMEE-Project » 13 Ricardo Rubiales Garcia Jurado, Gramática museológica » 23 Jutta Schumann, Susanne Popp, Change of Perspective. A local museum object in trans-regional and cross-cultural perspectives » 33 National identity / Identité nationale / Identidad nacional Mette Boritz, Citizenship in a cupboard » 47 Daniel Castro, Camilo Sánchez, ¿Todo por un florero? Las varias dimensiones de una pieza de museo » 53 Urška Purg, We introduce to you Lili Marlen » 63 Specific audiences / Publics spécifiques / Públicos específicos Delia Pizarro San Martín, Enigma museográfico en 140 caracteres » 75 María Antonieta Sibaja Hidalgo, La imagen se mueve. Maneras de imaginar, pensar y sentir » 83 Stéphanie Wintzerith, Rondin de bois, rondin de pierre – ou comment favoriser l’intégration avec un banal morceau de bois » 91 3 Leena Tornberg, The sound of a single museum object » 103 Mediation and exhibition concept / Concept de médiation et d’exposition / Concepto de mediación y exposición Viviane Panelli Sarraf, Audio-description and sensory approach: different ways to understand contemporary art in the Modern Art Museum in São Paulo » 113 Arturo Vallejo, Tear the banknote apart: the reinterpretation of an everyday object » 125 Magaly Cabral, Do you know? Do you remember? It’s hot... It’s cold » 135 Lucía Astudillo, El arma secreta de las mujeres Saraguro » 141 Jean-Marie Baldner, L’heure décimale. Une visite au Musée des arts et métiers à Paris » 151 Abstracts / Résumés / Resumen » 161 Authors / Auteurs / Autores » 171 4 Introduction Introduction Introducción Change of perspective. (New) ideas for presenting museum objects Introduction Emma Nardi Introducing this issue of the journal The 25th issue of ICOM Education that I have the pleasure to introduce has two new features: – it is sponsored by the European Union; – all CECA members were invited to present a contribution. The European Union sponsored our journal through EMEE EuroVision - Museums Exhibiting Europe, a project led by the University of Augsburg, whose purpose is to explore an innovative, interdisciplinary approach for museums to re-interpret their objects. Therefore the core of the project is the change of perspective (COP). The project partners all considered CECA as an outstanding platform to disseminate the project, which is a further proof of the reputation of our Committee. The call for papers, sent to all CECA members, had a very good response. Besides, it was justified by the wish, constantly expressed by the CECA Board policy, to involve the largest number of members in the Committee’s activities. I do not want to say more about the EMEE project in my introduction, because its features are very well described in the article by Susanne Popp, project leader, and Jutta Schumann. After two theoretical articles, the first by Susanne Popp and Jutta Schumann, the second by Ricardo Garcia Jurado, the readers will find a wide range of proposals sent from all over the world and representing the three ICOM official languages: English, French and Spanish. I want to underline that, unlike other publications sponsored by the European Union, the articles do not all come from 7 people involved in the project. There was a convergence of interest between EMEE and CECA but, as we are an independent body, we have asked our members to interpret the main idea of the project and express it according to their own interests. Another perspective on two museum objects I personally would like to take the opportunity to present two museum objects according to the COP approach, the first one in the narrative form, the second as a poem written by a professor of Spanish. I hope you will enjoy the issue! 1 - The iron collar Among the permanent collection of the Epigraphy section of the Museo Nazionale Romano alle Terme di Diocleziano, there is an object that attracts almost all visitors. It is a circular iron collar of the diameter of 12 centimetres, dated between the 4th and 6th century A.C. It is an outstanding object because the bronze plate that completed it is still in place. Since the plate is much thinner than the collar, it is quite astonishing that it was neither lost nor damaged. The letters engraved thanks to a burin are long and narrow, as it was the use in the latest period of the Roman civilization (fig. 1). Fig. 1 – The iron collar The text, distributed on five lines, says: Fugi, tene mi, / cum revoculveris me d(omino) m(eo) / Zoninus / accipis / solidum. The sentence is the promise to give remuneration to the person who would give the collar’s bearer back to Zoninus. It is very clear to read, but harder to interpret. Is it referring to a dog? Could a dog 8 be so valuable that the master is ready to pay the person who should take it back? Was the solidus a big or a small remuneration? These are the kind of problems epigraphists deal with. In order to find a sensible answer, it is necessary to cross evidence. In this case help comes from a law of the time that fixed in a solidus the remuneration to whoever would take a runaway back to the master. Therefore, however hard it could seem to us, the collar was not a dog’s but a slave’s collar. Mediation of the object The slave collar is a polysemic object, as it has different meanings and implications. Therefore it can be considered from different points of view: 1. The conservation point of view. This aspect is puzzling, because it is very rare to find such an object in perfect conditions. This is the kind of questions that could be raised in this case: Where and when was the object found? In what conditions was it found? How and by whom was it restored? Since when has it been exhibited in the Museo Nazionale Romano? Was it ever used as a loan to another museum? 2.
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