Special Theme: Museum Communication between Enlightenment and Experience

1 The Journal Nordic Museology Nordic The Journal USEOLOGI M ORDISK

View from The Getty Museum, Los Angeles, 2017. Photo Dorte Skot-Hansen.

N 2019 • 1 Indhold Nordic museology 2019 • 1

INDHOLD/PREFACE Forord 1 Forord Brita Brenna

Tema/Special Theme 5 Museum communication between enlightenment and Museer er tidsmaskiner. De skaper tider: Fortider og nåtider, men også dår- experience. An introduction lige tider, gode tider, opplysningstider og mørke tider. Gjennom gjenstander, Hans Dam Christensen & Michael Haldrup lyssetting, tekster og arkitektur lager de menneskegruppers ulike tider: Kvin- 11 Planetariums between experience and enlightenment ners eller barns tider, arbeideres eller minoriteters tider. Og ikke minst skaper Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen de naturtider: Dinosaurenes eller pungdyrenes tider, universets eller et enkelt 25 Questing authenticity minerals tid. Tilde Strandbygaard Jessen & Anette Warring Hva er museenes rolle i å skape tider som kommer? ”The future is now”, 39 Wall texts in collection exhibitions skriver ungdommene som demonstrerer og streiker for at politikerne skal ta Palmyre Pierroux & Anne Qvale trusler mot jordens klima på alvor. Museene følger opp med innsamling av 51 The museum as destination bilder og historier. De ønsker å dokumentere samtid. Og de ønsker å være re- Dorte Skot-Hansen levante for ungdommene og for klimaengasjementet de uttrykker. De ønsker med andre ord å bidra til at klimaengasjementet setter spor og får en varighet. Slik vil de også bidra til å endre, forme eller skape tider som kommer. Artikler/Articles I 2018 ble det etablert en ny arbeidsgruppe innen ICOM (International 65 Betragter, værk, verden Council of Museums) med tittelen Museums and Sustainability. Vår visjon, Christiane Finsen skriver gruppa, er at i en nær framtid vil museer bidra så konstruktivt og ef- 82 Værktøjskasse til atmosfæriske kunstrum fektivt som mulig til å møte de mange utfordringene klimaendringer og i en Line Brædder bredere forstand, bærekraftsproblematikk, skaper. Museer har en unik rolle å 100 The creation of a museum system spille, hevdes det videre. Vi er spent på resultatet når gruppen skal levere sin Susanne Krogh Jensen rapport ved slutten av dette året. Dette nummeret av Nordisk Museologi har et spesialtema: Museumskom- Anmeldelser/reviews munikasjon mellom opplysning og erfaring. De to redaktørene for temaet, Books Hans Dam Christensen og Michael Haldrup, er begge deltakere i forsknings- 115 Hege B. Huseby & Henrik Treimo (red.). Tingenes metode. prosjektet Vores Museum (se presentasjon i Nordisk Museologi 2/2017). Museene som tingsteder Artiklene stammer fra arbeidet i dette forskningsprosjektet, og utfordringen og problemstillingen de reiser er et av museenes evige dilemmaer: Hvordan Camilla Mordhorst håndtere og administrere forholdet mellom opplysning og erfaring i muse- ene? Det finnes ikke noe evig svar, men det er forfriskende å få stilt spørs- målet på nytt, fordi disse begrepene nå kan tematiseres som noe annet enn motpoler, snarere er det hvordan de arbeider sammen på ulike måter som blir tematisert. Utenfor tema har vi tre artikler. Christiane Finsen utforsker også alter- native måter å forstå museets rolle som kunnskapsformidler og erfarings- rom. Line Brædder etablerer en verktøykasse for atmosfæriske kunstrom – i et arbeid som nettopp utforsker museumserfaringen. Og til sist gir Susanne Forord Nordisk museologi 2019 • 1, s. 5–10

4 Krogh Jensen et instruktivt bilde av hvordan kulturpolitikken etablerer et dansk museumssystem fra 1950-tallet og fremover. Samlet viser de nett- Museum communication between opp det særegne tidssystemet som museer opererer innenfor: Den his- toriske dybden og institusjonens og samlingens varighet skaper spesi- fikke forutsetninger for hvordan museene kan agere i samtid og framtid. enlightenment and experience God lesning! An introduction Brita Brenna Hans Dam Christensen & Michael Haldrup

I museum this special theme views elements In museum studies, the relation between of enlightenment and experience in the enlightenment and experience has often been museum as an entangled field, where the one seen as an antagonistic discourse. In a pell- is depending on the other; experience and mell, debates over museums as temples of enlightenment are intertwined concepts when knowledge and public memory institutions it comes to museum communication. This versus Disneyfication, commercialization and might not come as a surprise for committed adaptation to the experience economy might people in museum everyday life, but in indicate this dichotomous relation. Especially, prevalent ways of addressing museums, both under the influence of the hype emanating from within and outside the museum domain, the the latter concept, museum practices have been antagonism still exists and produces very real conceived of as a tension between a historical effects and tensions commitment to the values of “enlightenment” For example, as part of the Bildung project and more contemporary demands for of modern European societies, enlightenment producing entertaining “experiences” (Skot- was embedded in the conceptualization of Hansen 2008). This special theme of Nordic content, form and objectives of museum Museology has had its outset in discussions communication; and museums are still connected with the large Danish research and conceived as institutions of enlightenment for development project, Our museum (2016– their visitors and the public at large. However, 2020). In this project, a central objective is to alongside this understanding, attention to examine the antagonistic discourse in question experience has been present all the time, here: how well-documented is this antithetical from early transnational antiquarians’ and relationship between enlightenment and private collectors’ museum and acquisition experience when discourses are critically practices on to current mediation practices examined? Or, rather, how many discourses and spectacular museum buildings, and with contradict and even falsify this antagonism? attention being variously paid to the collector, (For a general introduction to Our museum, the owner, the communicator, the visitor, and see Drotner 2017). even the architect. In line with the propositions of Our Admittedly, this claim of an entangled Hans Dam Christensen & Michael Haldrup Museum communication between enlightenment and experience

6 field – or the opposite – is stated almost scientific knowledge and enlightenment [Almen- air museum, which opened in a park in objects without value at all or, more modest, 7 without consequences as the two concepts, oplysning]. The objects are acquired in order to be central Copenhagen in 1897, but was very fast value for just a very limited number of people. experience and enlightenment, can be defined preserved and to be part of a comprehensive whole removed to the outskirts of the city. It should be noted that Müller is not blind to and explained in an abundance of ways which in which each section is equally established. The More ferociously, Müller attacks the socalled the importance of museum communication. might make them both interrelated and objects are scientifically ordered and processed. “interior”-principle, which he pigeon-holes On the one hand, he approves decoration and separated. On the one hand, this confusion They are on display in order to be seen, studied and as “Interiør-Exteriører” [Interior-Exterior] art as a frame and background for authentic makes the concepts awkward to use in an appreciated (Müller 1897:684, all translations by the (Müller 1897:689). His criticism is, among museum objects as long as the objects academic context. On the other hand, the tense authors.) other things, directed towards their use of are not subjugated to the former (Müller field between enlightenment and experience covert copies, their need for insignificant 1897:698). On the other hand, objects might might make them productive notions when From a bird’s perspective, this definition might objects in exhibitions, the lack of comparability be acquired due to their scholarly interest museum communication is looked at through today be considered old-fashioned, but not between items within the same category, the as well as their communicative potential this lens from various analytic perspectives. entirely unrecognizable. At closer inspection, narrowness of specialized collections, and the (Müller 1897:690). Müller’s scientific-orderly however, obsolete hierarchies between risk of destroying significant museum objects. exhibition principle, however, disqualifies the enlightenment and experience, between Thus, the primary aim of “Interiør-Exteriører” “Interiør-Exteriør” in which scientific order II human and nature, between authenticity is not to display original artefacts, for example, is subjugated to the impression of illusive A specific example of the antagonistic and imitation, and between significance authentic interiors, but to create illusive spaces entirety. Obviously, his notion of preservation discourse in the history of Danish museum and insignificance, become visible. For – comparable to panoramas and panopticons – and protection also calls the interior principle communication, often referred to, is Sophus example, human-made and human-treated in which copies and the like complete missing into question. The museum objects should Müller’s harsh critique of experience- objects draw, according to Müller, a distinct parts in order to deceive (Müller 1897:697). be carefully preserved and protected by way oriented museum communication in his borderline between his museum and items The copy in itself is not the problem as it might of display cases, whereas the interior display article, “Museum og Interiør” [“Museum that belong to natural history. Nevertheless, supplement a collection or display, if originals requires unprotected objects as well as no and Interior”]; the article was published in he deliberately excludes art collections are missing and the copies are clearly visible traces of too old age, as this will reveal the the literary and arts journal, Tilskueren [The [“Kunstsamlinger”], at least since the age as copies. In the “Interiør-Exteriør”, however, illusion of “authenticity”. Spectator] in 1897 (see, for example, Rasmussen of Greco-Roman sculptures, as well as so- the distinction between original and copy As a red thread in Müller’s arguments, the 1979:84f, Stoklund 2003:41, Ravn 2008). As a called “interior, open-air and park museums” becomes blurred because the copies seamlessly intended realism of the interior-exterior, which counter-image to the following articles, where [“Interiør-, Friluft- og Parkmuseer”] from this appear to be original parts. Within other lures visitors to experience “the real thing”, is experience and enlightenment are merged in a definition. In fact, while Müller unfolds his domains, Müller notes, this appearance will be a problem. No proper scientific knowledge positive manner, let us briefly dwell on Müller’s definition, it becomes clear why, in particular, considered a counterfeit [“en Forfalskning”] can establish the correct position of a random article in order to see how a particular logic these so-called museums are not museums (Müller 1897:689). item, although the interior-exterior requires of enlightenment once attacked experience- at all because of their experience-oriented Furthermore, in order to persuasively such a position of all its displayed items in oriented museum communication. communicative means. refabricate interior spaces, the museum will be order to produce convincingly “talking pic- In his introductory remarks, Müller, then co- To a modest extent, he opposes the enforced to acquire and preserve an abundance tures” [“talende Billeder”] (Müller 1897:696). director at the National Museum in Copenhagen, relocating and crowding of historical buildings of items without significance for education and Moreover, mannequins cannot supplant launches a definition of the concept “Museum” and monuments into museum-like areas in enlightenment. From Müller’s point of view, living people. Even though guards might be on the basis of the “archeological-historical- or close to cities. He considers this an abuse such irrelevant items do not belong to a proper dressed in peasants’ dresses, which might now ethnological museum” [“arkæologisk-historisk- of monuments in order to achieve museum museum: seem familiar to many, Müller admits, this etnografiske Museum”]. He advocates for a artefacts. Monuments and buildings, often principle becomes absurd, if period clothing scientific-orderly approach to objects as his restored and rebuilt, belong to their original The insignificant should not be preserved, and is implemented in exhibitions, for example, museum should be: places and spaces (Müller 1897:686); removed Snurrepiberier do not belong here”. (Müller 1897: displaying older ages (Müller 1897:696). The from these surroundings, they become 689). aim of these realistic pictures fails, according A collection of archeological, historical and imitations, according to Müller, presumably to Müller, as the illusive experience becomes a ethnographic objects, which is able to promote implicitly referring to the first Danish open- “Snurrepiberier” is an old Danish term for superficial, easily passing effect. Hans Dam Christensen & Michael Haldrup Museum communication between enlightenment and experience

8 III legacy of offering spectacular and immersive In the successive articles, the analytic the iconic façades. Although the definitions of 9 Probably, the clear-cut dichotomy between experiences in their dome programs and perspectives on experience and enlightenment experience and enlightenment in both cases enlightenment and experience reflected above have probably been doing this since the moves from a micro analysis of wall text are slippery, museums are not just subjugated seems more distinct when written in letters first projection planetarium worldwide was in museums towards a macro analysis of to the experience economy. than lived in museum practice. Before and after installed at the Deutsches Museum in the mid- spectacular museum architecture and spaces; Müller, even during the management of Müller 1920s (Internet source 1). Nevertheless, many both approaches challenge, contextualize IV at the Danish National Museum, which lasted international studies indicate that this entangled and destabilize the importance of Müller’s almost 30 years (1892–1921), the entangled field between experience and enlightenment is museum object. In terms of enlightenment it The point of departure for this special theme field of enlightenment and experience has considered to be mutually exclusive by many is noteworthy, according to Palmyre Pierroux has been that the concepts of enlightenment almost certainly been the rule rather the staff members. In Marianne Achiam, Line and Anne Qvale in “Wall texts in collection and experience continuously operate as exception. Among other things, Müller did, in Nicolaisen and Tine Ibsen’s “Planetariums exhibitions. Bastions of enlightenment and discursive and practical tensions for museums. fact, approve decoration and the first open-air between Experience and Enlightenment”, the interfaces for experience”, that the more or In hindsight, it is easy, perhaps too easy, to museum (mentioned above) became part of authors show that the two concepts can work less traditional wall text is better controlled conclude that Sophus Müller’s “archeological- the National Museum in 1920. together. By surveying staff members from by the curator than text mediated by way of historical-ethnographical museum” was defined Obviously, Müller’s scientifically ordered various Scandinavian planetariums on their digital technologies. Roughly speaking, wall in too narrow a manner. Everyday museum archeological-historical-ethnological museum perspectives of planetarium dome programs, texts reflect enlightenment in contrast with practices have always been interweaving seems far away when the entangled field they reflect upon how enlightenment and the individual experience of the work of art experience and enlightenment, although, during between experience and enlightenment is experience might be considered complementary in question, but none are, however, mutually the way, the one or the other has been given put into light today, especially when we as in successful planetarium dome dissemination. exclusive. At large, the study shows small but discursive predominance. Müller’s article is, in this special theme include “planetariums” In “Questing authenticity. Rethinking significant changes in a national art museum’s nevertheless, valuable as a reminder of the long- disseminating knowledge about astrophysics, enlightenment and experience in Living organization, a new blended approach to digital time antagonistic discourse about museums’ examples of “living history”, including people History”, by Tilde Strandbygaard Jessen and interpretive media, and expanded types of wall communicative practices. While we contend dressed in Stone Age’s clothing, textual Anette Warring, it becomes evident that texts, illustrating the premise that discursive that museum communication and practice communication in art museums, and museums Müller’s museum of enlightenment has always and practical tensions between enlightenment should be seen as influenced by particular as building blocks of experience-scapes. In been challenged by museum communication and experience are at the core of new practices tensions and configurations of enlightenment the following articles, furthermore, implicit which, in fact, overlaps with the means of emerging in museums. and experience in an entangled field, we definitions of these key terms clearly differ; both modern planetariums. Thus, emotional and In the other case, Dorte Skot-Hansen’s also want to add that the workings of the synchronic and diachronic displacements are multisensory ways of engaging with astronomy “The Museum as destination. The role of dichotomy are, indeed, very real. Hence, this at stake, but their relationships are productive and space have in a similar way for long time iconic museums in urban boosterism”, the special issue argues that 1) tensions between in various analytic perspectives. However, we been integrated in museums’ engagement architecture and space of recent museums, experience and enlightenment influence and hope that the diversity of cases discussed here with living history. Whereas Müller’s notion among others, J. Paul Getty Museum in Los stimulate museum communication practices; are illustrative for the complex configurations of authenticity was embedded in the original Angeles and French museum initiatives, for 2) historical communication practices may between elements of enlightenment and artefact, the authors look at the concept of example the more recent corporate branding illuminate contemporary museums’ handling experience at stake within the entangled field authenticity and how authenticity has been exercise of Fondation Louis Vuitton, seem dilemmas between enlightenment and of museum communication. construed and negotiated in three settings of to offer predominantly experience-oriented experience; and 3) contemporary practices While Müller did not include natural history living history in Denmark at three different events which bring the displayed objects to may illuminate past treatments of these to be part of his museum and line of argument, moments in time. Among other things, the the periphery. Nevertheless, these spectacular dilemmas. planetariums and science centers are, however, study of authenticity between experience and institutions do not skip the enlightening We hope that the cases discussed here committed to communicating scientific enlightenment offers an opportunity to explore activities of the traditional museum. The article will give illustrative evidence for this as well knowledge about astronomy and space by way not only how living history museums relate to concludes that even if the enlightenment as inform further debates and analysis of of natural science and, occasionally, authentic society, but also how they are perceived by the theme has been toned down, there is still a practices of museum communication between items. At the same time, planetariums have a general public. more traditional “museum mission” behind enlightenment and experience. Hans Dam Christensen & Michael Haldrup Nordisk museologi 2019 • 1, s. 11–24

10 Acknowledgement Stoklund, Bjarne 2003. Tingenes kulturhistorie. The guest editors will like to thank the Journal Etnologiske studier i den materielle kultur. Planetariums between of Nordic Museology and especially main København: Museum Tusculanum Forlag. editor Brita Brenna, Oslo University, and experience and enlightenment coordinating editor Fredrik Svanberg, National Internet source Maritime and Transport Historical Museums of Sweden, for the invitation and the assistance 1. https://www.deutsches-museum.de/ausstellungen/ Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen for this special theme. naturwissenschaft/planetarium/geschichte/.

Literature Hans Dam Christensen, Professor Abstract: Planetariums are committed to promoting public knowledge about Drotner, Kirsten 2017. “Our museum: Studying [email protected] astronomy and space. At the same time, they have a legacy of offering spectacular museum communication for citizen engagement.” and immersive experiences in their dome programmes. These outcomes do not Nordisk Museologi 2, 148–155. University of Copenhagen always sit comfortably together; in fact, international research shows that many Müller, Sophus 1897. “Museum og interiør.” Njalsgade 76, planetarium staff members consider experience and enlightenment to be mutually Tilskueren. Maanedsskrift for Litteratur, DK-2300 Copenhagen S, Denmark exclusive. In this study, we develop the argument that enlightenment and experience Kunst, Samfundsspørgsmaal og almenfattelige do not necessarily contradict each other in the planetarium context. We survey staff videnskabelige Skildringer 14: september, 683–700. members from Scandinavian planetariums on their perspectives of planetarium Rasmussen, Holger 1979. Dansk museums historie. De Michael Haldrup, Professor WSR dome programmes, and show that here, enlightenment and experience are kulturhistoriske museer. Dansk Kulturhistorisk [email protected] considered to be complementary in successful planetarium dome dissemination. Museumsforening. We discuss these findings and offer our reflections on their implications for the Ravn, Thomas B. 2008. “‘Man maa ikke berøre de Roskilde University practice of planetariums. udstillede Gjenstande’.” Danske museer 4, 19–22. Universitetsvej 1, 43.2 Skot-Hansen, Dorte 2008. Museerne i den DK-4000 Roskilde, Denmark Keywords: Science education, didactics, science centres, museum professionals, danske oplevelsesøkonomi. Frederiksberg: learning. Samfundslitteratur.

Since the emergence of the first dome-shaped with primary, secondary or tertiary education projection planetariums in Europe and the institutions; a focus that seemed to permeate or United States in the early twentieth century, even trump discussions of the more immersive scholars have discussed whether the essential or aesthetic aspects of the planetarium, as effect of the planetarium is in the cognitive or illustrated in the following statement made by the affective domain (Smith 1974, Sunal 1976). planetarium director Dr Charles Henry King These discussions should be seen against in 1966: different cultural backdrops: In the United States, the Sputnik Shock in 1957 resulted in Give [the public] what they want ‒ entertainment, a proliferation of projection planetariums thrills, and means of escape from the cares and as parts of a larger infrastructure to support worries of the “world outside.” Provide excitement, the development of a scientifically literate drama, and spectacle. Let them see the sun, moon, public (Slater & Tatge 2017). Many American and planets career across the sky. [...] In brief, do planetariums were thus primarily associated anything that will help conceal the unpleasant truth Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen Planetariums between experience and enlightenment

12 that a planetarium is primarily an educational device Even so, many present-day accounts of Enlightenment vs. Experience Reference 13 and is, or should be, concerned with astronomy planetariums from both Europe and the (King 1966, cited in Griffiths 2008:132). United States seem to view the educational and the spectacular as two ends of a spectrum, cognitive vs. affective Smith (1974) In contrast, in the early twentieth century, or even mutually exclusive (Croft 2008). For didactic vs. aesthetic Wolfschmidt (2007) European projection planetariums were instance, in his reflections on the prospective scientific vs. aesthetic (2008)Croft acknowledged not just in the contexts of new planetarium in Strasbourg, Soubiran science vs. spectacle Griffiths (2008) science and education, but also in the contexts (2017) points to tensions between scientific education vs. entertainment Backhus (2013) of performance and aesthetics (Wolfschmidt and spectacular astronomy, between education pedagogy vs. wonder Soubiran (2017) 2007). These cultural institutions were and entertainment, and between pedagogy and considered to be “theatres of the stars” located wonder. Backhus (2013) discusses how, in US Table 1. Examples of dichotomous terms used by planetarium practitioners and researchers to describe tensions at the intersection of science, technology and planetariums, the objectives of education and related to planetarium dome dissemination programmes, summarised here as “enlightenment” and “experience”, spectacle (Bigg & Vanhoutte 2017). Indeed, entertainment are described as counterparts. respectively. the sensory nature of the planetarium was not Finally, in a study of planetarium education seen as antithetical to education, but rather, professionals, Croft (2008:17) observes how they as well-suited to contemporary object- and “struggle[d] to make complex scientific concepts We formulate our research question In the first phase, we collected and studied experience-based pedagogies (e.g. Deinhardt understandable to their audiences within the in the following way: How do present- the research on planetarium dissemination, 1934). Sensory experience and imagination aesthetic medium [of the dome programme]”. day, Scandinavian planetarium education educators, and dome programmes referenced were seen as appropriate pathways to learning Similar dichotomous perceptions are present professionals perceive the relationship between in the preceding. In our group, which (Bigg 2017). among planetarium education professionals enlightenment and experience with respect consisted of two university researchers and In spite of their different cultural settings, studied by Littmann (2009) and Plummer & to their dome programmes, and what are the one planetarium professional, discussions European and American planetariums also Small (2013). implications of this perception for planetarium of these texts served not only to establish had similarities. Towards the end of the To summarise, in spite of what we might practice? In the following sections, we develop and validate the problem at stake, but also to twentieth century, planetarium technology describe as the fundamental immersive our methodological perspective and explain make the dimensions of enlightenment and across the western hemisphere had progressed performativity of the modern planetarium our data collection and analysis procedures. experience recognisable and meaningful from to the point where it was possible to immerse dome in which education and aesthetic perspectives of both practice and research. visitors in virtual space-travel: Planetarium- experience are inextricably linked, we In the second phase, we constructed an Methodology goers could now travel to the Moon, planet observe a dichotomisation in recent history online questionnaire in Google Forms (see Mars, or beyond (Backhus 2013). More between the notion of the planetarium We approach our research question from what Appendix) to gather data from planetarium and more, the planetarium dome became a dome as a milieu that promotes scientific Anderson and Ellenbogen (2012) designate as education professionals in the Scandinavian performative space (Griffiths 2008; Vanhoutte knowledge, and the notion of the dome as a a relativist–contextualist research paradigm. countries. In addition to a set of closed-ended & Bigg 2014) in which visitors could see the milieu that offers more sensory experiences of This means that rather than searching for demographic questions, we developed a set universe from places no human can go, in space. From a museological perspective, this an objective, generalisable “truth”, we focus of multiple-choice questions to uncover the ways that are inaccessible to human perception relationship seems recognisable as the more on the localised and subjective meanings of connotations of the terms enlightenment and (Eriksson 2014). The gradual evolution of this general distinction between the Enlightenment human experience (cf. Treagust, Won & Duit experience among respondents. Further, we basic planetarium characteristic, in which ideal of providing public education and the 2014). We see educational environments such developed a number of open-ended questions technology mediates that which lies beyond more consumer-oriented ideal of offering as planetarium dome programmes as rich about respondents’ specific perceptions of human perception, and immerses visitors in entertaining experiences (Anderson 2004, and complex phenomena, and we attempt to enlightenment and experience in relation what it “is like” in space (Bleeker 2017), seems Black 2012). In the following, we thus use the capture planetarium professionals’ perceptions to their individual dome programmes. In to imply that in modern digital planetarium terms enlightenment and experience to signify of this complexity using qualitative and particular, the open-ended questions were domes, there cannot be education without these two characteristics of planetarium dome interpretivist methods. an attempt to gain access to the rich verbal experience. programmes (table 1). Our study consisted of three main phases. descriptions that characterise research in the Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen Planetariums between experience and enlightenment

14 relativist–contextualist paradigm (Treagust, Multiple choice questions goal for their planetarium dome programmes. Some respondents used terms that had 15 Won & Duit 2014). We developed the multiple-choice questions As mentioned, this question was posed before educational or scientific aspects; however, In the third phase, we collected, analysed, in our questionnaire to understand what the respondents were introduced to the these terms were always juxtaposed with terms and discussed responses from planetarium connotations the two terms enlightenment notions of experience and enlightenment in associated with affective or aesthetic processes: education professionals. In this phase, we and experience held for our respondents. the questionnaire. In the second open-ended carefully scrutinised the data to “crystallise” To this end, we constructed a list of twelve question, the planetarium professionals were Respondent 1: Education, inspiration, strong and valid images of respondents’ lived phrases that reflected different aspects of asked to give an example from their dome encouragement to seek higher education experiences (Denzin & Lincoln 2011). The dissemination, and asked respondents to programme that illustrates the relationship Respondent 5: A nice experience where a specific procedures are described in detail indicate which of these terms they associated they describe between experience and bit of science and/or natural history is in the following section; the third phase was with enlightenment, with experience, with enlightenment. This question was posed after included concluded with the reporting of our study (the both, or with none. We assumed that if the multiple-choice questions described in the Respondent 12: Edutainment (Education and present text). In this reporting, we attempt to enlightenment and experience were perceived preceding, where respondents were prompted Entertainment) provide a detailed narrative of our procedures as mutually exclusive, the responses would to indicate their perceptions of the notions and findings (Treagust, Won & Duit 2014). show a clear bimodal distribution, whereas of experience and enlightenment and the These responses indicate that while the if enlightenment and experience were seen relationships between the two notions. We primary objective of planetarium dome as being related, many of the twelve phrases analysed the data resulting from the open- programmes may be related to lived aesthetic Data collection and analysis would be associated with both enlightenment ended questions using the six-step thematic or affective processes, such processes are not In the autumn of 2018, we distributed and experience. analysis method described by Braun and necessarily perceived to be in opposition to the online questionnaire to planetarium We mapped the responses with the network Clarke (2006). education or learning about science. Indeed, professionals from institutions that were visualisation software Gephi, using the Force the planetarium professionals’ responses to the members of the Nordic Planetarium Atlas layout. In this layout, “nodes” physically Results multiple-choice questions (presented in the Association (NPA) and located in Sweden, repulse each other, while connections between following) support this conjecture. Denmark, and Norway. The questionnaire nodes attract them to one another, as if they Thirteen planetarium professionals responded was distributed through several channels: The were connected by springs (Jacomy et al. to the questionnaire; of these, five were from Relationship between experience and NPA newsletter, the NPA’s pages on social 2014). In the resulting network, the physical Denmark, five were from Sweden, and three enlightenment media channels Facebook and Slack, and by proximity of the twelve “phrase” nodes to were from Norway. In the following, the Among the responding planetarium profes- direct email to all members that attended the enlightenment and experience nodes responding professionals are designated as sionals, there seemed to be a collective sense the bi-annual NPA meeting in 2017. The thus represents the degree to which they are Respondent 1 through 13. that experience and enlightenment were questionnaire was distributed to 45 NPA attracted to (i.e. associated with) enlightenment related to each other in a number of ways (fig. members, and 13 (or 29 percent) responded. and experience, respectively. Objectives of planetarium dome programmes 1). Although some phrases were more strongly The questionnaire had two sections. The first When describing the primary goals of their associated with experience (e.g. “sensing”, section inquired about respondents’ own views Open-ended questions planetarium dome programmes, planetarium “feeling”, or “enjoying”) and others were more on their planetarium programmes, whereas the We formulated two essential, open-ended professionals overwhelmingly used terms strongly associated with enlightenment (e.g. second introduced the notions of experience questions to explore the planetarium profes- reflecting affective or aesthetic processes, as “education”, “thinking” or “understanding”), and enlightenment. The respondents were not sionals’ perceptions of experience and illustrated by the following responses: none of the phrases were exclusively associated able to view the second section before they enlightenment with respect to their individual with one term or the other. In particular, the had responded to the first. They were thus not dome programmes. We were interested in Respondent 2: Stimulating the curiosity and phrase “learning” was strongly associated with aware of the experience/enlightenment theme obtaining their own phrasing and wordings sense of wonder both enlightenment and experience by the of the questionnaire when they responded to to uncover their perspectives on their dome Respondent 8: To provide an experience that respondents. the first section, and their initial answers were programmes. piques the visitor’s curiosity Accordingly, we interpret the data visualised presumably not prompted or guided by this The first open-ended question asked Respondent 9: To give the visitors a taste of in figure 1 to mean that planetarium profes- theme. respondents to describe the most important space sionals do not have a dichotomous perception Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen Planetariums between experience and enlightenment

16 is to involve, intrigue and inspire the enlightenment are perceived as complementary 17 audience and in the process potentially and perhaps even as having a causal allow them to access previously unknown relationship – contrasts with the perceptions of concepts and ideas. (non-Scandinavian) planetarium professionals published in the literature; yet, as we discussed Our interpretation of the planetarium in the introduction, is perhaps not surprising professionals’ responses is that they consider given the immersive performativity of the the relationship between enlightenment and planetarium dome. In the following, we briefly experience to be complementary or even discuss some limitations of this study. We then causal, in other words that experience is seen proceed to considering possible reasons for the by planetarium professionals as the means divergence of perception between planetarium to reach the ultimate end of enlightenment. professionals in international studies and in We shall return to this interpretation in the the Scandinavian case. We finally offer our discussion. thoughts on the implications of our findings for planetarium practice. Summary of results The planetarium professionals’ responses to Limitations of this study the questionnaire seemed to follow parallel Our empirical material consists of responses trajectories wherein the majority initially from just 13 planetarium professionals, with associated their dome programmes with considerable variation in length. Ideally, these aesthetic experience, while some additionally written responses would have been explored Fig. 1. Visualisation of planetarium professionals’ associations of the terms experience (blue node) and associated the programmes with more through, for instance, qualitative interviews enlightenment (red node) with twelve phrases related to dissemination (white nodes). The width of the scientific, knowledge-acquisition outcomes. (cf. Treagust, Won & Duit 2014); however, this connecting lines indicates the number of instances in which two nodes were connected. When prompted, all respondents observed was beyond the scope of the work carried out that enlightenment and experience can and here. The evident limitations of our dataset are do co-exist in planetarium dome programmes. further compounded by the fact that we, in of enlightenment and experience, but rather, of departure in their own dome programmes, Finally, in their reflections about how the our initial search for literature on planetarium that the two are perceived to be connected. a correlation between the notions emerged, as two co-exist in their own dome programmes, professionals and dome programmes, were In the following section, we present data to illustrated in the following: the planetarium professionals indicate a not able to locate any studies carried out further support and elaborate this conjecture. correlation or even causality between them: in Scandinavian or Nordic contexts. Taken Respondent 3: The guest has a sensory experience can lead to enlightenment. together, this means that we have difficulty Experience and enlightenment in planetarium experience with the vastness of space, and I assessing how much our findings can be dome programmes hope this gives them an enlightened feeling Discussion generalised across the Scandinavian context. When asked specifically about the inter- of the same. The lack of Scandinavian or Nordic connectedness of enlightenment and exper- Respondent 7: When using the digital In the present study, we set out to understand planetarium studies also means that we don’t ience in planetarium dome dissemination, all universe system, travelling around between the ways in which Scandinavian planetarium have a strong sense of the extent to which responding planetarium professionals affirmed planets is an overwhelming experience. education professionals perceive the our findings are in fact an indicator that that “Dome programmes can focus on the When we at the same time teach the relationship between enlightenment and Scandinavian planetarium practice differs visitor’s enlightenment and their experience at audience about the planets, you get experience with respect to their dome from that of other planetariums. In the the same time. A programme that is enlightening enlightenment and experience at the same programmes, and to explore the implications following, we provide possible explanations for is also experiential, and vice versa”. Finally, when time. of these perceptions for planetarium practice. our findings, but we cannot rule out that the asked to exemplify this association with a point Respondent 11: The aim [of our dome show] Our primary result – that experience and particular construction of our questionnaire Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen Planetariums between experience and enlightenment

18 was what prompted responses that differed scientific ambitions. But why do Scandinavian in other words, both enlightenment and characteristics (Danielsson 2012; Leslie et al. 19 from those published in the literature. planetarium professionals seemingly have a experience. Even though planetariums 2015). What this means is that if and when Thus, one explanation for the divergence different perspective? and their dome programmes share their planetariums more fully and explicitly embrace between international and Scandinavian genealogy with similar institutions around the experiential, aesthetic and embodied planetarium professionals with respect to The case of Scandinavian planetariums the world, the specific cultural setting of the aspects of astrophysics, cosmology and space enlightenment and experience is that our Cultural institutions such as planetariums Scandinavian planetariums studied here thus technology as well as the abstract and rational methodology prompted the differences. We do not exist in a vacuum, but are part of the seems to entail an encoding of the planetarium aspects, those planetariums are offering their attempted to avoid this issue by asking open- societies that surround them (Kreps 2006). dome programmes in terms of the particular visitors a more nuanced representation of ended questions with free-text answers, thus This means that their practices are shaped not Scandinavian ways of seeing, valuing, ascribing these disciplines, as well as a more welcoming allowing respondents to phrase their own only by their specific institutional cultures, but meaning to and treating scientific practices (cf. and inclusive one (cf. Bracey 2017). understandings, but we cannot be sure that also by the socio-cultural systems they exist Achiam & Marandino 2019). Another important implication of embracing we didn’t inadvertently cause the divergence. within (Achiam & Marandino 2014). When Of course, the explanation we offer here is both the enlightenment and the experience However, in the following we proceed on the we consider the perceptions of education speculative, and warrants further examination. aspects of the planetarium disciplines is related assumption that this was not the case. professionals in Scandinavian planetariums, An alternative hypothesis might reasonably to the larger cultural and societal discussion of we should therefore consider not only what situate Scandinavian planetariums within the the benefit to humanity of space technology Diverging perceptions of enlightenment and it means to be a planetarium, but also what it larger European planetarium community, and exploration. Griffin (2014) discusses how experience in planetariums means to be Scandinavian. In this context, the and thus explain the divergence in terms of space agencies such as ESA and NASA employ Planetarium dome programmes are what Nordic model of education offers one possible the different historical contexts for American a positivist discourse in their outreach activities Griffiths (2008:116) calls intermedial events, in explanation for the particular perceptions and European planetariums (as briefly that positions these benefits as universal and the sense that they combine spectacular display of Scandinavian planetarium professionals, outlined in the introduction). Due to the self-evident, disregarding or even diminishing techniques with scientific performance. We and their divergence from those of other patchy and heterogenous nature of research members of the public who do not comprehend have argued that this means that it is difficult or planetarium professionals. on planetariums before 1990 (Slater & Tatge or agree with them. Here, Griffin argues, there even impossible to separate their experiential The Nordic model of education, founded 2017), this hypothesis would require a careful is a role for the ‘affective space’ that is produced aspects from their enlightenment-related ones. in the years following the Second World and in-depth historical synthesis of findings along with space technology and spacefaring, Why, then, do we find so many examples in War, focuses on promoting not just scientific from both sides of the North Atlantic. We hope because large parts of these disciplines can the literature of planetarium professionals who knowledge but also personal growth (Telhaug, to able to provide such a synthesis in the future. only be accessed through their imaginaries struggle to reconcile those two aspects? Mediås & Aasen 2006). Especially in the (Griffin 2014). In other words, planetariums One possible answer to this question Scandinavian subsets of this model, the Implications for planetarium practice are well positioned to contribute to a deeper may be based in ideology. The traditional emphasis is equally on cognitive, affective, and For planetariums, an acknowledgement of the public discussion of the benefits of exploring Enlightenment model of science is one of skills development, and learning is perceived complementary (or even causal) relationship and understanding space by engaging their reason, neutral rationality, and dispassion; to involve experience that is acted and reflected between experience and enlightenment may visitors in more holistic experiences of these these characteristics have also permeated the on by the learner (Kanuka 2015). If we zoom in have particular significance. We have already disciplines. present-day domain of public communication on the case of science education, we again find discussed how the Enlightenment ideal tends to and engagement in science (Elam & Bertilsson a shared Scandinavian perspective that echoes disregard aspects of science such as materiality, Final words 2003). This means that many efforts to engage these characteristics, emphasising the role of embodiment and affect. This phenomenon the public in science have tended to ignore the cultural, aesthetic and affective aspects of may be even more pronounced with respect We would argue that planetarium profes- the non-discursive aspects of science such as science for education (Andersen et al. 2004). to the planetarium disciplines astrophysics, sionals worldwide could benefit from materiality, embodiment and affect (Davies Accordingly, we suggest that one way to cosmology and space technology, which are embracing the spectacular, embodied, indeed 2014). In this light, perhaps it is no wonder explain our results is in terms of this shared framed as rational, abstract, objective, difficult experiential aspects of the dome programme that many planetarium professionals find the Scandinavian perception of (science) education and elitist (Due 2014). As a result, they tend in their considerations of its enlightenment experiential aspects of the planetarium dome as involving not only cognitive components, to attract and include only those individuals potential. As Bigg & Vanhoutte (2017:116) programmes difficult to reconcile with their but also aesthetic and affective components; whose identities fit comfortably with such observe, “the spectacularisation of the ‘hard’ Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen Planetariums between experience and enlightenment

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Education Marianne Achiam, Line Bruun Nicolaisen & Tina Ibsen Planetariums between experience and enlightenment

22 as part of the political system in the last Marianne Achiam, Associate Professor Planetarium Dissemination in the Dome 23 50 years.” Scandinavian Journal of Educational [email protected] Research 50:3, 245–283. This survey is about the dissemination of astronomy, space travel and related subjects that is carried DOI: 10.1080/00313830600743274. Department of Science Education out using the planetarium dome in your planetarium. We are interested in programmes, with or Treagust, David F, Mihye Won & Reinders Duit University of Copenhagen without live presentations by planetarium professionals, that include the projection of images on the 2014. “Paradigms in science education research.” Øster Voldgade dome surface. For this survey, please answer based on the programmes your planetarium offers to In N. G. Lederman and S. C. Abell (eds.). DK-1350 Copenhagen K, Denmark casual visitors, i.e. not those for school groups (unless they are the same)! Handbook of Research on Science Education. Section 1: About you and your planetarium New York: Routledge, 3–17. DOI: https://doi. org/10.4324/9780203097267.ch1 Line Bruun Nicolaisen, Ph.D.-fellow Where is your planetarium located? Vanhoutte, Kurt & Charlotte Bigg 2014. “On the [email protected] c Denmark border between performance, science and the c Norway digital. The embodied orrery.” International Department of Science Education Journal of Performance Arts and Digital Media University of Copenhagen c Sweden 10:2, 255–260. Øster Voldgade Thinking about yourself as a planetarium professional, is your educational background more strongly DOI: 10.1080/14794713.2014.946291. DK-1350 Copenhagen K, Denmark linked to science or to education? Wolfschmidt, Gudrun 2007. “Popularization of c astronomy: From models of the cosmos to Planetarium (formerly Tycho Brahe Science (e.g. astronomy, physics, natural sciences, engineering, technology, etc.) stargazing.” Science & Education 16:6, 549–559. Planetarium), Copenhagen c Education (e.g. pedagogy, psychology, education studies, teacher professional development, DOI: 10.1007/s11191-006-9033-y. Gl. Kongevej 10 etc.) DK-1610 Copenhagen V, Denmark c Other: [Long answer textbox] Appendix In your opinion, what is the most important goal for your planetarium's dome programmes (for casual The questions from the online Google Forms Tina Ibsen visitors, not schools)? questionnaire distributed to planetarium [Long answer textbox] education professionals. Planetarium (formerly Tycho Brahe Planetarium), Copenhagen Section 2: Your general ideas about ‘enlightenment’ and ‘experience’ Gl. Kongevej 10 We are interested in your ideas about the terms 'enlightenment' and 'experience', and what they mean DK-1610 Copenhagen V, Denmark to you. Please indicate which words you associate with the two terms. You can check two, one or no boxes in each row. Enlightenment Experience 1. Doing something c c 2. Receiving something c c 3. Thinking c c 4. Entertainment c c 5. Participating c c 6. Learning c c 7. Knowing c c 8. Feeling c c 9. Sensing c c Planetarium Dissemination in the Dome This survey is about the dissemination of astronomy, space travel and related subjects that is carried out using the planetarium dome in your planetarium. We are interested in programmes, with or without live presentations by planetarium professionals, that include the projection of images on the dome surface. For this survey, please answer based on the programmes your planetarium offers to casual visitors, i.e. not those for school groups (unless they are the same)! Section 1: About you and your planetarium Where is your planetarium located? c Denmark c Norway c Sweden Thinking about yourself as a planetarium professional, is your educational background more strongly linked to science or to education? c Science (e.g. astronomy, physics, natural sciences, engineering, technology, etc.) c Education (e.g. pedagogy, psychology, education studies, teacher professional development, etc.) c Other: [Long answer textbox] In your opinion, what is the most important goal for your planetarium's dome programmes (for casual visitors, not schools)? [Long answer textbox] Section 2: Your general ideas about ‘enlightenment’ and ‘experience’ We are interested in your ideas about the terms 'enlightenment' and 'experience', and what they mean to you. Please indicate which words you associate with the two terms. You can check two, one or no boxes in each row. Enlightenment Experience 1. Doing something c c c c Marianne2. Receiving Achiam,something Line Bruun Nicolaisen & Tina Ibsen Nordisk museologi 2019 • 1, s. 25–38 3. Thinking c c 4. Entertainment c c 5. Participating c c 6. Learning c c 24 7. Knowing c c Questing authenticity 8. Feeling c c 9. Sensing c c Rethinking enlightenment and experience in living history 10. Education c c

11. Enjoying c c Tilde Strandbygaard Jessen & Anette Warring 12. Understanding c c The relationship between 'enlightenment' and 'experience' Internationally, among planetarium dissemination professionals, there are two main perspectives. One perspective is that planetarium dome programmes can be focused on the visitors' enlightenment OR Abstract: Living history is often construed as a symptom of a broader tendency their experience, but that programmes cannot focus on both at the same time. This means that in the heritage industry to align communication with emotional and multisensory programmes that are enlightening cannot be experiential at the same time, and vice versa. ways of engaging with pasts, typically in contrast to the object-based museum. The other perspective is that enlightenment and experience CAN and DO go hand in hand in Living history, however, is nothing new. In this article, we will demonstrate that planetarium dissemination. This means that a programme that is experiential is also enlightening, and discourses of enlightenment and experience have been vital in discussions on living vice versa. history long before the term experience economy was introduced. In order to do so, we look at the concept of authenticity and “the various meanings of authenticity” Which idea do you agree the most with? in three institutional settings at three different moments in time. As ethnographic c Dome programmes can focus on the visitor's enlightenment OR their experience, but not both at studies of the multiplicity of authenticity in contemporary practices illustrate, the same time. authenticity offers an opportunity to explore not only how living history museums c Dome programmes can focus on the visitor's enlightenment and their experience at the same relate to society, but how they are perceived by the general public too. Perhaps the time. A programme that is enlightening is also experiential, and vice versa. same is true if the concept is used on historical source materials? c Other [Long answer textbox] Keywords: Living history, authenticity, museum history, visitors, Denmark. Please give an example from a dome programme at your planetarium that illustrates the relationship between enlightenment and experience that you indicated above. Please describe in detail how the relationship between enlightenment and experience is manifested in the example. [Long answer textbox] In the past two decades, living history has multisensory ways of engaging with pasts – If you have questions or comments about this survey, please type them below. become an integrated part of the many ways often in contrast to the previous predominant [Long answer textbox] history museums engage with visitors and glass case museum (e.g., Floris & Vasström society at large. As there is no single definition 1999, Daugbjerg 2005, Daugbjerg 2011, Holtorf Thank you very much. If we may contact you for follow-up questions, please type your e-mail address of living history, there is no single strategy, 2014). However, living history is nothing new in the box. program, or practice, but it commonly refers to (Rasmussen 1979, Linde 2001, Mygind 2005. [Short answer textbox] people simulating life in another time, typically For international publications see Anderson set in a historical environment (Anderson 1984, Gapps 2002, Bäckström 2012). Neither 1982). It may involve period clothing and is the perception and interpretation of living roleplay too. As a cultural phenomenon, living history as an antithesis to the object-based history is often construed as a symptom of a museum (Müller 1897). This is our starting broader tendency in the heritage industry point. Instead of (re)inserting living history in to align communication with emotional and a contemporary experience paradigm, we want Tilde Strandbygaard Jessen & Anette Warring Questing authenticity

26 to explore relations between enlightenment The concept of authority serves as a corrective to history contoured. In selecting our cases, we notion of authority, but to words with related 27 and experience discourses disclosed in living misuses of the term authenticity […]. No longer is have emphasised three exemplary cases of meanings such as original, as opposed to a copy, history historically (Daugbjerg 2011). In order authenticity a property inherent in an object, forever the period. The decision is further pragmatic. genuineness, credibility and verisimilitude, all to examine this issue, we look at the concept of fixed in time; it is seen as a struggle, a social process, Contrary to the detailed, ethnographically together exemplary of how authenticity can authenticity. in which competing interests argue for their own inspired studies of contemporary practices, connect to both pasts, people, materiality and Authenticity is a key issue in many contem- interpretation of history (1994:408). the availability of source material on past different discourses (Bruner 1994:399f. Also, porary museums’ communication guidelines living history practices is limited. The lack Wang 1999). Though the term authenticity is and annual reviews on living history (e.g. This suggests that the authenticity of living of source material is intriguing because it relatively new, we will demonstrate that implicit Historisk-Arkæologisk Forsøgscenter 1988, history practices depends on negotiation, demonstrates how museums have deemed or understandings and meanings of the concept Hedegaard 1997, Ravn in Daugbjerg 2005, not only among museum professionals and rather questioned living history practices as have been vital in discussions on living history Ravn 2008). It can further be seen in the academics, but also between volunteers, ‘museum-worthy’. The issue is not only evident museums for a long time and have influenced way living history is referred to in many visitors, and the general public (Bruner in our choice of cases. It is also reflected in their relations to society. In doing so, we will journalistic accounts and by the wider public.1 1994:399f. Also, Magelssen 2002, Magelssen the materials used in our three cases. The also show that discourses of enlightenment There has also been an interest in authenticity 2007, Gapps 2009). In terms of the discourses institution most meagre in respect to internally and experience, existed long before the term in scholarship on living history (e.g., Anderson of enlightenment and experience explored written sources is the Funen Village, the only ‘experience economy’ was introduced.2. 1984, Handler & Saxton 1988, Daugbjerg in this article, negotiation standards, i.e., proper museum included in the article. Despite 2005, Magelssen 2007). This is not the place what certifies something as authentic, these limitations, we are able to identify the Present(ing) pasts to present an overview, but what much of may be scientific, but can also be based on intentions and communication practices by the literature has in common is a concern visitors’ experiences (Wang 1999). Taking scrutinising minutes, press materials, personal In 1932, The Old Village, a private collection with whether or not living history museums a constructivist perspective on authenticity records, work reports, and visitor guides. of historic buildings founded by industrialist succeed in attaining authenticity, often from thus offers an opportunity to explore not only Identifying relevant sources is easier at Hjerl H. P. Hjerl Hansen a few years prior, hosted a critical standpoint (Handler & Saxton 1988, how living history museums construe their Hede and the Historical-Archaeological one of the first living history events in Stover 1989, Walsh 1992, Handler & Gable role in society, but how they are perceived Experimental Centre, originating as a private Denmark.3 In a family log, H. P. Hjerl Hansen 1997). too – not only in the present but in the past collection and a research centre respectively. described his thoughts of hosting an annual Rather than addressing authenticity as an as well, a reflection absent in most existing Even less in evidence, but theoretically folk festival with lectures by “renowned men” ontological category, other scholars scrutinise research on past museum communication equally important, is the reception of the living and how, “eventually, the idea assumed a authenticity as culturally constructed, (e.g., Rasmussen 1979, Floris & Vasström history practices in question. In an attempt different character, as I wanted, within the something that is negotiated in specific and 1999). Under the heading of Edward M. to move away from a narrow focus on the setting of the old buildings, to evoke scenes constantly changing contexts (Bruner 1994, Bruner’s concept of authenticity, the purpose perspective of the institution, and to include of life in olden days by means of old working Crang 1996, Halewood & Hannam 2001, of this article is to explore who and what at least some kind of visitor perspective, methods” (Hedebogen 1932).4 To ensure a Magelssen 2002, Daugbjerg 2005, Magelssen authenticates authenticity in three institutional we turn to media coverage and journalistic more experience-based festival, H. P. Hjerl 2007). The American anthropologist Edward settings at three constituent moments: The Old accounts representing a far greater availability Hansen appointed a committee consisting of M. Bruner diverts our attention from what is Village at Hjerl Hede, the Funen Village, and of both intentions, practices and (journalists’) two local teachers, two craftsmen, as well as and what is not authentic and directs it to the the Historical-Archaeological Experimental perceptions. a museum manager from the folk museum in meanings of authenticity employed in social Centre in Lejre, all practicing living history. The term authenticity is seldom stated Herning, and on 24 July, he welcomed approx. practices (1994:401). According to Edward directly in source material on past living history 10,000 visitors to his estate in western Jutland M. Bruner, authenticity always merges into practices. Rather than limiting our study to (Politiken, 24 July 1932, Berlingske Tidende, 25 Authenticity in past tense the notion of authority and questions of who exact wordings, we are including utterances July 1932). and what had the authority to authenticate. In This article covers a period from 1932, when that we deem to be about authenticity in our Headlined Danish Village Life 100 years raising the issue of who and what authenticates, The Old Village hosted one of the first living search strategy. Our attention is fuelled not Ago, the visitors could tour the premises, eat the nature of the discussion on authenticity is history events in Denmark, until the end of the only by Edward M. Bruner’s observation that brought or bought food, watch and participate changed: 1970s, when present understandings of living issues of authenticity always merge into the in folk-dance performances. In accordance Tilde Strandbygaard Jessen & Anette Warring Questing authenticity

28 with the initial purpose of the festival, novelist expressed by visitors while watching the work is what they perceived as authentic, took 29 Johan Skjoldborg gave a lecture on folk culture. being done: “The folk festival in July evoked precedence in the performances of daily life Known for his commitment to the smallholder parts of life from olden days and over and over in an otherwise distant past. Extensive media movement, this suggests that “renowned” the elderly amongst the audience exclaimed: coverage, both nationally and abroad, and a meant acclaimed by the rural population, ‘I remember that’, ‘I use to work with this in notable number of visitors suggests that the not academia.5 Finally, 24 elderly from the my younger days’, ‘Do you remember...?’, general public reciprocated the compliment region demonstrated old working methods as etc.” (Hedebogen 1932). With this, the event (e.g., Politiken, 4 July 1955, Holstebro Dagblad, envisioned by H. P. Hjerl Hansen. One woman seemingly produced an experience of being 11 July 1955, Skive Folkeblad, 18 July 1955). was weaving, two women were spinning, enlightened already, at least for some. while another tendered butter. One man To H. P. Hjerl Hansen, the visitors’ perception (Re)constructing a/the Funen made pottery and occasionally accompanied of the performances as being authentic of not Village those doing laundry, casting candles, weaving only a past, but their past, bolstered the attempt baskets, tying ropes and cutting sheep on to evoke scenes of past life, as did the number The Funen Village is an outdoor museum his violin. All the participants wore period of visitors. Cited in a local newspaper the Fig. 1.Washing with washboard, The Old Village, representing a Funen village milieu as it clothing (Politiken, 23 July 1932). following day, H. P. Hjerl Hansen elaborated: 1932. Source: Hjerl-Fonden. could have appeared in the nineteenth Contemplating the performances a few days “We have tried to recall life as lived in a bygone century.6 Today, the village consists of 24 later, H. P. Hjerl Hansen wrote: time, and today’s high attendance is, to me, a relocated buildings from various parts confirmation of the assumption that others valuable supplement to the museum village”, of the region, all surrounded by flower Soon, these old working methods will be forgotten. would find it interesting too” (Skive Folkeblad, as a press-release announced (Hjerl Hedes gardens, fenced enclosures, livestock, and Those who know how to perform them are on the 25 July 1932). Frilandsmuseum June 15 1955). Evidently, the cultivated fields emblematic of Funen. The brink of death, and it is sad to say: ‘This time, maybe In the media, the number of visitors lent two rationales co-existed peacefully at Hjerl interplay of buildings and surroundings was once more, and then never again’ (Hedebogen 1932). authority to the event too. The proficiency Hede. a key objective from the start. Writing to an of the committee, as well as the participants, The following year, a young girl participating associate in 1945, Svend Larsen, the curator at To evoke scenes of past life, the direct were also mentioned, but the actual attraction in the Stone Age program shared her the time, explained: “The Funen Village must experiences of the participants were in other seems to be the invitation to watch daily chores experience in a women’s magazine: not have the appearance of a museum. We words essential. The use of the elderly’s names of the past free of charge – a “patriotic” gesture will plant orchards of old varieties as well as in the worksheets accentuates the emphasis on by H. P. Hjerl Hansen, met not only by locals It was challenging for me to stay in Stone Age hops to bloom in front of the houses” (Larsen first-hand savvy; It was Maren as a person, not a but by visitors from all of Jutland (Skive Avis, character while walking barefoot by the lake. Every 1945). In this context, it was the scientific persona, baking cookies, and Jacob Blacksmith, 25 July 1932). From a media perspective, the time – which was often – a piece of rock got stuck in arrangement of objects in museums that was not a(ny) blacksmith, working in the smithy. elderly participants’ first-hand experience of my foot, I wanted to scream and run. Instead, I had seen as an antithesis to a proper experience of As the last sentence in the quotation illustrates, the past was, in other words, secondary to the to carry on as if nothing had happened to not disturb the communicated past. re-enacting was not an option. Authenticity, visitors’ experience of the past. Accordingly, the spectators’ illusion of the Stone Age people’s From the media coverage of the inauguration in this sense, implied original, and as such, the authenticity of the event was judged by the endurance (Alt for Damerne, 6 November 1956). in June 1946, the museum seems to have it corresponded to a typical museum-linked extent to which the visitors were absorbed, or succeeded in its effort. Having toured the usage (Müller 1897). At the Old Village, the immersed, by the performances, not in relation Less about originality and more about museum premise, one journalist wrote: “It felt offered experience was to be as enlightening as to issues of historical correctness or originality. what was credible to visitors, the Stone Age like travelling 150 years back in time, moving in in a museum, not due to scientific knowledge, In 1955, living history became a permanent settlement indicates a change in what was an atmosphere so real and true to our ancestors but because of practical know-how. part of The Old Village. In addition to Danish deemed authentic. Staff might have relied that one would find it completely natural to see To a number of visitors, the performances village life, the program included a Stone Age on the authority of museum professionals an old woman sitting by the loom” (Middelfart not only evoked old working methods but settlement and the construction of two Aeolian in the (historically accurate) construction of Venstreblad, 24 June 1946). Similar to the evidently personal memories too. In the log, cabins with assistance from the National the Aeolian cabins, but visitors’ (presumed) Stone Age program at Hjerl Hede, authenticity H. P. Hjerl Hansen rejoiced in the excitement Museum, “both, a scientific and educational preconceptions about Stone Age life, that in this sense meant credible and convincing. Tilde Strandbygaard Jessen & Anette Warring Questing authenticity

30 Adding to the authenticity conveyed by the the museum also began to mark seasonal 31 village milieu, a woman who was born and celebrations and demonstrate handicraft in raised in one of the relocated farmhouses and around the buildings. A press-release was present at the inauguration. Asked on explained the intent: stage, she attested to the reconstruction being just as she remembered her childhood home Not many people are familiar with how the old tools and with this confirmed the validity of the in the Funen Village were used. The museum plans museum’s efforts (Middelfart Venstreblad, 24 to demonstrate kitchen utensils and handicraft. June 1946). To Svend Larsen, the geographical A first attempt was made on Sunday […]. The emphasis was an important prerequisite for demonstration received much attention and will, this achievement: “Everything is 100 percent therefore, be repeated this afternoon (Odense Bys Funen: the nature, the buildings, the objects, as Museer October 15 1949). well as the people working here. I think this is our strength” (Turisten, 4 August 1946). In this In other words, living history was introduced sense, authenticity was merged into the notion as an educational supplement to the use of of genuineness and (Funen) provenance, the museum as a recreational place. A few making the matter dependent on both material years later, the objective was slightly altered: items and personal expertise, or experience. “The museum should not consist of farms and The interest in the museum exceeded all houses alone. It should illustrate how the village expectations: was self-sufficient too. In order to emphasise this, we demonstrate old tools” (Faaborg Avis, The Funen Village has broken all records. During the 25 June 1952). Though concerned with a past first month, visitor numbers surpassed 40,000 […]. similar to the 1932 example from Hjerl Hede, Fig. 2. A young girl weaving on an old loom, The Funen Village 1951. Source: Fyens Stiftstidendes Most are from Funen, from ’the real villages’, then the quotations illustrate that the performances pressefotosamling, Odense Stadsarkiv. from Odense […] we are pleased to see workers, at the Funen Village in the early 1950s were smallholders, merchants and farmers meeting in the less about visitors’ recognition and more about village (Turisten, August 4 1946) acquaintance. This temporal displacement The demonstrations were not particular to as original, and, perhaps, visitors would was also evident in the museums’ choice of Funen, but they lent genuineness from the have been less interested if they were not As the quotation illustrates, the number of demonstrators. While the first demonstrations objects and buildings, and, most importantly, recognised as being authentically Funen by visitors did not validate the museum’s efforts were performed by Jens and Maren Madsen, they attracted visitors and visitors’ attention. the museum? alone. The type of visitors and their encounter two elderly with first-hand experience of As such, they supported the overall aim of the with the museum mattered as well. Interviewed processing wool, the performers were most museum, and their non-Funen character was Peopling the Iron Age in another article, Svend Larsen elaborated: often members of handicraft associations. evidently a fair compromise to the museum. “People should enjoy visiting. Located on the While not having direct or personal In other words, authenticity appears to have In 1964, the self-governing institution the border between the town and countryside, the experience, they were skilled and able to weave been negotiated between the original, Funen, Historical-Archaeological Experimental Centre museum should establish linkages between the in accordance with old weaving techniques. As sources and what was credible, attractive (hereafter HAF) was founded in Lejre by citizens of the two places” (Fyens Stiftstidende, such, both process and product were visually and enjoyable to the (Funen) visitors. Rather ethnologist Hans Ole Hansen. Over the next 16 June 1946). Following the same vein, the accurate, or verisimilar, to the self-sufficient than being a question of intentions directed few years, a number of reconstructed houses museum featured a restaurant serving regional village community. In terms of authenticity, towards either enlightenment or experience, assumed the shape of a little prehistoric courses and an open-air stage intended for this illustrates that whether or not something it seems to be a matter of intertwining or village, and the archaeological experiments concerts, conventions, plays and folk-dance is authentic is a matter of temporal relations interdependence; the Funen structures were began to include staff and volunteers living performances. Within the first few years, between past and present too. important because visitors experienced them in the houses, testing archaeological and Tilde Strandbygaard Jessen & Anette Warring Questing authenticity

32 never match reality 100 per cent. But one can render It is a recurrent claim in literature critical 33 it so probable and lucid that both children and adults to living history that participants suffer from discover something they would never have noticed or a delusion of authenticity understood as an thought about (Historisk-Arkæologisk Forsøgscenter exact isomorphism, a perfect simulation, mid-1970s). where every gap between past and present is closed (Lowenthal 1985, Handler & Saxton The authenticity was validated by experimenting 1988, McCarthy 2014). From an interview experiences not only by the staff, but also by in a local newspaper, it appears that the the prehistoric families. Thus, the authority to prehistoric families were very well aware of the validate authenticity was partly distributed. impossibility of reconstructing and imitating The prehistoric families seem to have valued Iron Age life as 1:1. They do not seem to have taking part in scientific experiments. Several had a naïve illusion of travelling back in real reported in detail about practical and technical time: observations and experiences (e.g., Historisk- Arkæologisk Forsøgscenter 1978). They Naturally, we can be more relaxed than the people of further appreciated experimenting with how that time. They had to gather supplies for the winter, families relate under different life conditions: which is something we do not need to think about, and we know that we can get a doctor if we become ill The reason we applied for a stay in the Iron Age (Roskilde Tidende, 11 July 1974). houses was […] a special interest in the Centre’s work – including the possibility to present the past in a Unlike the first years, where staff and museum setting as a living reality free from the ‘do not volunteers wore their own clothes in order Fig. 3. Bringing prehistoric life alive, Historical-Archaeological Experimental Centre in Lejre 1972. touch’ and decoration trend of museums. In addition, to indicate the distance between past and Foto: Christen Hansen/Ritzau Scanpix. there was an exciting opportunity to experience the present, the prehistoric families wore family’s internal function in a completely different garments considered appropriate for the ethnological knowledge and conceptions about by science and the institutional framing: environment (Historisk-Arkæologisk Forsøgscenter Iron Age (Holtorf 2014:788). The garments, Iron Age objects, living conditions, working “Our information can – and should – aim to 1978). however, caused mounting concern over the processes, and technologies (Hansen 1964, show the audience ‘the real thing’ through drawbacks of the performances, not in relation Rasmussen & Grønnow 1999, Rasmussen its quality and authenticity” (Historisk- By imitating daily life of the Iron Age, the to the prehistoric families, but to the visitors’ 2011, Warring 2015). From 1974, families Arkæologisk Forsøgscenter 1988). However, in prehistoric families experienced what they reception, and fuelled anxiety by visitors were invited to inhabit the Iron Age village, its communication to visitors and prehistoric perceived as authentic qualities of a distant past: asking the prehistoric families about their typically for a week during summer and families, the Centre stressed that knowledge “We live closer to each other here compared experiences of imitating life in the Iron Age, autumn. By imitating prehistoric life, the so- about the Iron Age was fragmented, and not to what you do in a modern house. The Iron and not so much about the past (e.g., interview called prehistoric families gained knowledge precise and firm. It was not only a scientific Age people must have had time and conditions in Faxebladet 1977). A visitor guide from the and experiences which they conveyed to the condition; it was an important point to to provide children with more than what a mid-1970s illustrates the Centre’s concern: visitors, thereby integrating HAF’s scientific communicate: present-day family can” (Roskilde Tidende, “The foundation of the ‘Prehistoric Village’ and communicative objectives. 11 July 1974). Crucial to their commitment was […] revised to secure that the tourist Although the Centre did not use the term We try to do it differently than the museum. We try to relive the past in what they considered to and educational work did not get out of hand explicitly until the late 1980s, authenticity to teach ourselves the working processes used in the be an authentic manner, was the scientific, and damaged the whole case”. The Centre’s was clearly related to material objects, past. We try to reconstruct residential environments. institutional setting lending authority to their objective was consequently presented very technologies, and working processes as being In cooperation with scientists and museums, we try performance and enhancing their feeling of distinctly: “The purpose of the Experimental in correspondence with past reality authorised to make it likely that we have matched reality. You can authenticity. Centre is not to entertain, but to enlighten and Tilde Strandbygaard Jessen & Anette Warring Questing authenticity

34 educate in an entertaining way. […] The basis provenience. In HAF, negotiations involved considered appropriate for the Iron Age. arrangement of objects was obstructing a 35 for what we display is always experiments that both prehistoric families and visitors. While Standards change, and what an era considers proper appropriation of the Funen past, while we have carried out. The Prehistoric Village is the prehistoric families seem to have assumed authentic moves in and out of consciousness. simulation was considered authentic. At Hjerl not a ‘Disneyland’” (Historisk-Arkæologisk the Centre’s scientific discourse of connecting This is also evident in how museums construe Hede, some visitors recognised parts of their Forsøgscenter mid-1970s). On the one hand, authenticity to material objects, technologies living history. Historically found in opposition own past, and as such experienced themselves the Centre did not consider enlightenment and working processes, (some) visitors were to the object-based museum, living history to be knowledgeable, or at least so it would and entertainment to be in opposition. On the more concerned with the personal experiences is now an integrated part of the many ways seem. other hand, they clearly feared being regarded of the prehistoric families, a departure history museums engage with visitors and The analytical use of a contemporary concept as an entertaining theme park. As we can see, causing the institution to reorganise and society at large. on historical source material demonstrates this dilemma was played out in close relation to emphasise their scientific base. In this sense, Museum professionals realise that they that parallel aspirations and concerns, though meanings of authenticity negotiated between HAF serves as a concrete example of how need to be aware of the public’s sense of what emphasised and named differently, were also the Centre, the prehistoric families, and the different understandings of authenticity can is believable. Authorities may be institutional, embedded in past museum practices. In our visitors. influence an institution’s communication and but authority can also depend on or be shared study on selected living history practices, consequently discourses of enlightenment and with visitors or those performing. As evident, meanings of authenticity, as well as discourses experience. criteria may be scientific, but it can also be of enlightenment and experience, are present Concluding remarks What is considered authentic changes more experiential and personal. For example, in every example. As such, the three cases In this article, we have explored how over time. The participant of the Stone Age it was not only the first-hand experience of demonstrate that the dualism of enlightenment authenticity was construed and negotiated performance at Hjerl Hede, quoted previously, the participants that lent authority to the and experience have existed for a long in selected living history practices in reported how she had spread soy on her arms event in The Old Village at Hjerl Hede in time. Rather than speaking of discourses of Denmark throughout the twentieth century. and legs in order to not appear pale. The 1932; the recognition among visitors played enlightenment and experiences as historical The various meanings confirm Edward M. participants in the museum’s current Stone a part too. In 1955, the number of visitors processes replacing one another, it might be Bruner’s argument that authenticity is socially Age program are not covered in soy, and they and their (enjoyable) experiences also held more fruitful to speak of different discourses constructed, created and negotiated in specific do not present themselves as people of the authority. That the festival in 1932 was free on enlightenment and experience, as both contexts and always related to notions of Stone Age. They may be historically dressed, of charge further underlines that experiential continuous and historical weightings. authority (1994:399f.). but they appear as contemporary to the visitor. communication practices historically has do to While it might be a second-hand perspective, Negotiations happened in a variety of This stresses that what was regarded as proper with so much more than economy. It was about the analytical attention to authenticity ways. At the Funen Village, authenticity was Stone Age appearance in 1955 is not regarded as democratising access to the general public’s further allowed us to take a closer look at negotiated in-house between the original proper in 2019. Conversely, re-enacting seemed past, and to enlarge the pasts deemed worthy the perception of the general public. Despite Funen sources and what was believed to inconceivable to H. P. Hjerl Hansen. In 1932, of a place in the museum. its exploratory nature and limited sample of be credible to visitors. Journalistic reports, old working methods were to be performed by Though the examples are outlined chrono- cases, the study of authenticity, to us, suggests however, demonstrate that negotiation, and elderly with first-hand experience. That skilled logically, our argument is not one of that this perspective would be a fruitful area validation, also happened externally. With members of handicraft associations performed sequentiality. On the contrary, the various for further work. regard to the museum layout, one journalist a similar past at the Funen Village some twenty standards identified seem to continuously wrote: “In open-air museums, the objects years later, illustrate that the temporal relation operate as discursive and practical considera- Notes are placed in their original setting. As such, between past and present influences how tions affecting the cultural work done by living you get a better sense of life in bygone times museums communicate and relate to society. history museums and institutions. Though 1. E.g., https://www.visitdenmark.dk/da/danmark/ (Faaborg Avis, 24 June 1946). The example The same was evident at HAF. In the beginning, scientifically embedded, experiences were museer/her-bliver-danmarkshistorien-levende; further illustrates how authenticity was staff and volunteers wore their own clothes to fundamental to HAF’s work. The concern with https://www.tvmidtvest.dk/artikel/levende- negotiated on a spectrum. All the buildings stress the distance between past and present visitors’ interest in the personal experiences of fortid-her-bliver-det-aldrig-2018; https://www. in the Funen Village were relocated. Thus, the to visitors. Later on, when the prehistoric the prehistoric families, however, demonstrates tripadvisor.dk/ShowUserReviews-g1938874- original setting in this sense meant the objects’ families came to play an important role in the that not every experience was deemed d3547741-r603424298-Frilandsmuseet_Hjerl_ usage situation, not their specific geographical centre’s communication, they wore garments palatable. At the Funen Village, a scientific Hede-Vinderup_Holstebro_West_Jutland_ Tilde Strandbygaard Jessen & Anette Warring Questing authenticity

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38 16 1945. Odense Bys Museer. Det administrative Landsby”. Det administrative arkiv, 1941–1981. arkiv, 1941–1981. Den fynske landsby, 1/1 Den fynske landsby, 1/4 1949–31/3 1950. Wall texts in collection exhibitions 1944–31/12. Hedebogen. Hjerl-Fonden. Bastions of enlightenment and interfaces for experience Hjerl Hedes Frilandsmuseum. Pressemeddelelse June Tilde Strandbygaard Jessen, Ph.D.-fellow 15 1955. ”Stenalderliv på Hjerl Hede”. Fest 1955. [email protected] 25 Aar. Historisk-Arkæologisk Forsøgscenter Lejre Palmyre Pierroux & Anne Qvale midt1970’erne (udateret). “Et besøg i oldtidsbyen Anette Warring, Ph.D., Professor ved Lejre. Turistvejleder med kort over terræn og [email protected] h u s e”. Historisk-Arkæologisk Forsøgscenter Lejre 1978. Department of Communication and Arts Abstract: Taking the wall text in art museums as point of departure, this article “Fortidsfamilierapport”. (History) investigates developments in museum media and communication practices in the Historisk-Arkæologisk Forsøgscenter Lejre 1988. Roskilde University exhibition room. We first present findings from a recent study of types and functions “Årsrapport 1988”. Universitetsvej 1 of wall texts used in permanent collection exhibitions in twelve Norwegian art Odense Bys Museer. Pressemeddelelse October 15 DK-4000 Roskilde, Denmark museums, including a national museum of art. We then examine the types and 1949. “Karten og spinderokken i Den fynske functions of wall texts being planned and designed for the collection exhibitions in a new building for this national art museum, which will open in 2020. In our analytical focus on the wall text, we unpack how perspectives on enlightenment and experience become institutionally embedded in the interface of interpretive media. The study showed small but significant changes in a national art museum’s organization, a new blended approach to digital interpretive media, and expanded types of wall texts, illustrating the premise that discursive and practical tensions between enlightenment and experience are at the core of new practices emerging in museums.

Keywords: Art museums, texts, mediatisation, curation, museum history.

Historically, texts on the walls of museums’ of text has been extended and distributed as permanent exhibitions of art have created a multimodal content across mobile devices, framework of stability and enlightenment, social media platforms, and immersive operating within a well-known symbolic interactives. According to Pavement (2019), system of language and narrative (Fritsch it was precisely the modal limitations of the 2011a) and withstanding change in curatorial wall text that spurred early innovation and attitudes and practices over time. Texts are an experimentation in museums with novel media essential part of composing an art exhibition, products such as gramophones and cinema. which entails mastering a complex set of works In keeping with shifting orientations toward and communicative means that are anchored in visitors and their needs at the beginning of the art historical theories and historical practices. twentieth century, museums began to not only The wall text endures, even as the very concept collect new media artworks but used new media Palmyre Pierroux & Anne Qvale Wall texts in collection exhibitions

40 forms and formats as tools to enhance exhibits. not. As such, the wall text is both emblematic 2015), digital platforms and multimodal “permanent” exhibitions of art from the 41 An early example is the film library established of the museum’s historical role as educational content (Pierroux & Ludvigsen 2013; Schwan, collections remain in place years at a time, at the Museum of Modern Art (MoMA) in institution and a reflecting object for analyzing Dutz & Dreger 2017), and visitors’ social with works selected, arranged and juxtaposed 1935, which led to public screenings for large changing textual practices. interactions, engagement and learning by curators to convey general and specific audiences, and then to “using film as a method Taking the wall text as point of departure, (Leinhardt & Knutson 2004; Jeanneret, narratives carefully developed from art of enhancing interpretation in the gallery” this article investigates practical and Depoux, Luckerhoff, Vitalbo & Jacobi 2010; historical research (Bauer & Pierroux 2014). (Pavement 2019:34). A more recent history institutional developments in museum media Pierroux, Qvale, Steier & Sauge 2014). Tensions center on whether texts should be of experimentation with digital media to and communication in the exhibition room. Although the use of text and labels in mounted on walls as a permanent part of the enhance art exhibits is traced by Samis (2019), We first present findings from a recent study other types of museums is often a question of exhibition or only be made available to visitors who emphasizes the interpretive potential of types and functions of wall texts used in experimentation and applying “best practice,” “on demand” through handheld texts (e.g., in multimodal narratives and storytelling “older” collection exhibitions of art in twelve art historians have long viewed the text- leaflets, audio guides, and apps for phones while noting the “avoidance attitude” that Norwegian museums, including a national work relationship in art museums as fraught; and other devices), as well as on the modality, distinguishes art museums from more museum of art. We then examine the types positioning phenomena of such different size, character, length and content of different accepting approaches in history, science and and functions of wall texts being planned and character in the same visual plane was often text types. Moreover, as digital media, mobile decorative arts museums. designed for the art collection exhibitions in problematized as a threat to the latter (Solhjell devices, ubiquitous access to the internet, and To situate the role of wall texts in permanent a new building for this national art museum, 1998; Bal 2003). In practice, the dilemma context-aware technologies continue to blur exhibitions of art in museums today, we which will open in 2020. In our analytical focus requires navigating between views that, on the text genres in museum communication, new draw on Whitehead and Coffield’s (2018) on the wall text, we unpack how perspectives one hand, the artwork speaks best for itself forms of curatorial expertise and collaboration notion of “interface”. In this perspective, on enlightenment and experience become and, on the other hand, text complements among museum staff and external consultants the material and architectural delineations institutionally embedded in the interface of and enriches the exhibition experience are required. Today, composing and editing of “the wall” are acknowledged as part of a interpretive media. We conclude by reflecting also aesthetically. Moreover, as Pavement interpretive texts in museums may entail mediating environment – or interface – for on processes of cultural transformation in (2019) points out, there is the problem of writing cues for sequences of gesture-based visitors’ movement and meaning making in communication practices in art museums. the finite space of the gallery and concerns interactive content (e.g., multi-touch tables, a gallery space. As such, the wall texts relate with overwhelming the visitor with visual scannable texts, touch screens); prompts for to specific works of art in a room, and to the information. However, with findings from collaboration and reflection; instructions Following the text empty space between and surrounding them visitor studies over several decades confirming for exploring and contributing to narrative on wall surfaces. But they also enter into a Expository catalogue texts were initially that visitors both want and read texts that content; and storyboarding film and audio larger cartographic museum text (Whitehead experienced as handheld gallery guides in art provide context for viewing and interpreting tour scripts, among other functions (Pierroux 2011) that includes location signage, image museums in the late 1800s and early 1900s but artworks in an exhibition (Screven 1992; & Ludvigsen 2013). markers, introductory panels and a changeable “in time curatorial interpretation found its way Hooper-Greenhill 1999; Smith, Smith & Tinio In terms of the effects of different text realm of oral and exterior semiotic resources into the gallery space in the form of extended 2017), practices and guidelines for writing and formats on visitors’ behaviors and knowledge (Jeanneret, Depoux, Luckerhoff, Vitalbo & captions, wall panels and large format graphics” displaying different types of wall texts have acquisition in art exhibitions, a recent study Jacobi 2010). At the same time, in contrast (Pavement 2019:43). Texts in art museums been adopted and are increasingly accepted. by Schwan, Dutz and Dreger (2017) compared to mobile information on leaflets, tablets and have been analyzed in museology, museum Despite general acceptance, the uses, types how visitors engaged with information phones that visitors may choose to access – studies and visitor studies from different and content of wall texts in exhibitions of art presented on labels, in longer interpretive and which may not have been produced by perspectives, to critically examine their role in – essentially unchanged since Enlightenment texts on walls and on mobile tablets, and curators or staff – wall texts are clearly the the historical development of the museum as ideals in the early nineteenth century – in audio guides. They found significant domain of the museum and remain under cultural institution (Bennett 1995; Bourdieu, remain an important and often controversial increases in visitors’ dwell time and memory its control. The permanent presence of wall Darbel & Schnapper 1990), practices of design topic of discussion among curators and of text explanations and pictorial details when texts is part of the aesthetic, scholarly and and implementation (Fritsch 2011b; Hooper- other museum staff, perhaps more so for longer texts were used instead of brief labels contextual experience of exhibition rooms, Greenhill 1999), linguistic characteristics and collection exhibitions. In contrast to the more alone, regardless of whether the interpretive whether the public chooses to read them or communication modes (Ravelli 2006; Serrell topical character of temporary exhibitions, texts were printed and wall-mounted next to Palmyre Pierroux & Anne Qvale Wall texts in collection exhibitions

42 artworks or accessed interactively on mobile wall texts in art museums, we focus solely on analysis of current plans is preliminary, in the room texts, which are generally placed on walls 43 guide tablets. The study also confirmed the data collected from the twelve participating art sense final preparations of texts and materials without art or at remove from the artworks. substantial modality benefits of audio guides, museums with permanent exhibitions, which are ongoing, the study lays the groundwork for However, only half the exhibitions used all which “outperformed interpretive label and ranged in age from one to nine years old at the future research, including studies of visitor use. three text types; three exhibitions used two mobile guide conditions in terms of pictorial time. Specifically, we analyzed the registered text types, and three exhibitions used just one and textual memory” (p. 8). This effect is categories and quantities of endo-textuals, or of these text types (titles). Moreover, across Analysis often explained by the cognitive advantages of texts prepared for visitors by the museum, the exhibitions’ nine-year age span we found simultaneously processing information in two on the walls in exhibition rooms. In keeping Typologies of museum text types have been no increase or change in pattern in terms of separate channels. The study confirms research with the analytical focus described above, the developed over several decades. In this analysis, the number of different text types that were over several decades that has consistently registered use of texts designed as “movable” we refer to Beverly Serrell’s description of text used; more recent exhibitions had as many shown clear interpretive advantages for (e.g., guidebooks, room leaflets and audio types in practice: (or as few) different text types as the oldest visitors in “picture-plus” versus “picture-alone” guides) and introductory panels placed near exhibition. conditions (Schwan, Dutz & Dreger 2017). the entrance to rooms were not included in the The most important types of interpretive labels in In terms of content, we found that the analysis. any exhibition are the title, introduction, section permanent exhibitions had a similar primarily In terms of content, the museums labels, group labels and captions. These labels help to national art historical narrative, followed Wall texts in Norwegian art participating in the study registered different organize the information and present the exhibition’s by narratives that highlighted affiliations to museums 2002–2012 narrative approaches, e.g., whether texts had rationale for looking like it does. Although these regional, Scandinavian and Nordic, European It is within this mediating interface that we an introduction to the narrative or history that labels are developed as linear and hierarchical and Western art. These may be understood explore museum practices in the design and was shown in the exhibition, whether there information, they may not be used in the ‘right’ order as narrative schematic templates (Wertsch implementation of wall texts in permanent was a floor plan, and whether the “overall” by visitors. Nevertheless, the labels still should have 2002; Andreassen & Pierroux 2013), defined exhibitions of art in Norway, and how these narrative, central concepts, or problems raised internal integrity, organization, and clear logic to the as generalised narrative traditions that emerge have transformed over a fifteen-year period. in the exhibition or other texts were explained design (2015:31). over time to ground processes of collective The data was collected in 2011–2012 as part or made explicit in the narrative. A precise remembering. Chronological and style-based of a larger project designed to identify types morphological analysis (lexicon, syntax, Drawing on Serrell’s (2015) definitions, and approaches to presenting historical narratives of art historical narratives in Norwegian enunciation, and semiotic structure) was not in order of frequency, three types of wall text were most common, while themes in art history art and decorative arts museums, and the within the scope of the study. Visitor use of were identified in the twelve art exhibitions was an alternative approach. An aesthetic representational means used to convey these endo-textuals and exo-textuals (either bought in our study: 1) titles, or non-interpretive approach, defined in the questionnaire as an narratives in permanent exhibitions (Falch, on site or brought in by visitors) was similarly identification labels, which provide minimal arrangement that emphasized formal aesthetic Haakestad, Qvale, Sauge & Solhjell 2015). not included in the study. details about each artwork, such as artist name, elements in artworks across chronology, A systematic reading of the museum as a To consider how wall texts in older title and date of artwork, material, ownership; was also used in parts of exhibitions but cartographic text was conducted, inventorying exhibitions relate to contemporary text 2) room texts, which are narratives (2–3 seldom as a main strategy. Notably, most what Jeanneret et al. (2010:56) call “semiotic practices, we also present a study of the types paragraphs, approximately 800 words) about curators responded that they had the aim of registries (organization of space, written and functions of wall texts being planned and the works in the room to provide context, conveying one or more specific narratives to object materials, physical context for reading, designed for the new collection exhibitions at stimulate curiosity and engage interest in visitors mainly by emphasizing contexts and types of documents displayed, etc.).” Staff the national art museum. This analysis is based viewing and reading more; and 3) captions, connections between artworks through their at the participating museums completed on internal documents prepared by the museum which are brief interpretive labels placed near arrangement and placement. These relations a comprehensive questionnaire designed and a design consultant firm; interviews with the work title that provide context for a specific and contexts were not necessarily made to register detailed information about curators and key staff members responsible for artwork. In the range of text types that were explicit in the wall texts, however, pointing to communicative conventions and resources both the older permanent exhibition and the used, captions were considered the newest a tension identified in New Museology (Vergo used in the exhibitions. In addition, documents one currently being planned; and participant and most controversial, in that larger labels 1989; Bennett 1995) and by Bourdieu (1993) such as photos, texts, drawings were part of the observations (second author) of ongoing near artworks compete more noticeably for a quarter of a century ago; although wall texts data corpus. To explore the historical use of planning within the museum. Although the visual attention than the more discreet titles or are cloaked in the “democratic language” Palmyre Pierroux & Anne Qvale Wall texts in collection exhibitions

44 of enlightenment ideals, they are part of an entrenched in permanent art exhibitions 45 exhibition interface that also presumes “works in Norwegian museums, from a time when of art have the power to awaken the grace of aesthetic experience and vision were privileged aesthetic enlightenment in anyone, however as modes of enlightenment. As Whitehead culturally uninitiated he or she may be” & Coffield (2018:242) remind us, “interfaces (Bourdieu 1993:237). are epistemological, whether by design or by This ideal was reflected in the gallery rooms accident. They don’t allow for any and all kinds of the national art museum’s permanent of interaction, and the structuring nature of the collection as well, (Fig. 1) which employed interface isn’t neutral”. The relatively unchanged only titles, room texts, and to a limited extent, “picture-alone” approach to wall texts since captions in curatorial arrangements of art that the time of early museum galleries seems included purposefully implicit and embodied to confirm the fundamentally conservative juxtapositions for visitors to “read” within and nature of art museums (Samis 2019), and the across rooms (Bauer & Pierroux 2014; Jornet & view that a visitor has the capacity to construct Steier 2015). The exhibition, installed in 2011 meaning from art exhibitions on par with and closed in 2018, was a schematic narrative experts through primarily looking at artworks template of the “history of art” chronologically (Bauer & Pierroux 2014). This perspective on arranged on the main floor of the National visitors’ drive and capacity for meaning making Gallery, a Neo-Renaissance building from may be conceptualized in terms of Bildung, nineteenth century. In keeping with the which refers to the German tradition of self- museum’s organizational structure and a cultivation and implies life-long processes Fig. 1. Wall texts from permanent exhibition ‘Dance of Life’ (2010-2018) at the National Museum of Art, process that involved leadership and members of personal and cultural maturation (Strand Architecture and Design, Oslo. Photograph: Annar Bjørgli. of a curatorial team, the chief curator was 2014). As Bildungsmittel, or means for self- responsible for the overall selection, narrative, cultivation, the wall texts in this study patrol a and arrangement of works, as well as the carefully arrayed field of projection, to become with works from the design and decorative arts material in all gallery spaces in the new types, quantities and content of the texts. The part of an interface “in which all objects of collections shown on the first floor (31 rooms) building. Three types had previously been used exhibition catalogue and other texts further thought (...) can be ordered and compared” and the second floor showing works from the in the museum’s collection exhibitions: titles, served as the basis for content for additional (Crary 1990:56). art collection, interspersed with works from room texts and captions, and it was decided interpretive media and materials, including an the architecture collection (56 rooms). The following an internal process of evaluation and audio guide tour. The editorial process for the overall chronological approach to an historical debate that these should continue to be used. Wall texts in a new national art audio content was led by an education curator narrative thus differs from the previous The room texts will be clearly placed at the museum 2016–2019 in collaboration with an external consultant, exhibition in the National Gallery building entrance to each gallery in the new building to and involved an iterative process in which A new national museum building will open in its emphasis on interdisciplinary interplay present a room’s narratives, setting a standard a curatorial group was involved in mainly in 2020, with exhibition rooms on two large between art forms from the same time period for the entire museum’s communication editing existing texts. Once the final texts were floors covering several city blocks. The design – and occasionally across periods – to illustrate approach. Further, each work of art will have approved, they were read aloud by professional for the new permanent exhibitions has the aim a particular theme or motive (Nasjonalmuseet a title, and selected works will have captions. actors in Norwegian and English, recorded for of presenting updated knowledge about the 2016). Group texts is a new type of text that will use by visitors. In the permanent exhibition, museum’s collections and to convey originality, In addition to introduction panels and provide additional art historical information this was the only multimodal endo-textual quality and depth in art historical scholarship, timelines for different sections of the about selected works, and several group resource provided by the museum. in education, in conservation, and in exhibition, it was decided early in the planning texts may be placed on the same wall. Room To summarize, this study found the communication. The new exhibitions will also stage in 2016 that four types of wall texts texts, captions and group texts are carefully tradition of a minimal use of wall text firmly follow a largely chronological arrangement, were to be used to communicate interpretive integrated with the overall room narrative. Palmyre Pierroux & Anne Qvale Wall texts in collection exhibitions

46 The increase in both type and amount Our analysis of the specifications identified 47 of wall texts represented a break with the seven types of multimedia productions for museum’s previous practices related to different content and didactic and immersive Bildungsmittel, and acknowledged a need to purposes, or what Samis (2102:56) described offer more interpretive resources to visitors as “intellectual modes of multimedia”. These (Nasjonalmuseet 2016, 2017). The museum intellectual modes are 1) materials and director was also explicit at that time about his techniques / artistic process; 2) historical opposition to incorporating digital resources, context; 3) interactive map related to works screens or interactive displays in the new on display; 4) specific installation; 5) sound art galleries, considering such resources atmosphere; and 6) “other” sound designs disruptions to experiencing art. Yet it was and 7) “other” interactives (Nasjonalmuseet not long into the architectural design process 2018b). In general, the productions will be before plans for the use of digital interpretive timed to last two minutes and available for media changed. In 2016, the museum “viewing, listening and interacting” on screen leadership established “documentary film” platforms that are permanently wall-mounted, as a specific field, and an editorial board was bench-mounted and floor-mounted. The Fig. 2. Drawing showing design and placement of digital and analogue wall texts for a gallery in the new formed to select and present film material from current design for wall-mounted screens has National Museum building. Drawing: Guicciardini & Magni Architects. the collection in the new exhibition. It was the form of vertical metal plate with a ledge quickly discovered that there were no suitable at the bottom, angling away from the wall, figures do not include two rooms dedicated museum object and analogue resources” spaces in the plans for the new building to with screen mounted to the ledge (Fig. 2). In solely to architecture, which have three screen- (Samis 2019:51), has thus been established as show films. In 2017, ideas for the use of media addition, productions may be presented in based wall texts each.) a new interface for experience. broadened from “documentary film” to “film larger format on screens mounted directly To sum up, through an internal process of and multimedia,” and the plans changed to to the wall, on table screens, and as specific collaboration and debate that lasted several Reflections include such productions in exhibition rooms installations. years, the use of four different wall text types, – primarily in the design and decorative arts Eight of the fifty-six rooms for exhibiting art including a new category “group text,” became Against a background of conservative text use sections but also in the art and architecture are currently planned to have permanent wall established as a new analogue practice by in Norwegian art museums, we explored a case exhibition rooms, many of which would have screens (nine small and two large), and nine curators and those responsible for exhibitions in which a new building served as a large-scale benches available (Nasjonalmuseet 2017). In additional rooms will have media produced in the new national museum building. intervention in existing practices. The wall text, 2018, the field “documentary film” was formally for permanent seated stations, table screens Moreover, although modest in use, the a bastion of enlightenment that has historically changed to “digital communication” and a new and specific installations (Nasjonalmuseet communicative, experiential and educational privileged vision and aesthetic experience multimedia editorial group was established to 2018b). This is not a large number; thirty-nine potential of film and multimedia prevailed (Crary 1990; Bourdieu 1993), was transformed, enhance interpretation in all exhibition rooms of the fifty-six rooms dedicated to exhibiting over an initial reluctance to include digital broadening art’s interpretive realm by engaging (Nasjonalmuseet 2018a). works from the art and architecture collections interpretive media in the collection exhibition more senses and inviting new experiential An existing document for planning will not have multimodal productions of any rooms. And, rather than “adapting” existing modes. At the same time, in contrast to exhibition texts was adapted for use by kind (70 percent). In contrast, only five rooms catalogue texts to a new modality as in previous the utopian visions and grand promises curatorial teams to describe the types of exhibiting works from design and decorative audio guide designs, the museum’s collection that spurred the collective imagination two digital materials and content required for arts collections on the first floor will not have of films, sound recordings, and installations decades ago, the case also illustrates how large each room. Based on guidelines developed in multimodal productions of some kind (13 will serve as point of departure to create new aims for museum media innovations are often collaboration with external media consultants, percent). In other words, there is a markedly types of multimodal products and experiences supplanted by what Samis (2019) characterized these documents served as specifications for more reserved use of multimodal wall texts in for specific exhibition rooms. A blended as conservative objectives. Citing examples multimodal products that will be in place in the the art and architecture exhibition than in the approach to wall texts, entailing “the seamless of thwarted ambitious attempts by the J. Paul new national museum building place by 2020. design and decorative arts exhibition. (These integration of interpretive technologies with Getty Museum and the San Francisco Museum Palmyre Pierroux & Anne Qvale Wall texts in collection exhibitions

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50 Samis, Peter 2019. “Revisiting the Utopian Promise Vergo, Peter 1989. The New Museology. London: of Interpretive Media. An Autoethnographic Reaktion Books. The museum as destination Analysis Drawn from Art Museums, 1991–2017.” Wertsch, James 2002. Voices of Collective In Kirsten Drotner, Vince Dziekan, Ross Remembering. Cambridge: Cambridge University Parry & Kim Christian Schrøder (eds.), The Press. The role of iconic museums in urban boosterism Routledge Handbook of Museums, Media and Whitehead, Christopher & Emma Coffield 2018. “The Communication. London: Routledge, 47–66. DOI: multiple interfaces of engagement. Towards a https://doi.org/10.4324/9781315560168-5 new conception of gallery learning.” Museum & Dorte Skot-Hansen Schwan, Stephan, Silke Dutz & Felix Dreger Society, 16:2, 240–259. 2017. “Multimedia in the Wild: Testing the Whitehead, Christopher 2011. “Toward Some Validity of Multimedia Learning Principles in Cartographic Understandings of Art Abstract: This article discusses how iconic museums function as instruments of an Art Exhibition.” Learning and Instruction Interpretation in Museums.” In Juliette Fritsch city marketing and corporate branding. The overall question is whether the use 55, 158–157. DOI: https://doi.org/10.1016/j. (ed.), Museum Gallery Interpetation and Material of iconic museums in urban boosterism is in opposition to the traditional role of learninstruc.2017.10.004 Culture. New York: Routledge, 53–67. museums as part of the enlightenment project. Two different urban contexts are Screven, C. G. 1992. “Motivating Visitors to Read used to analyze the role of museums in the process of city branding. Los Angeles Labels.” International Laboratory for Visitor is seen as an example of an “experiencescape”; here the main question is whether Studies 2:2, 183–211. Palmyre Pierroux, Professor the J. Paul Getty Museum can be seen as an antidote to Hollywood hype or if it Serrell, Beverly 2015. Exhibit Labels: An Interpretive [email protected] adds to it. Paris is seen as a “brandscape”, using iconic museum architecture to Approach (Second ed.). Lanham, MD: Rowman & enhance its global image and generate economic growth; this trend can be traced Littlefield. Department of Education in the presidential “Grand Projets” initiated since the 1970s and in the more Smith, Lisa F., Jeffrey K. Smith & Pablo P.L. Tinio University of Oslo recent corporate branding exercise Fondation Louis Vuitton. The article concludes 2017. “Time spent viewing art and reading PO Box 1092, Blindern that even if the enlightenment theme has been toned down, there is still a more labels.” Psychology of Aesthetics, Creativity, and the NO-0317 Oslo, Norway traditional “museum mission” behind the iconic façades. Arts, 11:1, 77–85. DOI: https://doi.org/10.1037/ aca0000049 Keywords: Museums, urban boosterism, experiencescapes, brandscapes, cultural Solhjell, Dag 2001. Formidler og formidlet. En teori om Anne Qvale, Special advisor icons. kunstformidlingens praksis. Universitetsforlaget, Oslo. National Museum of Art, Strand, Torill 2014. “Philosophy of Education in the Architecture and Design, The effects of globalization and post- become experiencescapes (O’Dell 2005) and Present.” In Papastephanou, Marianna, Torill PO Box 7014, St. Olavs plass industrialization have led cities to become brandscapes (Klingmann 2007). Strand & Anne Pirrie (eds.), Philosophy as a Lived NO-0130 Oslo, Norway ever more competitive, and today they are In this article, I will examine and discuss Experience. Navigating through dichotomies of increasingly planned and designed to attract the role of museums in urban boosterism. The thought and action. LIT Verlag, 243–257. tourists, residents and businesses. At the same overall question is whether the use of iconic time, cultural institutions – in the context of museums in city branding is in opposition this article: museums – have become part of a to the traditional enlightenment rationale. cultural turn in which economic and symbolic In other words, has museum architecture in processes intertwine. In a new “experience itself become the main attraction? To examine economy” (Pine & Gilmore 1996), storytelling this, I will discuss the role of iconic museum and branding are used as an added value not buildings in two urban contexts, characterized only to products and services but also to cities by two different strategies of urban boosterism. and cultural institutions (Skot-Hansen 2007, Los Angeles is chosen as an example of an 2008a, 2008b). In this situation, cities have experiencescape; in O’Dell’s sense, a space “in Dorte Skot-Hansen The museum as destination

52 which experiences are staged and consumed” The spaces in which experiences are staged and The concept of urban boosterism can be politicians and mayors all over the world now 53 (2005:16). The question here is whether the consumed can be likened to stylized landscapes seen as an umbrella term for both tendencies. “demand the ‘wow-effect’ in new buildings new Hollywood Museum and the J. Paul Getty that are strategically planned, laid out and designed. In the article “Iconic architecture and and explicitly ask for the ‘Bilbao effect’ which Museum just add to the Hollywood hype or They are, in this sense, landscapes of experience – capitalist globalization”, sociologist Leslie brought in millions of dollars to that rust- if they also serve an enlightenment purpose. experiencescapes – that are not only organized by Sklair identifies urban boosterism as the most belt city” (2006:8). More recent examples of Paris is chosen as an example of a brandscape; producers (from marketers and city planners to local common rationale for deliberately created iconic museums include Cape Town’s Zeitz in Klingmann’s sense, a city using architecture private enterprises), but are also actively sought after iconic architecture in cities wanting to be MOCAA (Museum of Contemporary Art to enhance its image, generate economic by consumers (O’Dell 2005:16). easily recognizable for purposes of commerce Africa), designed by the British architect growth and elevate its position in the global as well as civic pride. As he states, “those Thomas Heatherwick, the Sumida Hokusai village (2010:33). The question here is whether According to O’Dell, the experiencescape driving urban boosterism deliberately attempt Museum in Tokyo, designed by Kazuyo the art museum Fondation Louis Vuitton, represents a commercial streamlining of cities to create urban architectural icons in order Sejima, and the Jean Nouvel-designed Louvre opened in 2014, adds anything substantially and urban centres into lifestyle environments to draw tourists, convention, and mega-event Abu Dhabi. The latter is part of the Saadiyat new to the Paris art scene or if it is actually a aiming at attracting tourist demands and attendees with money to spend, and the images Island development, an experiencescape corporate branding exercise. markets. However, at the same time, he they project are directed to this end” (2006:24). based on cultural institutions designed by The description and analysis of the museums stresses the consumer’s lust for fun and new Sklair’s definition of iconic is “a building “starchitects” such as Foster + Partners, Zaha used as cases are partially based on my own experiences. Even though O’Dell does not or a space (and perhaps even an architect) Hadid, and Tadao Ando. However, Frank observations as a visitor (in 2017), and partially explicitly mention museums in this context, that is different and unique, recognized to be Gehry’s Guggenheim Abu Dhabi, originally on relevant documents: academic writings, there is no doubt that the investment in new, famous and to have special symbolic/aesthetic scheduled to open in 2012, is still on hold, due journalistic articles and the museums’ own spectacular museums adds zest to the urban qualities” (2006:28). This definition can be said to the potential for the museum to be seen as a presentations in pamphlets and on the internet. experience, attracting tourists who can say, to be a bit “fuzzy”, bringing together buildings target for terrorism (Lloyd 2017). The main focus is on the architecture and visual “Been there, done that”. of very different qualities. Still, I have based In Denmark, there has been an array of representation of the museums and to a lesser Where O’Dell focuses on the experience my choice of the museums in the following high-profile museum buildings within the extent on their exibitions and practice. This is dimension as a strategy for attracting tourists, on this definition, stressing the dimensions last ten years for example Henning Larsen presented in order to discuss the relationship the American architect Anna Klingmann of being unique, famous (or supposed to be) Architects’ Moesgaaard Museum in Aarhus, between experience and enlightenment in these sees the branding of cities as a strategy for and having aesthetic qualities. In this sense, Vadehavscentret near the West Coast by museums. attracting capital. She uses the concept cultural institutions in particular have become Dorte Mandrup and in the same region the “brandscapes” when she describes how “the icons, the most successful and discussed of bunker museum Tirpitz by BIG, founded and skylines and urban landscapes throughout the these being Frank Gehry’s hyper-expressive led by the internationally renowned Danish Urban boosterism and iconic ‘Global Village’ have become staged, composed New Guggenheim from 1997, which gave architect Bjarke Ingels. All these museums are architecture of towering symbols of corporate identity, the name to the so-called “Bilbao effect”. characterized by integrating architecture with Cities in the 1950s and 1960s tended to where everything seems to be arranged for This refers to the use of a flagship building the surrounding landscapes. In other words, concentrate on stimulating economic growth effect” (2010:31). She sees this as a trend that (e.g. a museum, an opera house, a concert they turn landscapes into experiencescapes. by creating favourable conditions for trade perceives architecture as a commodity keyed to hall, a theatre) characterized by an iconic The city of Helsingør (Elsinore) is a good and industry – planning pedestrian streets the realities of global capitalism “where cities architecture and designed by a leading “star example of a brandscape. Within the last ten and industrial parks, for example – whereas are trying to position themselves favourably architect”. Gehry’s unique design for the years, the city has undergone a transformation planning in the 1980s and 1990s focussed in the worldwide marketplace in order to Guggenheim Bilbao ushered in a new wave of from an industrial city with a shipyard to a on the (re-)establishment of city centres and attract capital” (2010:33). Of course, these two museum construction. Widely commented on “culture city”, using iconic architecture to the extension of high-profile waterfront areas concepts – experiencescapes and brandscapes in popular press and academic literature alike, rebrand its image. The area around Kronborg offering new combinations of consumption and – overlap to some extent, both addressing a the museum has been heralded as “one of the Slot, the Renaissance castle known as Hamlet’s experience. Cities are increasingly becoming worldwide trend for architects to create iconic most transformative symbols of city place- Castle, has now become a Cultural Haven, “experiencescapes”, a notion defined by the buildings in cities competing to elevate their making of the last decade” (Evans 2003:420). including The Culture Yard (Kulturværftet), Swedish ethnographer Tom O’Dell as: image. As the architect Charles Jenks phrases it, a new library and arts centre designed by the Dorte Skot-Hansen The museum as destination

54 Danish Architects 3XN, and the M/S Maritime of communication Alison Trope states that park containing the staged events, stunt and commerce, real and imaginary, and national and 55 Museum of Denmark designed by BIG. This Hollywood is synonymous with Los Angeles demonstrations and high-tech rides. Today, international (Trope 2012:73-74). prizewinning iconic museum, built around as a brand. Not only the film industry itself Universal Studios Hollywood claims to be an old dry dock, is known for its experience- but also another kind of material presence the “world’s largest movie studio and theme Four decades later, in 2004, serious plans again orientated exhibition design, with uneven developed simultaneously around the films park” (Internet source 3). In 2017, the venue emerged to build what the Academy of Motion floors and irregular angles giving the visitor an as landmarks and tourist destinations, fan received 9,056,000 visitors, ranking it the 15th Picture Arts and Sciences saw as a “world- experience of being on board a real ship. Since magazines and souvenirs, costumes and props most visited theme park in the world (Internet class” motion picture museum. The Academy it opened in 2013, the museum has received a – all things that signify Hollywood and offer source 4). hoped to emulate the successful erection of number of international awards and tributes. the opportunity for the public to see, consume However, the motion picture industry other Los Angeles landmarks, such as the In 2014, it was listed as one of The New York and memorialize the industry and its history has not had its own “real” museum until Getty Center and the Disney Hall, and wanted Times’ recommended “52 Places to Go in (2002:2). now. Since the mid-1950s, there has been an to make a “major statement”. Now, at last, 2014” and voted the best cultural building Nowhere has more examples of “themed ongoing battle to construct a county museum L.A. will get its long-awaited motion picture worldwide by archdaily.com – the world’s most entertainments” than Los Angeles, where devoted to motion pictures (Trope 2012:53). museum, due to open in 2019. The Academy visited architecture website (Internet source 1). studios and other corporate entities have In 1962, the banker Bart Lytton opened the Museum of Motion Pictures has been designed In this way, iconic museums have a devised new ways to mediate Hollywood’s private Lytton Center of the Visual Arts, by the renowned Renzo Piano, one of the significant influence on the branding, design symbolic stature. Disneyland, opened in 1955, including the Mogens Skot-Hansen collection architects behind the Centre Pompidou in and marketing of cities. But their role and effect became a model of the juxtaposition of “the of pre-cinema artefacts, bought as a donation Paris more than 40 years ago. The design is depends on their context. In the following, museum and community center alongside to the Hollywood Museum scheduled to open inspired by the museum’s mission “to turn the I will present examples of high profiled the fair, playground, and showplace”. Here the in 1964 (Mogens Skot-Hansen (1908–84) dream factory inside out and give visitors an museums and their role in two different urban Disney rhetoric revealed a conscious desire to was a film producer and director, founder of unprecedented opportunity to peer behind environments: Los Angeles and Paris. blur the lines between high and low culture Laterna Film production company). However, the screen and into the creative, collaborative (Trope 2012:96). When the iconic Walt Disney a confluence of factors led to the failure of the world of moviemaking” (Trope 2012:74). At Concert Hall, designed by Frank Gehry, Hollywood Museum. According to Trope, the the same time, it is supposed to create a beacon Los Angeles – an experiencescape opened in 2003, the brand finally bridged the museum’s downfall stemmed from differing for cultural tourism, “attracting visitors from In his still relevant book Amérique (1986), gap. As the homepage of LA Phil states: values, perceptions, aims, expectations and all over the world” (Internet source 5). the French postmodernist philosopher Jean interpretations of how the project should be Time will show whether the new Academy Baudrillard depicts Los Angeles in this way: Walt Disney Concert Hall is home to the LA Phil – characterized. As Trope asks: Museum of Motion Pictures lives up to “No verticality or underground, no intimacy or one of the world’s preeminent orchestras – and an expectations as an icon, celebrating the collectivity, no streets or facades, no centre or unrivalled venue for classical music, contemporary Was it a tourist venue that would bring visitors to industry that defines Los Angeles and at the monuments: a fantastic space […] signs with music, world music and jazz. From the curved Hollywood and satisfy the economic motives of the same time attracting visitors from all over the no hierarchical ordering – an extravaganza of stainless-steel exterior to the stunning wood-paneled county and Hollywood Chamber of Commerce? world. It will be especially interesting to see indifference, extravaganza of undifferentiated main auditorium, the 3.6-acre complex embodies Was it a public service institution that would cater if the long-term battle between culture and surfaces – the power of pure open space…” the unique energy of Los Angeles and its signature to the people of Los Angeles and celebrate the arts commerce and between high and low culture (Baudrillard 1999:125). Still, L.A. – or La La orchestra (Internet source 2). and industry of Hollywood? Was it a memorabilia has finally been resolved. Land as the Oscar-winning musical names it collection, a technology center, a science and industry – is perhaps one of the most iconic cities in exploratorium, or an exhibitions space? Was it a A “Hollywood Museum” The Getty Museum the world because of its connection with the world-class art museum and archive comparable to film industry. The “HOLLYWOOD” sign with In 1964, Universal Pictures opened its backlot MoMA? Was it a slice of Americana, a representation Even though Hollywood has branded Los is huge white letters on the sloping hillside to visitors. The tour included a series of of civic pride? Or was it all of these? It seemed that Angeles as an experiencescape per se, its represents Hollywood as a cultural icon and dressing room walk-throughs, peeks at actual the intention or need was to create some kind of wealthy inhabitants have fought to endow symbol. In the book Stardust Monuments: productions and, later, staged events. Over synthesis, a balance of high and low, art and industry, “tinsel town” with cultural capital, the most The Saving and Selling of Hollywood,professor the years, this grew into a full-blown theme private and public, education and tourism, culture famous figure being the American-born British Dorte Skot-Hansen The museum as destination

56 industrialist Jean Paul Getty (1882‒1976). He Bilbao just two months before the Getty, and 57 was an avid collector of art and antiquities, Gehry was among the first group of thirty-three and in 1974 he opened his collection to the candidates in the architecture competition public in a replica of an ancient Roman villa for the Getty (Internet source 5). Instead of in the grounds of his Malibu Canyon ranch. what could have been Gehry’s more upscale, However, according to Baudrillard, the export postmodern approach, the committee chose of European cultural values to the US does not Meier’s more conservative style, characterized make sense: as “modern academism”. Still, even if Meier is not one of the trendy “star architects” of today, When Paul Getty gathers Rembrandts, Impressionists, the magnitude and complexity of the Getty and Greek statues together in a Pompeian villa on the Center qualifies it as an icon in Sklair’s sense Pacific Coast, he is following American logic, the pure of “a building or a space that is different and baroque logic of Disneyland. He is being original; it is unique, intended to be famous and to have a magnificent stroke of cynicism, naivety, kitsch and special symbolic/aesthetic qualities” (2006:28). unintended humour – something astonishing in its When the Getty Center opened, however, nonsensicality (Baudrillard 1999:101). writing in his article “The Big Rock Candy Mountain”, art critic Martin Filler complained: Getty established the J. Paul Getty Trust in 1953 and left over $661 million (approximately Nowhere in Meier’s 110-acre campus is there a vista $2.8 billion in 2017 terms) of his estate to of calm and repose, except when one looks past the Getty Center after his death. The trust the frenetically overdesigned buildings – with their is the world’s wealthiest art institution and restless forms and mixture of stone, metal and glass operates the J. Paul Getty Museum, the Getty – and out toward the dazzling views of the Pacific Foundation, the Getty Research Institute and Ocean, the mountains and the city that stretch in the Getty Conservation Institute (Internet different directions (Filler 1997). source 6). According to its own presentation, the Getty Center aspires to be an asset for the According to Filler, with its curving wall city as such: and isolated hilltop perch the Getty Center “resembles a pristine fortified city of its Los Angeles is bound to become a world capital own”. For the visitor, nevertheless, arrival at for the twenty-first century. The Getty Center is an this “fortified city” is part of the adventure. unparalleled resource for L.A. as the city achieves Turning off the San Diego Freeway, you leave cultural maturity and comes into its own as the most your car in the seven-level parking structure diverse metropolis on the planet (Seeing the Getty at the bottom of the hill and take an elevator Center 2014:10). to the roof where you board a small white tram that transports you the three quarters of The Getty Center opened in 1997 and was a mile up to the summit. The view of L.A. – designed by Richard Meier (b. 1934), a New on a clear day stretching to the Pacific Ocean York architect who was already known for – is breathtaking, and the surrounding garden several Le Corbusier-inspired museums in the is worth a visit all of its own. Here you find US. Interestingly, L.A.-based architect Frank the five two-storey pavilions that house the J. Fig. 1. View from The Getty Museum, Los Angeles, 2017. Photo Dorte Skot-Hansen. Gehry’s Guggenheim Museum opened in Paul Getty Museum. Inside the pavilions, you Dorte Skot-Hansen The museum as destination

58 visit the permanent exhibitions of European keyed to the realities of global capitalism” industrial areas with the arts placed centre and controversial postmodern glass pyramid 59 paintings, sculptures and decorative arts, as (Klingmann 2010:33), and in this way it can stage. Centre Pompidou was designed by the situated in the middle of the classic courtyard. well as international photography. Temporary be designated as a brandscape per se. Even then very young and unknown architects Jacques Chirac (president 1995–2007) had his exhibitions are also held; at the time of my from the early nineteenth century, Paris was Renzo Piano and Richard Rogers. The pop-art “Grand Projet” with Musée du quai Branly, visit in November 2017, Happy Birthday, Mr. recognized around the world as a centre for art inspired aesthetics, combined with high-tech a museum for non-western art designed by Hockney was showing. Thus the museum also and culture. In the postwar era, however, it was architecture and glass façade fitted out with the French “star architect” Jean Nouvel. With functions as a “Kunsthalle”; as one critical being outstripped by cities such as London and escalators in exterior transparent tubes, has its overall expression as a low-level village voice said, perhaps the original board feared New York, and consequently Paris rebranded contributed to the building’s iconic twentieth- of houses built on piles along the Seine, the “that after one visit to their mountaintop, the itself in order to participate in this new global century status: an expressive structure that building does not function as “icon” in the average visitor will not be inclined to return competition. Since the 1970s, it has become a resembles anything but the classical museum. traditional sense because, as Nouvel says, “the without the incentive that the blockbuster tradition for successive French presidents to As Renzo Piano has explained, the design was building should not be an affirmation of the special events supplies” (Filler 1997). make their mark on the Parisian landscape meant to create “a building which will not be triumph of Western architecture” (Ouroussoff The question is whether the J. Paul Getty with one or more “Grands Projets” designed to a monument but a celebration, a big urban 2006). Museum fulfils its purpose as a cultural bolster the image of Paris as a leading city of toy” (Del Drago 2008:53). If anything, Centre resource for the city or whether its 1.8 million culture. Common to all these projects is their Pompidou is an example of an iconic building Fondation Louis Vuitton – annual visitors just come to “ride the tram, take origin in a desire to reinforce France’s image that is unique, intended to be famous and to architecture as brand in the panoramas, grab a cappuccino, and leave as a global cultural nation at a time when it is have special aesthetic qualities. without bothering to explore or even enter the being challenged by North American and now Subsequent presidents continued the The most recent art museum to feature on museum, as often happens at the Pompidou also Middle Eastern and Asian art. A common branding of Paris as an art and cultural city. the Paris tourist map is the privately funded Center in Paris” (Filler 1997). At any rate, the J. feature of these projects is a pivotal focus on Valéry Giscard d’Estaing (president 1974–81) Fondation Louis Vuitton in the Bois de Paul Getty Museum cannot compete with the French art and cultural heritage (including that instigated the making of Musée d’Orsay, a Boulogne. This is not a “Grand Projet”, initiated 9 million annual visitors to Universal Studios. of the former French colonies) in the museums’ museum for modern art in the former railway by presidents and financed by the state, but Then again, even if the visitors just “come collections and exhibitions (Skot-Hansen station Gare d’Orsay. François Mitterrand rather an example of corporate branding, for the ride” – does it matter? According to 2013). Moreover, these “Grands Projets” stem (president 1981–95) presented his “Grand as a symbol of corporate identity, where Baudrillard, exporting our aesthetic demands from both an instrumental rationality aimed Louvre Plan” in 1983: a thorough renovation “everything seems to be arranged for effect” to places where they do not belong is a mark of at enlightenment and a cultural-economic goal of and extension to the Louvre, involving the (Klingmann 2010:31). It is financed by LVMH cultural ethnocentrism: in terms of promoting cultural tourism and Chinese-American architect I.M. Pei’s striking (Louis Vuitton Moët Hennessy), a European urban development (Skot-Hansen 2005). multinational luxury goods conglomerate Here in the US, culture is not that delicious panacea Georges Pompidou (president 1969–74) native of France and headquartered in Paris which we Europeans consume in a sacramental erected the first presidential monument in Fig 2. Fondation Louis Vuitton in the Bois de (Internet source 6). Since 1991, LVHM Boulogne, 2017. Photo Dorte Skot-Hansen. mental space and which has its own special columns the shape of the Centre national d’art et de has become one of the leading corporate in the newspapers – and in people’s minds. Culture culture Georges-Pompidou, a project designed philanthropists in France, supporting artistic is space, speed, cinema, technology. This culture is to show the world that the “jour de gloire” of heritage and humanitarian projects (Internet authentic, if anything can be said to be authentic. French art and cultural life was still very much source 7). The Fondation Louis Vuitton marks That is why searching for works of art or sophisticated alive. When opened in 1977, Centre Pompidou a new phase in the philanthropic efforts of the entertainment here has always seemed tiresome and was the most innovatory and bold arts centre LVMH group, and it epitomizes the support out of place to me (Baudrillard 1999:101). in Europe. With its striking architecture, for art, culture and heritage they have been multiple functions and involvement of new providing for nearly twenty-five years. As Paris – a brandscape media, it became an icon for the library and art stated on the homepage, they “wanted to museum of the future. With its trendy location present Paris with an extraordinary space for Paris is a city in which museum architecture in the Les Halles district, it also anticipated art and culture, and demonstrate daring and in particular is perceived as a “commodity the movement towards regenerating former emotion by entrusting Frank Gehry with the Dorte Skot-Hansen The museum as destination

60 construction of an iconic building for the 21st supported by a mixed framework combining 61 century” (Internet source 8). wood and steel, an intricate “patchwork” of According to chairman and CEO of LVMH, 3,600 glass elements, each unique in its radius Bernard Arnault, the choice of the Los Angeles- and the direction of its curve. The inside of the based architect Frank Gehry, renowned for the “iceberg” is clad in panels of white concrete previos-mentioned Guggenheim Museum in with the sensual quality of biscuit porcelain. Bilbao (1997) and the Walt Disney Concert One of the main delights when visiting the Hall in Los Angeles (2003), was obvious: Fondation Louis Vuitton is to stroll around the “because he is one of the great architects of our building with all its many terraces, staircases, time”. He continues: small plazas and sitting areas, enjoying the view of Paris from different perspectives. The idea was to enrich the architectural heritage of our Should you be interested in viewing the capital with a founding act that had global resonance: art, however, you start by passing through the very first gesture of the Foundation Louis Vuitton. the ground-level entrance hall, featuring a Working in perfect harmony with Louis Vuitton’s restaurant and bookstore. The Fondation has values of excellence, perfectionism, and performance, its own collection, but the museum mostly Frank Gehry made an extraordinary construction, a functions as a “kunsthalle”. At the time of my true masterpiece (Foundation Louis Vuitton 2014:5). own visit in the autumn of 2017, the temporary exhibition was Être Moderne: Le MoMA à The trip to the museum is in itself an exclusive Paris – an extensive exhibition on loan from experience. A small white electric shuttle bus the prestigious MoMA in New York, and thus takes you on the fifteen-minute journey from Paris is linked to the international art world. Place de l’Étoile in the centre of Paris to the The building itself is not without its critics; museum next to the Jardin d’Acclimatation, an the question posed is whether it should be eighteenth-century theme park with tropical seen as an architectural icon or as a brand. The plants, exotic animals and rides, now being journalist Rowan Moore from The Observer refurbished by the LVMH. Gehry’s conception newspaper asks the following question: of the museum as a huge glasshouse was in response to the specific context of the Jardin Approaching the front door, you are left in little d’Acclimation, once home to a winter palace doubt as to whose glory the building serves. It and a palm house. He was also inspired by the wears like a big diamante brooch the intertwined Grand Palais, built for the 1900 Exposition letters LV, glittering in the sun. All around are the Universelle in Paris, a structure that became a dazzling white curves, palpably expensive, of Gehry’s landmark with its 43-meter-tall glass roof. architecture. The building is massive, dominating its Upon arrival, the museum would seem to surroundings. It is a coalition of brands, of LV and resemble an iceberg enveloped by glass sails. Frank, and looks much as if it might be a work of star As the Gehry partners see it, “the sails give architecture after all. The question with this project Fondation Louis Vuitton its transparency is which Gehry, the serious architect or the hired and sense of movement, while allowing the signature, wins (Moore 2014). building to reflect the water, woods and garden and continually change with the light” There can be no doubt, however, that the (Internet source 9). The twelve glass sails are Fondation Louis Vuitton does the trick: Fig 3. Fondation Louis Vuitton’s entrance, 2017. Photo Dorte Skot-Hansen. Dorte Skot-Hansen The museum as destination

62 branding the Louis Vuitton products on a new middle classes” seeking new experiences. location as a modern Acropolis hovering over 4. https://en.wikipedia.org/wiki/Universal_Studios_ 63 and higher level. Even if you cannot buy a Louis Should it be seen as a commodity, a place to L.A., could be an exception, although in some Hollywood (accessed 1 October 2018) Vuitton handbag at the museum, and despite check off on the list “been there, done that”, measure it functions as a destination to which 5. http://www.oscars.org/museum/what-academy- the fact that the only mention of the founder or will it succeed in attracting a wide-ranging the museum guests “go for the ride”. museum-means-los-angeles (accessed 1 October is the name of the museum at the entrance spectrum of art-lovers who visit again and The main question remains: Has the 2018) and its logo on the wall, the art museum is again, offering them new perspectives on art enlightenment rationale yielded to an economic 6. https://en.wikipedia.org/wiki/J._Paul_ clearly designed to boost the LV brand. In and society? This will depend on whether the rationale? Is it now all about urban boosterism Getty#Media_portrayals (accessed 1 October addition, the visitors include members of the future curating of exhibitions goes beyond the and corporate branding? Looking at the iconic 2018) upper-middle class who are the target group mainstream “modern art” found in any urban museums highlighted here, there can be no 7. https://en.wikipedia.org/wiki/LVMHhttp:// for LV luxury products and the customers you destination today. doubt that they all aspire to fulfil enlightening (accessed 1 October 2018) might meet at the Louis Vuitton boutiques in and educational purposes. The Academy 8. http://www.fondationlouisvuitton.fr/en/ upmarket city locations. The prodigious sense Museum of Motion Pictures in Hollywood la-fondation/la-fondation-d-entreprise-louis- Iconic museums – experience or of luxury in the museum, and the almost will finally present the history of filmmaking, vuitton.html (accessed 1 October 2018) enlightenment? overwhelming impression of the building the J. Paul Getty Museum is part of the 9. https://www.archdaily.com/555694/fondation- itself, associate to Louis Vuitton values of The overall question is, as mentioned above, Getty Center with its renowned research and louis-vuitton-gehry-partners (accessed 1 October excellence, perfectionism and performance. whether the use of iconic museums in city conservation institutes, the Centre Pompidou 2018) As Arnault says: branding is in opposition to the traditional has its library and archives, the Musée du quai 10. https://www.architecturaldigest.com/story/frank- role of museums as part of the enlightenment Branly conducts conferences and discussions gehry-fondation-louis-vuitton-arts-center-article LVMH and its mansions have always stood for project. Are all the new hyped star-architect- on global issues, and the Fondation Vuitton (accessed 1 October 2018) a certain art de vivre, founded on old-world designed museums more or less façade, built to offers educational family activities. In this craftsmanship in the service of an ever-evolving attract tourists and (re)brand cities, or are they way, the new hyped museums tend to fulfil Literature creativity and modernity. For the men and women of intended to fulfil other, more educational and several rationales simultaneously; culture the LVMH group, this new cultural institution will be enlightening goals? and commerce are not necessarily conflicting Baudrillard, Jean 1999. America. New York: Verso. a source of pride and a symbol of who they are and It is important to note that the building features. Even if the enlightenment theme has Del Drago, Elena 2008. Centre Georges Pompidou the work they do (Internet source 10). of imposing museums is not a new trend. been toned down in the spectacular and iconic Paris. Milan: Mondadori Electa. Statens Museum for Kunst in Copenhagen, buildings, there is still a more traditional Evans, Graeme 2003. “Hard-Branding the Cultural In addition to this, the Fondation adds the Metropolitan in New York and the Alte “museum mission” behind the façade. Even if City – from Prado to Prada.” International Journal an international outlook to the brand. By Nationalgalerie in Berlin, for example, are all we are experiencing a cultural turn, in which of Urban and Regional Research, 27:2, 417–430. choosing a US-based architect and exhibiting spectacular museum buildings of their time. economic and symbolic processes are ever DOI: https://doi.org/10.1111/1468-2427.00455 internationally renowned artists (as in the However, in these cases, the classical temple more intertwined, the idea of “museum” as Filler, Martin 1997. “The Big Rock Candy Mountain.” MoMA exhibition), this is not only a landmark architecture refers to the classic concept such has not been lost. It has rather found a The New York Review of Books, December 18. for Paris or France, but for the world. The of enlightenment or, in other words, the new and spectacular packaging. Fondation Louis Vuitton 2014, Special Issue of Fondation adds zest to the more nationally architecture and the content are working in Connaissance des Arts, Paris: SFPA (Société orientated Parisian art scene. At the same tandem. The iconic museums mentioned in Française de Promotion Artistique). References time, it modernizes and updates the Parisian this article are characterized by architecture Jencks, Charles 2006. “The iconic building is here to landscape of iconic buildings that starts with that makes no explicit reference to an Internet sources s t ay.” City, 10:1, 3–20. the Tour Eiffel designed for the 1889 World’s enlightenment purpose. They could all be the 1. https://mfs.dk/en/the-museum/prize-winning- Klingmann, Anna 2010. “Creative brandscapes. Fair. receptacle for something else: the Maritime museum/ (accessed 1 October 2018) Heroes with flaws.” In Hans Kiib (ed.) The main question, however, is whether the Museum a dry dock, Centre Pompidou a 2. https://www.laphil.com/about/our-venues/ Performative Urban Design, Art & Urbanism museum actually adds something substantial warehouse, the Fondation Louis Vuitton an (accessed 1 October 2018) Series no. 2, Aalborg University Press, 30–39. to the Parisian art scene or if it mainly exposition hall. The J. Paul Getty Museum with 3. https://www.universalstudioshollywood.com/ Lash, Scott & John Urry 1994. Economies of Signs and functions as a backdrop to the “chattering its pristine modernistic architecture, and its (accessed 1 October 2018) Space. London: Sage. Dorte Skot-Hansen Nordisk museologi 2019 • 1, s. 65–81

64 Lloyd. Lauren 2017. “Is the Guggenheim Abu Dhabi policies?” In Jill Robinson, (ed.) EUROCULT21. dead?” The Architect’s Newspaper, March 28. Integrated Report. Helsinki: Lasipalatsi Media Betragter, værk, verden https://archpaper.com/2017/03/guggenheim-abu- Centre, 31–39. dhabi-dead/ (accessed 13 October 2018) Skot-Hansen, Dorte 2007. Byen som scene. Kultur Moore, Rowan 2014. “Fondation Louis Vuitton, Paris og -byplanlægning i oplevelsessamfundet. Museumsformidling mellem underholdning og ny erkendelse review – everything and the bling from Frank Copenhagen: Bibliotekarforbundet. Gehry.” The Guardian, 19 October. Skot-Hansen, Dorte 2008a. Museerne i den danske O’Dell Tom 2005. “Experiencescapes. Blurring oplevelsesøkonomi. Når oplysning bliver en Christiane Finsen borders and testing connections.” In Tom O’Dell oplevelse. Copenhagen: Samfundslitteratur. DOI: & Peter Billing (eds.): Experiencescapes. Tourism, https://doi.org/10.7146/ntik.v5i2.25869 Culture and Economy. Copenhagen: Copenhagen Skot-Hansen, Dorte 2008b. “The city as a stage – but Business School Press, 11–33. for whom? The challenges of experience economy Abstract: How can museums create frameworks for meaningful personal Ouroussoff, Nicolai 2006. “Quai Branly. A perverse, for cultural and urban planning.” Nordic Journal experiences? Through the use of theories about the peculiar nature of the museum magical space.” New York Times, 27 June 2006. of Architectural Research, 20:1, 11–19. as an institution, this article puts forward arguments in favour of a type of art Pine II, B. Joseph & James H. Gilmore. 1999. The Skot-Hansen, Dorte 2013. “Fransk kultur i mediation that acknowledges the complexity of the art experience and transcends Experience Economy. Work is Theatre and Every undtagelsestilstand. Franske kunst- og the realm between play and learning. By viewing mediation as an integrated Business a Stage. Boston: Harvard Business kulturarenaer i en digital æra.” Nordisk praxis rather than as an appendix of an entertaining or educational nature, the School Press. DOI: https://doi.org/10.1016/s0737- Kulturpolitisk Tidsskrift, 13:2, 201–216. article proposes that museums are able to generate essential connections between 6782(01)00088-1 Trope, Allison 2012. Stardust Monuments. The Saving spectator, art work, and the world. This proposition is put forward through concrete Rus, Mayer 2014. “Frank Gehry’s masterful Fondation and Selling of Hollywood, Dartmouth: Dartmouth examples from Esbjerg Art Museum as well as through a juxtaposition of theories Louis Vuitton opens in Paris.” Architectural Digest, College Press. from not only the mediation field, but also from areas such as play theory, visitor https://www.architecturaldigest.com/story/frank- studies, exhibition design, critical educational thinking, and semiotics. gehry-fondation-louis-vuitton-arts-center-article (accessed 7 October 2018). DOI: https://doi. Dorte Skot-Hansen, Associate Professor Keywords: Art experience, education, mediation, play, hands on, personal org/10.1515/9783035617634-002 Emerita, Former Head of Center of Cultural engagement, cognition, associations, open work, semiotics. Seeing the Getty Center, 1996. Los Angeles: Getty Policy Studies Publications. [email protected] Sklair, Leslie 2006. “Iconic architecture and capitalist Hvordan skaber man kontakt mellem værk Med en række udstillingsprojekter på Es- globalization.” City, 10:1, 21–47. DOI: https://doi. University of Copenhagen og betragter på et fundamentalt niveau? Hvad bjerg Kunstmuseum som eksempler, især for- org/10.1080/13604810600594613 Njalsgade 76 er forudsætningerne for, at der kan opstå en midlingen af udstillingen BANG – Thomas Skot-Hansen, Dorte 2005. “Why urban cultural DK-2300 Copenhagen S, Denmark egentlig relation mellem de to? Og hvordan Bang i Esbjerg Kunstmuseums samling (2016– kan kunstmuseet rammesætte kunsten, så be- 17), vil nærværende artikel pege på en kunst- skueren når fra afvisning til engagement? formidling, der gennem en legende tilgang an- Mange forskere og museumsformidlere erkender og kvalificerer de flertydige og kom- arbejder kontinuerligt med at finde svar på plekse aspekter, som enhver betydningsfuld disse spørgsmål. Der er flere relevante bud, kunstoplevelse rummer.1 Det er artiklens tese, men også mange bud, som tager afsæt i enten at en formidlingsform, der fremfor at forenkle underholdning eller læring. Og jo sværere til- og kategorisere tager afsæt i det åbne og uaf- gængelig kunsten synes at være, desto større sluttede, rummer potentialet til at intensivere tendens er der til at forsøge at forklare den for forbindelsen mellem betragter, værk og ver- publikum eller at reducere dens kompleksitet den. Dermed understøtter den også mulighe- til let tilgængelig underholdning. den for, at museet realiserer sit potentiale som Christiane Finsen Betragter, værk, verden

66 unikt refleksionsrum og særegen institutions- Museets potentiale: Mellem ydre objekterne.2 De besidder en enestående kraft, gen til det, der vides om samlingens indre sam- 67 type, og at flere museumsgæster får vedkom- krav og indre nødvendighed som kan udløse et næsten uendeligt antal for- menhænge og betydningslag, hvorfor præsen- mende, personlige kunstoplevelser, der lagres skellige og dybt personlige oplevelser (Weil tationen her er løsrevet fra en egentlig faglig og bæres med ind i hverdagens erfaringsver- Umiddelbart efter indgangen til det nye årtu- 2002:71). Sådanne oplevelser udspringer nok viden. Som Brandt selv formulerer det, er en den. sinde stillede museumsteoretikeren Stephen E. af de udstillede genstande, men de er ikke del af personalet her ”beskæftiget med præ- Med afsæt i diskussioner af museumsinsti- Weil det fundamentale spørgsmål: ”Do muse- knyttet til en bestemt viden om dem. Som så- sentationen alene, ikke med genstandsstudiet tutionens egenart (Brandt 1995, Weil 2002, ums really matter?” (Weil 2002). Heldigvis var dan er de ikke didaktiske, ej heller blot tilfæl- eller samlingens pleje, men med publikums, Becker 2016) diskuteres det, hvorledes den han i stand til at svare bekræftende: Ja, museer digt tidsfordriv. Der er tale om ukontrollable, med dets otium, fritidsudfyldning” (Brandt museale formidling kan transcendere feltet betyder noget, de er vigtige, de gør en forskel. eksistentielle processer, bundet til en kontinu- 1995:21). mellem leg og læring, underholdning og vi- De indeholder i hvert fald potentialet til det. erlig udveksling og konstruktion af betydning, Mens præsentationen i det gennemsigtige denstransmission og i stedet udvikles, så den Der er sket meget inden for det museale og som beskueren selv bidrager til. Det er muse- museum er overvejende hermeneutisk – som både fremmer museumsinstitutionens poten- formidlingsmæssige felt, siden Weil formule- ernes enestående mulighed og fornemste op- eksempel kan nævnes en traditionel krono- tiale og engagerer den enkelte gæst på et per- rede sit spørgsmål. Udviklingen har imidlertid gave at facilitere sådanne processer, og det er logisk udstilling, inddelt efter genrer, er den i sonligt niveau (Huizinga 1980, Larsen 2010, ikke gjort spørgsmålet mindre relevant. I dag ved at gøre en forskel i folks liv, at museet som det underholdende museum primært æstetisk Jungkwon 2018). I den forbindelse vendes formuleres det blot i vigende grad med afsæt i institution bliver relevant – også som vægtig og eksempelvis baseret på en sammenstilling et kritisk blik mod John H. Falk og Lynn D. en museologisk og institutionskritisk refleksi- samfundsmæssig aktør. af genstande, der er umiddelbart appellerende Dierking (Dierking 2013, Falk 2013, Falk & on. Museet konfronteres nu stadig oftere med Lokaliseringen af museets relevans og egen- eller beror på overfladiske, formmæssige lighe- Dierking 2013, Achiam 2016), der om nogen en række ydre krav og forventninger, der be- art har også optaget semiotiker og sprogforsker der. Institutionerne i vores moderne verden er har tegnet feltet inden for formidlings- og pub- tyder, at museumsinstitutionen konstant skal Per Aage Brandt, hvis pointer kan understøtte i udpræget grad karakteriseret ikke ved en in- likumsstudier i de seneste årtier på en måde, bevise sit værd i forhold til en ekstern forvent- Weils konklusioner. I artiklen ”Hvad er et mu- tegration, men en vekselvirkning mellem det, som har ført til et måske lidt ensidigt fokus ningshorisont. At museet skal være relevant i seum? En semiotisk undersøgelse” argumente- der kendetegner disse to museumstyper. Ifølge på museumsgæsternes allerede eksisterende en bredere samfundsmæssig kontekst er på in- rer han i lighed med Weil for, hvordan museets Brandt er der tale om en de-realiserende ten- behov og forventninger. Afsættet er deres bi- gen måde et problem. Tværtimod. Udfordrin- særkende beror på dets samling af objekter. dens uden dybere refleksion, som fjerner os fra drag til antologien Museums. Social Learning gen består i, hvordan det stigende ydre pres Samtidig plæderer han for, at hermeneutikken en følelsesmæssig kontakt med det virkelige Spaces and Knowledge Producing Processes, der, imødekommes. Det, der (stadig) gør Weils og æstetikken i forvaltningen af disse objek- (Brandt 1995:23). udgivet af Kulturstyrelsen, adresserer muse- spørgsmål interessant, er således ikke spørgs- ter må bindes strategisk sammen – at museet I det undersøgende museum integreres de ernes formidlingsmæssige rolle i en aktuel, målet i sig selv, men snarere de mulige svar på, nødvendigvis må være både fortolkende og to typer imidlertid og indgår i en gensidigt dansk kontekst. De forskellige udstillings- og hvordan museets potentiale i dag kan bringes fremvisende (Brandt 1995). Det kan ske på tre påvirkende spænding, der udvikler dem beg- formidlingsprojekter på Esbjerg Kunstmuse- til udfoldelse. måder i henholdsvis det gennemsigtige, det ge og bidrager til museet som refleksionsrum um udgør i den sammenhæng konkrete bud Museet henter i stigende grad sin legitimitet underholdende og det undersøgende museum og ’betydningsmaskine’ (Brandt 1995:22). I det på, hvordan museumsinstitutionen gennem i konkurrence med andre samfundsinstitutio- (Brandt 1995:20-21). undersøgende museum stilles der spørgsmål formidling som en integreret praksis både kan ner. Der er således en generel politisk forvent- I det gennemsigtige museum er der overens- gennem for eksempel nye tematiske sammen- styrke sin egenart, få relevans for publikum og ning om, at museet skal agere som både ud- stemmelse mellem det, der vides om objekter- stillinger og en formidling, hvor museets viden udfolde kunstens mulighedsfelt i en tid, hvor dannelsesinstitution, underholdningscenter og ne, og det, der vises. Der er ingen overraskende omsættes til en visning, der er spørgende og museernes samfundsmæssige funktion er til attraktiv turistdestination. En af Weils grund- sammenstillinger af genstande og værker, som undersøgende. Afsender og modtager danner debat. Tankesættet bag de forskellige projekter læggende pointer er imidlertid, at museet ikke typisk præsenteres i en for lægfolk indforstået, her en åben og både legende og alvorlig enhed, forankres slutteligt i en sammenlæsning af teo- har noget naturligt monopol på at være nogen fagspecifik forståelsesramme. I det gennem- som kontinuerligt oscillerer mellem viden, rier, hentet i både semiotik, filosofisk-pædago- af delene (Weil 2002:70-71). Og ved at mime sigtige museum er formidlingen knyttet til en ikke-viden og visen (Brandt 1995:21). Følger gik tænkning og udstillingsdesign, der samlet andre insitutionstyper bringer museet sig selv forklarende og kontrolleret transformation af vi Brandts analyse, er det således i det under- set indskriver udstillingsoplevelsen i et åbent, i en sårbar position, der ikke er drevet af en læring. I det underholdende museum lægges søgende museum, at museumsinstitutionens dynamisk tegnsystem (Barthes 1977, Eco 1989, indre, men en ydre nødvendighed. fokus i stedet på objekternes synlige egenska- egentlige potentiale som dynamisk erkendel- Rancière 1991 & 2009, Wang & Lei 2016). Det, der konstituerer museets egenart, er ber og underholdningsværdi uden hensynta- sesgenerator, der udvider vores billeder af ver- Christiane Finsen Betragter, værk, verden

68 den, skal findes, og svarene på Weils spørgsmål Homo Ludens, det legende menneske. I værket nesket på et tidspunkt i historien mistede sin symbolsk handling blev legen en model for en 69 kan lokaliseres. af samme navn argumenterer den hollandske evne til at lege, men hvordan legen er vendt overskridelse af det eksisterende samfund – ”en kulturteoretiker Johan Huizinga for, hvordan tilbage i den postindustrielle æra (Jungkwon uddannelse i ulydighed” (Larsen 2010:108). legen oprindeligt var indlejret i næsten al men- 2018:up). Han beskriver, hvordan konsum af Der er gået et halvt århundrede siden Palle Formidlingens mulighedsrum: neskelig aktivitet såvel kulturelt som politisk, varer (goods) for blot få årtier siden var for- Nielsens radikale, museale intervention, men Mellem fordybelse og og hvordan også videnskaben voksede ud af ankret i deres tegnværdi – i deres værdi som ifølge Larsen – og ikke helt ulig Jungkwons uforpligtende leg en forundring over verdens gådefuldhed og statusmarkører. I dag konsumeres de primært argumentation – forbindes leg og kunst igen Weil og Brandt er enige om at argumentere derefter udviklede sig gennem en legende duel på grund af deres oplevelsesværdi, og derfor ”i den voksende kulturindustri og i nye socia- for en dynamisk forståelse af museet og at med indsigtsfulde argumenter (Huizinga 1980, er brugeroplevelsen altafgørende. Hvis kunst- liseringsimperativer”. Opfordringerne til kre- definere dets egenart med udgangspunkt i Jungkwon 2018:up). nerisk aktivitet i sin kerne genererer oplevelse, ativitet er i dag blot instrumentaliseret i ”den en dyb, kontinuerlig betydningsudveksling I diskussionen, der fulgte Söderqvists ind- og varer i dag stimulerer netop en oplevelses- kommercielle cirkulationssfæres justering og mellem objekt og betragter, der udvider læg og hans beskrivelse af museet som en lyst, ja så kan der også argumenteres for, at kontrol af sociale processer” (Larsen 2010:108- betragterens allerede eksisterende forbindelse tværfakultær og tværæstetisk ’legeplads’, gjor- varer nu ’agerer’ som kunstværker. Jungkwon 109). Samtidig med at legen i oplevelsesøkono- med den virkelighed, som omgiver hende.3 de direktøren for M/S Museet for Søfart, Ulla beskriver endvidere, hvorledes der eksisterer mien totalt mister sit kritiske potentiale, mister Men hvordan kan museerne i praksis facilitere Tofte, sig til talsmand for en udvidet forståelse et nært slægtskab mellem kunst og leg. Der- det legende subjekt desuden sin relation til en- sådanne vedkommende udvekslinger? af legepladsbegrebet. Hvor Söderqvist taler om for slutter han, at brugeroplevelsen i dag også hver større sammenhæng, for ”i et samfund, At svaret ikke nødvendigvis er selvindlysen- en legeplads for de museumsansatte, argumen- indeholder karakteristika fra legen, og at den hvor legen er kapitaliseret, stopper tiden” (Lar- de, og at Weils spørgsmål stadig er aktuelt, blev terede Tofte for at gøre museet til en legeplads følgeligt forskydes til en player experience sen 2010:109). Modsat barnets erkendende ud- tydeligt i forbindelse med den afgående mu- for de besøgende (Becker 2016:25). Museernes (Jungkwon 2018:up). Jungkwon lokaliserer vikling gennem legen, der forbinder det med seumsleder for Medicinsk Museion Thomas rolle som uddannelses- og oplysningsinstitu- denne udvikling i den digitale teknologi; for både fortid og fremtid, reduceres legen nemlig Söderqvists afskedsforelæsning i 2016. Han tioner har spillet fallit, mener hun – med andre hvor forbindelsen mellem menneske og ma- til en funktion, som udfolder sig her og nu om- indledte med en skarpvinklet og opdateret ord har det gennemsigtige museum udspillet skine tidligere var ensbetydende med arbejde, kring en individualiseret oplevelse. version af Weils spørgsmål: ”What the hell is sin rolle. I stedet, hævder hun, ligger museer- er den i dag lig med underholdning. Således I forlængelse heraf kunne man spørge, om the point of museums?” (Becker 2016). Også nes mulighed i, at få de besøgende ”til at slap- har vi ifølge Jungkwon at gøre med et vare- og ikke netop tiden er et af de helt centrale fæno- Söderqvist understregede, hvordan museer- pe af, glemme pensum, grine og lege” (Becker oplevelseskredsløb – et kredsløb, som også mener, som museerne ideelt set skal aktualise- nes eksistensberettigelse er bundet til deres 2016:25). Som vi har set, er det imidlertid ikke museerne indskriver sig i, og som tegner en re gennem formidlingen af værker og objekter, genstande, til deres samlinger, til det ”at un- uproblematisk at erstatte det gennemsigtige bevægelse fra ’semio-’ over ’aestho-’ til ’ludo- der enten perspektiverer den tid, vi lever i, el- dersøge materialiteten” (Becker 2016:25). Han museum med det underholdende, hvilket må kapitalisme’ (Jungkwon 2018:up). ler gør tidligere historiske perioder nærværen- argumenterede videre for, hvorledes museerne være konsekvensen af Toftes argumentation. I ”The Mass Utopia of Art Activism: Palle de. Samtidig er museerne i deres konstitutive må formå at ”skabe et beåndet arbejdsmiljø, Det er i hvert fald ikke på den måde – ved Nielsen’s The Model – A Model for a Qualitative kerne langsomme medier – og det, der tager der tilskynder til en form for leg med tinge- alene at rette fokus mod ”publikums fritids- Society” analyserer kunstteoretiker og kura- tid, kræver tid. Per Aage Brandt omtaler mu- ne… [for] leg og forskning hænger uløseligt udfyldning”, som Brandt formulerer det – at tor Lars Bang Larsen leg som aktivistisk greb seer som regier, som en art Tidens Teatre, hvor sammen” (Becker 2016:25). Argumentet synes museet konsoliderer sig som institution og ud- og kunstnerisk intervention med afsæt i den ”forestillinger hjælpes på vej af mennesker, således at være, at forudsætningen for museets folder sin egenart. danske kunstner Palle Nielsens installation af så at andre mennesker kan opfatte dem. Hvis relevans i forhold til en bredere offentlighed De udfordringer, som er forbundet med en samme navn på Moderna Museet i Stockholm virkeligheden lod sig opfatte direkte, og Tiden er dets evne til at integrere det, Brandt kal- museal formidling, der kommer publikum i i 1968 (Larsen 2010). I projektet blev museet talte til os som et menneske, var museer over- der for genstandsstudiet, med den dimension møde gennem leg og underholdning, forank- omdannet til en legeplads, mens selve legen flødige” (Brandt 1995:23). En af hans bærende af ikke-viden, der i det åbne, undersøgende rer samtidig debatten i et mere generelt pro- udgjorde udstillingens egentlige ’indhold’. teser er, at det undersøgende museum kan ind- museum nødvendigvis må indsættes i feltet blemkompleks, der angår legen som fænomen Gennem legen som kritisk gestus vendte Mo- rette sig strategisk på denne tagen-tid, for kun mellem viden og visen. Implicit knytter Sö- i en bredere politisk kontekst. Med afsæt i dellen op og ned på de gængse hierarkier i en derved vil det også kunne give Tid. ”Og uden derqvist gennem sit argument således mulig- Huizinga argumenterer kritiker og æstetik- kunstudstilling, der sædvanligvis er underlagt denne udveksling af tid mod Tid er resten ikke heden for et beåndet arbejdsmiljø til ideen om teoretiker Chin Jungkwon for, hvordan men- både visuel og adfærdsmæssig kontrol. Som realitet” (Brandt 1995:23). Christiane Finsen Betragter, værk, verden

70 Publikumsinddragelse: Mellem ket og frastødt af det. Gennem gynge-grebet 71 forventning og uforudsigelighed blev denne vigtige pointe udfoldet på en di- rekte og sanselig måde, når man kontinurligt Med Larsen og Jungkwon i ryggen bliver det nærmede sig billedet for derefter at fjerne sig tydeligt, hvordan en underholdende formidling, fra det igen. I udstillingen kunne publikum der søger at gøre op med en belærende på den måde opleve at bryde med vante må- envejskommunikation, rummer faren for at der at betragte kunst på, for når man selv både amputere kunstens potentiale som katalysator kropsligt og mentalt skal agere på nye måder, for erkendelse og ny indsigt og dermed bliver man også bevidst om vigtigheden af ens afsondre museumsgæstens oplevelse fra større, eget nærvær for kunstoplevelsen. Rammerne meningsgivende sammenhænge. Eksempler for legen var i udstillingen direkte forankret i fra Esbjerg Kunstmuseum kan imidlertid bestemte kunstværker, og dermed fungerede vise, hvordan netop en legende tilgang til legen som en nonverbal, kropslig erfaring af formidlingsfeltet kan generere en umiddelbar værkernes kernetematikker. Den rummede så- forbindelse mellem betragter, værk og i sidste ledes en erkendende dimension, der forbandt ende verden. Esbjerg Kunstmuseum er på mange museumsgæsten med noget uden for sig selv måder eksponent for den eksperimenterende (jvf. Larsen), og som indsatte den besøgende i tilgang til museumsarbejdet, som Thomas den åbne udvekslig med de udstillede objekter, Söderqvist argumenterer for. Samtidig har som også Brandt beskriver. museet ved flere lejligheder i sin udstillings- og I den anden udstillingssal var gulvet om- formidlingsvirksomhed taget afsæt i legens, om dannet til en spilleplade. Når man som udstil- ikke kritiske, så erkendelsesmæssige muligheder. lingsgæst trådte ind ad døren, befandt man sig Fig. 1. Installationsfoto fra udstillingen Playground (til højre: Michael Kvium, Kulturkreds, 1992), Esbjerg Det skete for eksempel i udstillingerne Humor allerede på startfeltet og blev dermed straks Kunstmuseum. Foto: Torben E. Meyer, 2007. – alvorligt talt (2012) og Playground (2007), tildelt rollen som spillebrik – man blev selv en hvor humoren og legen bevidst blev brugt integreret del af præsentationen. Reglerne var Projektet rejste spørgsmål om, hvad kunst og der boret kighuller, som gav betragteren mu- dels som metoder til fordybelse, dels som enkle: Gennem slag med en terning rykkede humor overhovedet har til fælles og viste sam- lighed for at se et nøje udvalgt udsnit af de ma- undersøgende og konceptuelle greb, der man frem gennem udstillingen og kom under- tidig, hvordan humor er meget mere end bare lerier og skulpturer, som befandt sig bag den. fremhævede de bestræbelser, som i forvejen lå vejs forbi de udstillede værker. Alt afhængig noget, der kan fremkalde latter. Humor kan Man kunne for eksempel se et tydeligt udsnit i de udstillede værker.4 I begge projekter blev af, hvor man landede, havde man gennem for- fordreje virkeligheden, være ekskluderende, af en paraply. Først efter at have passeret gen- de grundlæggende kvaliteter ved legen, som skellige spørgsmål og udsagn mulighed for at indeholde elementer af det groteske, italesætte nem museets faste samling og bevæget sig ind ligger dybt i det enkelte menneske samtidig forholde sig til værkerne og sin egen oplevelse tabuer, overrumple og vise os det, vi troede, vi i særudstillingssalen fra den modsatte ende af aktiveret (jvf. Homo ludens), så oplevelse og af dem i en proces, der både krævede tid og kendte, på helt nye måder. museet, befandt man sig blandt værkerne og værk, formidling og udstilling blev uløseligt engagement. Fordi humoren således kan give anledning fik afsløret, at paraplyen sad fast i næsen på flettet sammen. Humor – alvorligt talt undersøgte forholdet til at opleve det velkendte på ny, indeholder den afbildede forretningsmand. Helt bevidst I Playground var det således ikke alene vær- mellem kunst og humor. På udstillingen kun- den også et erkendelsesmæssigt potentiale – rumliggjorde udstillingsarkitekturen således ker fra museets samling, der blev iscenesat på ne man opleve værker af treogtyve kunstnere, præcis som billedkunsten gør det. For at udfol- humorens væsen og intensiverede de besøgen- ny. Også beskueren blev udfordret til at indta- herunder brasilianske Marcos Chaves’ ’latter- de netop dette potentiale blev humoren benyt- des følelse af nysgerrighed, uvished og forvent- ge uvante positioner; i den ene udstillingssal container’, danske Morten Steen Hebsgaards tet som metode i opbygningen af udstillingen. ning. Gennem det legende og underholdende kunne man blandt andet opleve et Michael fornuftsstridige fusion mellem en cykel og Når museumsgæsten trådte ind i udstillings- blev museets viden om værkerne og det tema, Kvium-maleri fra en gynge. Noget af det, der en trappestige samt østrigeren Erwin Wurms salen, blev hun overraskende nok ikke mødt de indgik i, omsat til en erkendende ageren gør Kviums billedunivers så dragende, er, at vi absurde fotoværker af for eksempel en arkety- af kunstværker, men af en væg, som adskilte med en indbygget forsinkelse (jvf. Brandts ’ta- som beskuere på én gang bliver både tiltruk- pisk forretningsmand med en paraply i næsen. hende fra de udstillede værker. I væggen var gen-tid’), hvor den besøgende gennem inter- Christiane Finsen Betragter, værk, verden

72 aktionen ikke bare blev underholdt, men i høj for at anerkende den motivation og de socio- sulterer i en adskillelse af museet som legeplads og betragter og tematisk tager udgangspunkt i 73 grad også udfordret. Således forsøgte museet kulturelle ressourcer, publikum selv bibringer for de besøgende og museet som faglig ’lege- almenmenneskelige tilstande, betragtes han af igen at engagere beskueren med afsæt i hen- museumsoplevelsen (Dierking 2013). Muse- plads’ (jvf. diskussionen mellem Söderqvist og mange som en kunstner, det kan være svært at des egen fysiske tilstedeværelse i udstillingen erne har ikke længere monopol på at diktere Tofte)? Det er svært at være uenig, når Falk og forholde sig til. Hans værker ligner ikke noget, og dermed at gøre kunstoplevelsen personligt hvilken viden, der skal transmitteres, og ifølge Dierking fremhæver forbindelsen mellem de vi har set før, og flere af dem er skabt af hver- betydningsfuld. Dierking kæmper museerne på sin vis stadig personlige, fysiske og sociokulturelle kontek- dagsmaterialer som for eksempel tæppefilt og I ”Understanding museum visitors’ motiva- med at definere relationen til publikum og de- ster som central for det samlede museumsbe- modellervoks. På trods af de utraditionelle ma- tions and learning” præsenterer John H. Falk res egen rolle som socialt og rekreativt lærings- søg (Falk & Dierking 2013:26), men gør dette terialevalg er værkerne æstetiske og pertentligt en undersøgelse, der netop har haft til formål rum. Og i en situation, hvor museumsinstitu- forhold sig ikke gældende de fleste steder, hvor udført, men samtidig har flere af dem brud el- at kortlægge, hvad museumsgæster husker tionen har mistet sin privilegerede afsenderpo- mennesker færdes og mødes? Og kan man i ler synlige reparationer. De indeholder således som betydningsfuldt fra deres udstillingsbe- sition, bør den satse på at imødekomme pub- forlængelse heraf ikke spørge, om argumenter- også et gådefuldt ’før’ – en proces har fundet søg, og hvilke forhold, der især bidrager til, likums forskellige behov (Dierking 2013:211). ne for at fremme museet som uformelt, rekre- sted, en skade er forsøgt udbedret. Denne be- hvad vi bærer med os videre ud af museet Dierking ser essentielt museet som en (ud) ativt mødested uforvarende bekræfter Weils vidste reparationslogik peger på tid og foran- (Falk 2013). Hans undersøgelse udfolder fel- dannelses- eller formidlingsinstitution (insti- bekymringer om, at museerne i jagten på både dring som grundvilkår i tilværelsen. Og det er tet mellem læring, oplevelse og erindring og tution of public education, Dierking 2013:212). flere besøgende og politisk legitimitet fjerner præcis denne grundlæggende foranderlighed peger på det måske selvindlysende faktum, at Hun definerer education i brede termer, der sig fra deres egen kerne for i stedet at assimile- og kompleksitet, som Bang formår at give et vi- en museumsoplevelse er både kompleks, flyg- ikke alene dækker tilegnelse af faglig vi- res andre institutionstyper? suelt udtryk; hans værker undersøger bevidst tig og dynamisk – en unik relation, som opstår den, men også vedrører personlig udvikling Som vi skal se, kan den enestående betyd- de brudflader, hvor modsætninger mødes og hver gang en person besøger et museum (Falk (Dierking 2013:212, Falk & Dierking 2013: ningsudveksling mellem objekt og betragter, vores forståelse kommer til kort. De ”lægger 2013:109-111). Traditionelt har studierne af 300). Nøglen til at maksimere museernes gen- der ifølge Weil og Brandt konstituerer muse- forholdet mellem forestillingsevnen, tanken museernes gæster været karakteriseret af et nemslagskraft ligger for hende netop i at enga- umsoplevelsens egenart, fremmes på en måde, og det visuelle sprog ud til vores overvejelse” reduktionistisk tankesæt båret af et fokus på gere den individuelle gæst i emner, der inden der paradoksalt nok ikke tager udgangspunkt i og åbner potentielt for nye dimensioner i vores hvem, der besøger museet, fremfor hvad de museumsbesøget lå i periferien af hendes ak- publikums på forhånd formulerede ønsker og omverden – for noget, vi ikke så før (Finsen & oplever. Falk plæderer i stedet for en tilgang, tuelle bevidsthedsfelt. Spørgsmålet er, hvordan behov. Kjeldgaard 2016). der forholder sig til det hele menneske og der- man når det punkt? Dierkings svar er klart: Som det er tilfældet med konceptbaseret med også anerkender, hvordan individets livs- En del af de ressourcer, som museerne bruger kunst generelt, afkræver også Bangs arbejder Præsentationens anatomi: Mellem bane krydser museumsoplevelsen både før og på objekterne, på studiet af dem og på udstil- beskueren en intens indlevelses- og aflæs- værk og individuel introduktion efter besøget (Falk 2013:109). Hans studier vi- lingerne, bør allokeres til at kortlægge det, ningsindsats, der hverken kan fremmes alene ser nemlig, hvordan et relevant museumsbesøg hun benævner ’den anden side’, nemlig publi- Thomas Bang (f. 1938) er en af de mest betyd- gennem kunsthistoriske facts eller et pædago- må opbygge og understøtte en personlig iden- kum, deres behov og forventninger (Dierking ningsfulde nulevende danske kunstnere, og Es- gisk appendiks. Den foranderlighed, som får titet. Gæsternes personlige mål med muse- 2013:212). bjerg Kunstmuseum rummer den mest repræ- form i Bangs værker, og den træghed, der er umsbesøget hænger nært sammen med deres Med Dierking og Falks undersøgelser og sentative samling af hans værker fra 1960’erne indlejret i oplevelsen af dem, fordrer nemlig selvbilleder og deres personlige behov. Kernen publikumsmæssige perspektiv i ryggen kan vi og frem. Med BANG – Thomas Bang i Esbjerg beskuerens tidslige involvering. Oplevelsen er i et museumsbesøg er således selvreferentiel, umiddelbart igen argumentere mod en mu- Kunstmuseums samling blev disse værker præ- på den måde bundet til en form for Brandtsk og det, der står tilbage af oplevelsen, og som seumsoplevelse, der alene er bundet til enten senteret samlet for første gang, installeret i et udveksling af tid, som museet gennem sin for- huskes som særlig betydningsfuldt, kan derfor det (be)lærende eller det underholdende (Falk åbent, rumligt flow og suppleret af nye arbej- midling af udstillingen søgte at fremme. Med relateres til det, der som udgangspunkt mo- & Dierking 2013:114). Som vi ved fra Brandts der, udvalgt i samarbejde med kunstneren selv. præsentationen af Bangs værker lod Esbjerg tiverede museumsbesøget overhovedet (Falk analyse indgår læring og underholdning i mu- På sjette årti skaber Thomas Bang skulptu- Kunstmuseum sig således igen udfordre af 2013:111ff., Falk & Dierking 2013:212-214). sealt regi imidlertid ofte i en vekselvirkning relle objekter og installationer, der unddrager en kunstners måde at arbejde på til at udvik- Falks kollega Lynn D. Dierking problema- og ikke i en egentlig symbiose. Spørgsmålet er sig enhver entydig kunsthistorisk kategori- le nye introduktioner og formidlingsformer. tiserer i artiklen ”Museums as social learning derfor, om Falk og Dierkings fokus på at be- sering (Vejlby et al. 2009). Selvom Bang altid Det skete for eksempel også i forbindelse med spaces”, hvorvidt museerne gør, hvad de kan, kræfte publikums behov og forventninger re- har interesseret sig for forholdet mellem værk udstillingen 100+100 Richard Mortensen og os Christiane Finsen Betragter, værk, verden

74 (2010). Her havde publikum mulighed for at fungerede som øjenåbnere i forhold til de besø- 75 engagere sig i et æstetisk laboratorium, hvor de gendes oplevelse. selv kunne afprøve Mortensens synseksperi- Både Bogh og Høy leverede ikke alene fag- menter, inden de trådte ind i udstillingssalen. ligt velfunderede, men også dybt personlige Ved at eksperimentere med formidlingen af fortællinger. Mille Votborg siger åbent, at det Bangs værker var det hensigten at skabe for- er svært at finde mening i Bangs værker. De skellige personlige indgangsvinkler til hans er mystiske, men inspirerer alligevel til for- univers. Inden man trådte ind i udstillingen, tolkning. Værkerne udtrykker forskelle, synes kunne man således møde kunsthistoriker og hun, og de er fyldt med kontraster. Der er no- direktør ved Statens Museum for Kunst, Mik- get, som inviterer hende til at digte sin egen kel Bogh, kunstnerkollega Jytte Høy og sko- historie, men det kræver tid. Og når hun for- leeleven Mille Votborg på 15 år. Som ’talking lader museet, bliver hendes tanker ved med at heads’ på tre skærme vis-à-vis betragteren for- kredse om dem – tankerne kan hun imidlertid talte de om netop deres oplevelse og fascination bruge i sin egen hverdag, når hun skal forstå og af Bangs værker, sådan som de var blevet bedt sætte billeder på nye oplevelser i tilværelsen.5 om. Og de optrådte på den måde som ’leven- At en skolepige er i stand til at formulere de’ formidlere, der både kiggede én i øjnene og sine oplevelser med Bangs kunst på den måde

Fig. 2a. ”Talking heads” og spil-introduktioner til udstillingen BANG – Thomas Bang i Esbjerg Kunstmuseums samling. Foto: Torben E. Meyer, 2016.

Fig. 2b. Installationsfoto fra udstillingen BANG – Thomas Bang i Esbjerg Kunstmuseums samling. Foto: Torben E. Meyer, 2016.

er ikke alene stærkt, men også stærkt inspi- form for associationsspil, hvor en spiller valgte rerende – og den inspiration blev viderefor- en værkgengivelse, som de andre ikke måtte midlet og delt med andre museumsbesøgen- se. Ud fra personlige beskrivelser og associati- de gennem forskellige tiltag.6 De personlige onsrækker skulle de andre spillere nu hver især introduktioner blev blandt andet suppleret vælge et matchende værk for til slut at identifi- med to nyudviklede spil, konciperet af museets cere det værk, som oprindeligt var blevet valgt. inspektørgruppe, hvor publikum kunne akti- Udgangspunktet for disse nye måder at for- vere deres egne erfaringer og være med til at midle Thomas Bangs værker på tog afsæt i Es- formulere deres egne spilleregler. Gengivelser bjerg Kunstmuseums tidligere eksperimenter af Bangs værker fungerede som spillebrikker, og forskning. Museet har blandt andet under- der kunne kombineres på forskellige måder søgt, hvad introduktionen betyder for muse- med ord og udsagn i en åben og principielt umsgæsternes oplevelse, og resultaterne viser, uafsluttet proces, hvor nye betydninger kunne at kunsthistoriske fakta og forklaringer ikke i opstå: Det ene spil mimede et huskespil, hvor sig selv bringer værk og betragter tættere på brikkerne skulle parres to og to. I Bang-spillet hinanden.7 Det er imidlertid ikke det samme skulle man imidlertid danne sine egne par, for som at forkaste fagligheden – de faktuelle, for- ikke to brikker var ens. Det andet spil var en tolkende oplysninger kan med fordel afslutte Christiane Finsen Betragter, værk, verden

76 et møde med kunsten. I stedet bør en frugtbar tet blev aktualiseret. At det rent faktisk kan varende til at ekskludere en videnskabelig og betød, at publikums forestillingsevne blev ak- 77 værkintroduktion skabe en identifikation i den ske, dokumenterede Esbjerg Kunstmuseum i kulturel viden – ikke alene fra museumsgæs- tiveret i et felt mellem genstandsobservation, enkelte, hvor betragterens egne livserfaringer forbindelse med det integrerede udstillings-, tens oplevelse, men også fra museumsprak- leg og ny viden. Derved formåede museet, som og medbragte bagage tages alvorlig, så hun for- forsknings- og formidlingsprojekt Kunst i kon- tikeres og museumsforskeres bevidsthedsfelt det også var tilfældet med de øvrige omtalte beredes til sit møde med værkerne på et per- tekst (2007-2014), der gennem fire delprojekter (Achiam 2016:96) – et forhold, der har tydelig projekter, at forbinde værkerne, betragteren sonligt niveau (Funch 2004). bragte kunsten i forbindelse med de områder, affinitet til det problemkompleks, som er for- og den omgivende verden og levere et bud på, den oprindeligt var forbundet med: det ånde- bundet med Per Aage Brandts definition af det hvordan præsentationen af faglig viden kan lige, sprog og tænkning, naturens elementer underholdende museum, Lars Bang Larsens sammentænkes med gæstens personlige for- Beskuerens oplevelse: Mellem og eksistensens grundvilkår. Her blev en lang beskrivelse af oplevelsesøkonomiens disinte- tolkninger (Achiam 2016:90-92). objekt og personlig relevans række museumsgæster interviewet om deres grerede subjekt og Chin Jungkwons udlægning ”Se, der er mit værk”, udbrød en museumsgæst udstillingsoplevelser. Én gæst fortalte, hvor- af bruger- eller playeroplevelsen. Teoretisk forankring: begejstret, da hun trådte ind i udstillingssalen ledes udstillingen gav hende en stor følelse Med formidlingen af Bangs værker ønskede Mellem åbne tegn og subjektiv efter at have engageret sig i både introdukti- af ensomhed, der var relateret til oplevelser i museet ikke blot at bekræfte den besøgende, betydningskonstruktion oner og spil. ’Hendes værk’ var det værk, der hendes eget liv. Det var en overvældende op- men ultimativt set at lade hende forlade muse- havde dannet udgangspunkt for de associati- levelse, da hun aldrig før havde tænkt over, at et med et forandret blik på verden. Tesen var, Som vi har set, arbejder Esbjerg Kunstmuseum oner, hun havde delt med sine medspillere ved kunsten havde det potentiale. En anden gæst at et fokus på beskueren gik gennem et intenst bevidst med formidling som integreret prak- spillebordet udenfor. Ubevidst havde hun al- formulerede, at ”det, man kan opleve i naturen, fokus på objektet. Paradoksalt nok blev be- sis og anser i den forbindelse betragteren som lerede etableret et forhold til dette værk. Hun rækker ud over, hvad mennesket kan fatte. Det, skueren bragt i centrum for sin egen oplevelse betydningskonstituerende medskaber. Viden- havde forbundet det til personlige oplevelser jeg oplever i udstillingen her, rækker ud over med afsæt i værkerne og analogt med kunst- skabsteoretisk indskriver det museets profil i et og tanker, som tilmed var blevet formuleret det, man kan se” (Finsen 2017:7, Kjeldgaard nerens praksis. De formidlingsmæssige greb receptionssemiotisk felt, funderet på Umberto for andre. Derfor blev værket ikke oplevet 2017:11). var direkte defineret af Bangs evne til gennem Ecos og Roland Barthes’ tænkning,9 mens den som fremmed eller svært tilgængeligt, men Når Falk og Dierking i forbindelse med de- sine værker at udfordre vores forventnings- filosofisk og pædagogisk trækker på traditio- blev tværtimod mødt med ejerskabets glæde res undersøgelser interviewer publikum om horisont og vores behov for at skabe mening nen fra Jacques Rancière. – det var blevet ’hendes’. Formidlingen havde deres ønsker forud for museumsbesøget, kan og sammenhæng. Formidlingen var således I Det åbne værk argumenterer Umberto Eco således fremmet de individuelle associationer, publikum i sagens natur kun svare ud fra en ikke et eksternt appendiks, bundet til enten for en åben forbindelse mellem værk og be- som værket er i stand til at generere, og derved allerede eksisterende erfarings- og forvent- underholdning eller læring. Den var ikke en tragter (Eco 1989). I Ecos optik er værket på blev Weil og Brandts argumenter om objektets ningshorisont – de kan kun efterspørge noget, forklarende merdimension, men en integreret sin vis ’ufærdigt’, da det indeholder et uende- evne til at fjerne fokus fra sig selv og gribe ind de ved eksisterer, og som de allerede kender handling, der åbnede for ny indsigt, og som ligt antal mulige fortolkninger, som kræver en i menneskers liv på unikke måder udfoldet og (Kjeldgaard 2004:129). Det intense fokus på gennem værkerne genererede nye refleksioner aktiv fortolkers mellemkomst. På den måde demonstreret. de besøgendes behov og forventninger har den om os selv og verden i bred forstand. Med an- bliver værket så at sige til, hver gang det ind- Umiddelbart bekræftes også Falks anerken- (måske uintenderede) effekt, at selve museets erkendelsen af forskellige og på forhånd ufor- går i nye forbindelser med forskellige betragte- delse af museumsoplevelsens indgriben i den konstitutive kerne, dets samling af objekter, udsigelige betydningsdannelser blev kunstens re. Ideelt fremmer det åbne værks poetik ”den besøgendes livsbane og Dierkings argumenter mister sin betydning.8 egentlige potentiale dermed også udfoldet og bevidste friheds handlinger” hos fortolkeren, om, hvordan museumsbesøget bør fremme Dette er et argument, man også finder hos de enkelte værker så at sige sat fri. Ved at tage idet hun anbringes i et netværk af uudtømme- forhold, som før museumsbesøget lå i peri- didaktikforsker Marianne Achiam. I artiklen udgangspunkt i selve Bangs praksis, blev mu- lige relationer, blandt hvilke hun kan etablere ferien af gæstens bevidsthedsfelt. Men hvor ”The role of the imagination in museum visits” seets viden om de udstillede værker vist og for- sin egen form (Eco 1989:4). Hvor afsenderen Falks og Dierkings tilgang til formidlingsfeltet påpeger hun, hvordan Falk og Dierking beskri- midlet på en både personlig og underholdende mister sin autoritet hos Eco, erklærer Roland forstærker et allerede eksisterende selvbillede ver museumsoplevelsen uden reference til det, måde, der gennem spillenes legende tilgang Barthes ham ligefrem for død (Barthes 1977). hos museumsgæsten, var det i formidlingen af der udstilles, eller det imaginative muligheds- garanterede publikums interaktion og tilførsel I det øjeblik forfatteren begynder at skrive, går Bangs værker intentionen at fremme værker- felt, som de udstillede objekter åbner for (Achi- af ikke-viden (jvf. Brandts definition). Formid- han nemlig symbolsk sin egen død i møde, for nes evne til at sætte billeder på oplevelser og am 2016:96). Ved at frame museumsoplevelsen lingen åbnede på den måde for aktuelle betyd- udsagnets sande locus er ikke forankret i det, følelser, som gennem kunstoplevelsen uven- som en personaliseret event kommer de ufor- ningssynteser og mentale konstruktioner, der der skrives, men i det, der læses. For Barthes Christiane Finsen Betragter, værk, verden

78 består en tekst – eller ethvert andet kunstne- seum sig i vid udstrækning rollen som den fundet og dets institutioner, hvor forskellen Noter 79 risk udsagn – af et uendeligt antal mulige be- uvidende lærer, og den åbne forbindelse med mellem arbejde og leg er sløret. tydningskonstellationer, som forenes, ikke hos publikum understreges gennem en forståel- Som alternativ til hands on plæderer Wang 1. Artiklens forfatter er en del af det kuratoriske forfatteren, men i fortolkeren. Derfor ligger se af interaktionen mellem værk og betragter og Lei i stedet for en dekonstruktiv tilgang team på Esbjerg Kunstmuseum og har været det, som konstituerer et værks enhed og ind- som en form for ’minds on’. Denne term ud- til såvel udstilling som udstillingsdesign. En med til at arrangere og formidle de omtalte hold, ikke i dets oprindelse, men i dets bestem- foldes af Qi Wang og Yanhui Lei, der forsker i ’kaotisk’ tilgang, der ansporer til individuelle udstillingsprojekter. Artiklen indgår i et samlet melsessted (Barthes 1977:up). udstillingsdesign og bygningsmiljø, og forener fortolkninger, og som forskyder museumsbe- forskningsprojekt, delvist støttet af Kulturstyrelsen, Denne udlægning af den udvekslende for- på mange måder den semiotiske tilgang til søget fra en planlagt oplevelse til selvopdagel- som med afsæt i en receptionsorienteret bindelse mellem værk og betragter påvirker udstillingsmediet med Rancières pædagogik se. Interaktionen kommer her til udtryk som semiotisk tilgang til formidlingsfeltet søger at ifølge Eco ikke alene forståelsen af kunsthisto- (Wang & Lei 2016). Udgangspunktet for Wang ’minds on’ i et udvekslende felt mellem viden, kontekstualisere museets samlede praksis. rien, men genererer også nye kommunikative og Lei er den almindeligt udbredte forståelse forestillingsevne og associativ tænkning, hvis 2. En diskussion af objekternes status i museums- situationer i forhold til sociologien og pæ- af, at ’hands on’ har afløst ’eyes on’ som frem- mål hverken er at bekræfte eller at belære, men institutionen både historisk og aktuelt udfoldes dagogikken (Eco 1989:23). Og det er netop i tidens formidlingsform. Men forholder det sig at inspirere og pirre museumsgæstens nysger- af Steven Conn i Do Museums Still Need Objects? kontekst af sådanne (lærings)situationer, hvor nødvendigvis sådan? I artiklen ”Minds on for righed (Wang & Lei 2016: 344-346). (Conn 2010). viden formidles, at Jacques Rancière udfolder the wise: Rethinking the contemporary inter- Det er i Per Aage Brandts undersøgende mu- 3. Museumsobjektets enestående evne til at generere sine teorier om Den uvidende lærer og Den fri- active exhibition” argumenterer de for, hvor- seum, at minds on-tænkningen udfoldes. Iføl- personlige oplevelser behandles desuden i gjorte betragter (Rancière 1991 & 2009). Ran- dan konsekvensen af hands on-udstillinger ge- ge Brandt har museerne nemlig en særlig mu- Numinous Experiences With Museums Objects cière vender i en vis forstand den klassiske for- nerelt er en kraftig reduktion i antallet af reelle lighed for at systematisere kommunikations- (Latham 2013). ståelse af tanken om lighed gennem læring på objekter i museernes præsentationer. Samtidig forholdet mellem beskuer, værk og kontekst, 4. Oplysninger om de udstillings- og formidlings- hovedet. For ham er lighed nemlig udgangs- viser de, hvordan denne type udstillinger er da det hermeneutiske studium er henvisende projekter på Esbjerg Kunstmuseum, som punktet og ikke endemålet. Ved at antage, at ligeså envejskommunikerende som den for- og refererer til den erkendelige verden, hvorfra omtales i artiklen, findes på www.eskum.dk der eksisterer en fundamental ulighed mellem midlingsform, de postulerer at gøre op med. objekterne kommer, mens det æstetiske otium ’Særudstillinger’. Alle projekter er udviklet og lærer og elev, der skal mindskes gennem det Hands on-udstillinger er nok designede som refererer til subjektet som sansende kapacitet gennemført af museets kunstfaglige stab. pædagogiske arbejde, naturaliseres elevens interaktive oplevelser, men dialogen er samti- (Brandt 1995:22). Museets enestående poten- 5. De tre introduktioner kan ses på www.eskum.dk intelligensmæssige underlegenhed, så ulighe- dig tilrettelagt så ligetil som muligt for at gene- tiale er forankret i dets evne til at forberede ’Særudstillinger 2016’. den mellem de to kontinuerligt reproduceres. rere underholdning og umiddelbar forståelse. genstanden til mødet med beskueren og vice 6. Det er ikke første gang, Esbjerg Kunstmuseum Rancières projekt er i stedet at sætte eleven el- Dertil kommer, at de mange digitale enheder, versa – at fremlægge objektet som et tegn med lader børn og unge formidle kunsten. I 2002 ler betragteren fri ved at gøre hende i stand til som ofte er en del af sådanne formidlingstil- et æstetisk udfoldet udtryk og et hermeneutisk gennemførte museet projekt Forestillinger II, hvor både at internalisere sine egne oplevelser og in- bud, er forprogrammerede, hvorfor de besø- udfoldet indhold. Museet er derfor at betragte museumsgæsterne havde mulighed for at vælge tellektuelle opdagelser og ’oversætte’ dem i mø- gendes interaktionsmuligheder er begrænsede som en form for realitetsprincip, der potentielt mellem fire forskellige introduktioner til et værk, det med andre. Frigørelsen og individets (ud) og de facto styret af afsenderen (Wang & Lei sætter os i forbindelse med virkeligheden på herunder et barns. Denne idé blev siden udbygget dannelse er således bundet til den associative 2016:336-340). Ligesom Per Aage Brandt pe- nye måder (Brandt 1995:23). Skal museet kun- gennem etableringen af rundviserkorpset Junior_ og dissociative kraft, der ligger i dobbeltrollen ger på en de-realiserende tendens som resul- ne leve op til denne ikke ubetydelige rolle, kan guides i 2007 – børn, som gav de voksne gæster som både læser og aktør, betragter og aktiv for- tatet af den manglende forbindelse mellem man ikke fjerne én komponent fra ligningen; personlige indføringer i værker fra museets tolker. Rancières ’uvidende lærer’ assisterer sin det gennemsigtige og det underholdende mu- man må vedholdende fremme den uforudsige- samling. elev i denne anerkendende proces og er ikke seum, afdækker Wang og Lei, hvordan ideen lige og dynamiske symbiose mellem alle de tre 7. Siden midten af 1990’erne har forskningsfeltet uvidende, fordi han ikke ved noget, men for- om hands on reelt heller ikke integrerer viden led, mellem objekt, subjekt og verden. Dermed på Esbjerg Kunstmuseum fokuseret på selve di han formår at afkoble sin egen viden fra det og visen, men opretholder adskillelsen mellem styrker museet tilmed sin institutionelle egen- kvaliteten af publikums oplevelser. I forbindelse at lære fra sig. Derfor kan den uvidende lærer de to. Ved at pege på den skjulte forbindelse art og sikrer, at museumsinstitutionen også i med flere projekter er der gennemført også potentielt lære sin elev noget, han ikke mellem videnstransmission og underholden- fremtiden er i stand til gøre en forskel – både publikumsinterviews, som kortlægger den enkelte selv ved (Rancière 2009:11-17). de medinddragelse understøtter de samtidig som unik samfundsmæssig aktør og i det en- museumsgæsts oplevelser, senest i forbindelse I sin formidling påtager Esbjerg Kunstmu- Jungkwons teser om ’gamificeringen’ af sam- kelte menneskes liv. med Kunst i Kontekst (2007-14) (Finsen 2017, Christiane Finsen Betragter, værk, verden

80 Kjeldgaard 2017), tidligere for eksempel i Conn, Steven 2010. Do Museums Still Need Objects? (ed.). The Model: A Model for a Qualitative Society Wang, Qi & Yanhui Lei 2016. ”Minds on for 81 forbindelse med Forestillinger I-III (2001-2003), Philadelphia: University of Pennsylvania Press. (1968). Barcelona: Museo D’Art Contemporani de the wise. Rethinking the contemporary der udfordrede gængse introduktionsformer og DOI: 10.1525/tph.2010.32.3.153 Barcelona, 29-112. interactive exhibition.” Museum Management undersøgte, hvordan vores forventninger spiller Dierking, Lynn D. 2013. ”Museums as social learning Latham, Kiersten F. 2013. ”Numinous Experiences and Curatorship 31:4, 331-348. DOI: afgørende ind i mødet med kunsten (Funch spaces.” In Jacob Thorek Jensen & Ida Brændholt With Museum Objects.” Visitor Studies 16:1, 3-20. 10.1080/09647775.2016.1173575 2004, Kjeldgaard 2004). Se også: www.eskum.dk Lundgaard (eds.). Museums. Social learning spaces DOI: 10.1080/10645578.2013.767728 Weil, Stephen E. 2002. Making Museums Matter. ’Forskningsprojekter’. and knowledge producing processes. København: Rancière, Jacques 1991. The Ignorant Schoolmaster. Washington: Smithsonian Books. 8. Falk & Dierking understreger eksplicit, at Kulturstyrelsen, 198-215. Five Lessons in Intellectual Emancipation. deres fokus ligger på museumsgæsternes Eco, Umberto 1989. The Open Work. Cambridge: Rancière, Jacques 2009. The Emancipated Spectator. oplevelse af museet og ikke på indhold eller Harvard University Press London & New York: Verso. Christiane Finsen, mag.art., museumsinspektør præsentation (Falk & Dierking 2013:25). Samtidig Falk, John H. 2013. ”Understanding museum visitors’ Stanford: Stanford University Press. [email protected] argumenterer de alligevel for, at ’museumssiden’ motivations and learning.” In Jacob Thorek Jensen Vejlby, Anna Schram, Flemming Friborg & Anne er lige så vigtig som ’publikumssiden’ (Falk & & Ida Brændholt Lundgaard (eds.). Museums. Marie Nielsen (red.) 2009. Thomas Bang. Esbjerg Kunstmuseum Dierking 2013:305). Social learning spaces and knowledge producing Apparatur til en ustabil verden. København: Ny Havnegade 20 9. Barthes og Ecos teoridannelse har siden 1993 processes. København: Kulturstyrelsen, 106-127. Carlsberg Glyptotek. DK-6700 Esbjerg, Danmark udgjort det erklærede udgangspunkt for Esbjerg Falk, John H. & Lynn D. Dierking 2013. The Museum Kunstmuseums forståelse af forholdet mellem Experience Revisited. Walnut Creek: Left Coast værk og betragter, hvorfor netop de to trækkes Press. frem her. At der siden udgivelsen af deres Finsen, Christiane 2017. ”Kunst i kontekst – mellem afgørende tekster både er sket en udvidelse af institution og livspraksis.” Quadratura. Skrifter i det semiotiske felt og formuleret nye (kritiske) dansk kunsthistorie 6. perspektiver på poststrukturalismen, er evident. Finsen, Christiane & Inge Merete Kjeldgaard 2016. Man kan i den forbindelse også diskutere graden ”Ugens kunstner – Thomas Bang.” Kunsten.nu 9. og karakteren af værkets åbenhed, da det udgør nov. https://kunsten.nu/journal/ugens-kunstner- en konstant, en materialitet, der dæmmer op thomas-bang/ (hentet 18. september 2017) for en absolut fortolkningsrelativisme. På grund Funch, Bjarne Sode 2004. ”Introducing people to art. af bredden i nærværende artikels problemfelt A study on the influence of art introductions.” ville det imidlertid føre for vidt at forfølge dette Journal of Visual Art Practice 3:1, 47-60. DOI: problemfelt her. 10.1386/jvap.3.1.47/0 Huizinga, Johan 1980. Homo Ludens. A Study of the Play-Element in Culture. London, Boston & Litteratur Henley: Routledge & Kegan Paul. Achiam, Marianne 2016. ”The role of the imagination Jungkwon, Chin 2018. ”Play and labor.” e-flux in museum visits.” Nordisk Museologi 1, 89-100. Architecture, February 26. DOI: 10.5617/nm.3066 Kjeldgaard, Inge Merete 2004. ”Æstetisk krydsfelt.” Barthes, Roland 1977. ”The Death of the Author”. Passepartout 12:23, 124-130. Aspen no. 5-6 (1967). Kjeldgaard, Inge Merete 2017. ”Kunst i kontekst – Becker, Annesofie 2016. ”What the hell is the point of på vej mod en ny museumstype.” Quadratura. museums?” Danske Museer 5, 24-25. Skrifter i dansk kunsthistorie 5. Brandt, Per Aage 1995. ”Hvad er et museum? En Larsen, Lars Bang 2010. ”The Mass Utopia of Art semiotisk undersøgelse.” Nordisk Museologi 1, 17- Activism: Palle Nielsen’s The Model – A Model 24. DOI: 10.5617/nm.3737 for a Qualitative Society.” In Lars Bang Larsen Nordisk museologi 2019 • 1, s. 82–99 Værktøjskasse til atmosfæriske kunstrum

større fokus på atmosfære vise sig at være vig- noget, der ofte spænder sig ud over alle disse 83 Værktøjskasse til atmosfæriske tigt og givtigt for museet. Men forskning, der aktuelle interesser. På den måde melder un- beskæftiger sig med atmosfære, findes endnu dersøgelsen sig som stemme i koret af aktuelle mest udbredt blandt antropologer, historike- diskussioner inden for kuratering og museolo- kunstrum re og arkitekter (Bille, Bjerregaard & Søren- gien i dag. Grundlæggende hersker der en stor Atmosfære-fænomenets potentiale i ny udstillingspraksis sen 2015). Undersøgelser fra en museologisk usikkerhed omkring atmosfærers muligheder vinkel er påbegyndt i de senere år – men der og anvendelse i ny udstillingspraksis. Man kan mangler egentlige studier af atmosfære-fæno- blive bekymret for, om fænomenet er andet end menets muligheder for oplevelsen og mødet en vag tåge, der dækker over alting og ingen- Line Brædder med kunst (se dog Troelsen 2012). Det vir- ting. Alligevel har atmosfære en åbenlys tiltræk- ker relevant at vende opmærksomheden mod ningskraft, som vækker interesse blandt mange Abstract: This paper argues that intense atmospheres hold potentials in the art atmosfærer på kunstudstillingen: Eftersom fagligheder – ligesom ordet igen og igen bruges exhibition space, even though implementation at art museums seems challenging ethvert rum uundgåeligt har atmosfærer, spil- til at beskrive oplevelser, vi opfatter som noget in different ways. Therefore, the paper aims at contributing to an operative ler atmosfære-effekter altid en rolle for vores helt særligt. Denne fascination er udgangspunk- analytical terminology and exhibit cases useful for art exhibition practices that møde med de enkelte værker på en udstilling. tet for artiklens undersøgelse af, hvad et mere want to focus on atmospheric experiences. Hvis kunstkuratoren retter sin opmærksom- bevidst fokus på atmosfære i udstillingspraksis To showcase how atmospheres are formed and affect us, this paper uses hed på, hvordan det foregår, må hun kunne på kunstmuseer kan bidrage med. theory mainly founded in phenomenology and explores the relationship between arbejde med de effekter og bruge dem til at un- I disse år beskæftiger flere forskningspro- atmosphere, exhibition spaces of the past, and phenomena as aura, affect, and derstøtte det ønskede kunstmøde – hvad end jekter sig med nærvær i mødet mellem ældre presence effects. These are considered elements in a “toolbox”, arguing that multi- det er at udfordre eller fremhæve det enkelte kunstværker og nutidens besøgende – blandt sensory elements, engaging the visitor as co-creator, and focusing on the exhibition værks iboende oplevelse. Hvad der også taler andet har Faaborg Museum sidste år afsluttet as a unit instead of a space for individual objects can be effective when working with for at arbejde mere bevidst med atmosfære på det 3-årige forskningsprojekt ”Kunst og Nær- atmospheric exhibitions. The results of the examinations of this paper also points kunstmuseet, er en lang række grundlæggen- vær” (Vallø 2017, Madsen 2017).1 Langt hen to the potentials of welcoming dissolutions, uncanny disturbances, metonymies, de opløsninger af grænser inden for kunstens ad vejen overlapper undersøgelser af nær- anecdotes, non-logical gut-feeling and a baroque visual mode of expression in verden, der foregår netop nu; værkbegrebet værs-oplevelsen og atmosfære-fænomenet order to highlight the elements that are effective in the art museum. ændrer sig og transformeres til teamwork og hinanden, da nærvær, ligesom affekt, ofte spil- kulturelle handlinger, kunstnerkuraterede ud- ler en ganske stor rolle i oplevelsen af atmosfæ- Keywords: Atmosphere, art exhibitions, affect, presence effects, dissolutions. stillinger blomstrer, og det samme gør hybrid- re. Denne artikels formål er at undersøge at- udstillinger på tværs af fagligheder. Kunstud- mosfære frem for nærvær. Måske det kan være stillinger former sig oftere som installationer med til at sætte fokus på, hvordan de på mange Visse rum griber os, straks vi træder ind i dem. elser af atmosfære-fænomenet. I en tid, hvor af hele rum og rækker af totaloplevelser, der familiære effekter også – sandsynligvis – dæk- Deres atmosfærer indhyller os i stemning og et diskussioner igen og igen kredser om, hvordan indtager museet, såsom ”Art after dark”-for- ker over uendeligt mange nuancer af oplevel- særligt nærvær, der er udefinerbart og på sam- kunstmuseet kan være relevant for den enkelte mater, lever i bedste velgående. Samtidigt ses ser, hvor kunstmødet virker på os. En pointe i me tid svært at ignorere. Som noget usynligt besøgende, virker det væsentligt at undersøge, en materiel vending med fornyet interesse for, Fåborg Museums konklusion efter forsknings- i luften omslutter atmosfæren os og kræver hvad atmosfæreoplevelsen kan tilføre kunst- hvordan værker og rum virker på os, fremfor forløbet ”Art and Prensence” var blandt andet, opmærksomhed i sådan en grad, at vi føler os museet og dets besøgende – og hvordan? hvad de fortæller. at det vil være væsentligt at forsøge at nuance- absolut tilstede. Sådanne rum skriver sig ind Alle disse tendenser er en del af den brede re forståelsen af nærvær, da nærvær sandsyn- i vores krop og vores hukommelse som noget museologisk interesse for det multisensoriske, ligvis eksisterer i flere forskellige former.2 En Interesse for atmosfære særligt. Atmosfære-oplevelsen synes at have affekt, samarbejder, kollaps, subjektivitet, ma- lignende nuancering af rumlige effekter, der et potentiale for udvekslinger mellem subjekt, Atmosfære er et æstetisk fænomen og et fæno- vefornemmelse, associative billedlogikker og præger vores kunstmøde kan studier af atmos- museumsrum og genstande. Alligevel findes men, der sandsynligvis betyder ganske meget kuratoren som følende subjekt. Denne artikel færer i forskellige typer af udstillingsrum må- der ikke mange kunstmuseologiske undersøg- for oplevelsen af en udstilling. Derfor kan et ønsker at anskue atmosfære-fænomenet som ske bidrage med. Line Brædder Værktøjskasse til atmosfæriske kunstrum

84 Både teori om nærvær og atmosfære møder stande, dimensioner og subjekter svævede som At atmosfære-fænomenet er næsten-objek- arkitektur. Det indbefatter i lige så høj grad 85 kritik for ikke at bidrage til en operationel ana- bobler i luften, er atmosfæren sæberesterne, tivt kan delvist forklares ved vores fælles per- sociale udvekslinger, kulturelle konventioner lytisk terminologi (Troelsen 2012:255). Denne der blander sig, når de støder sammen. Atmos- ception skabt af kulturel socialisering (Böhme og ikke mindst de følelser, handlinger og artikel vil komme med bud på, hvordan det færer er en slags manifestationer på udvekslin- 2008:4) – meget lig den type affekt, som erindringer, vi selv putter ind i det. Fokuserer flydende atmosfære-fænomen kan omsættes ger – både materielle og immaterielle (Bille & Barthes kalder studium.5 En anden forklaring man på et rum som place, zoomer man ind til en konkret anvendelig terminologi og gen- Flohr Sørensen 2012:106). findes i tanken om objekter som noget, der er på det lag, hvor vores oplevelser kan finde nem udstillingseksempler omsættes til brug Øjeblikket efter en atmosfære har dannet mere end blot noget objektivt. Genstande har sted (Tuan 177:162). Det er her, atmosfæren i ny udstillingspraksis. Med udgangspunkt i sig, vil subjektet kunne sanse og fornemme ekstaser, som får dem til at række ud over deres huserer. Når blot én enkeltdel eller dimension kunstfilosofisk teori og perspektiveringer til den. Oplevelsen af atmosfære virker ofte stærkt materialitet og ind i os (Böhme 2008:7). Ud- af et place ændrer sig, skubber det til disen af historiske udstillingsrum uddrages måder at personlig på os, fordi den blandt andet er et over at en kop har sin form og en egenskab af atmosfære, som så også vil forandre sig. På den tænke og forme udstillingsrum på, som over- produkt af os selv, skabt af det, vores under- at være drikke-værktøj, besidder den en slags måde er selv en kraftfuld atmosfære skrøbelig. føres specifikt på udstillingsanalyser. Det vil bevidsthed eller før-bevidsthed bidrog med, odour eller essens, der kan påvirke os. Hvis Den vil endeløst forandre styrke og karakter, bidrage til en diskussion om, hvorvidt visse da alle rummets sfærer kolliderede.3 Derfor koppen er blå, er farven ikke dens ekstase – hvorfor atmosfærefænomenet kan kobles til ”redskaber” i ny udstillingspraksis har særligt kan mødet med atmosfærer bringe os i affekt, men måden, hvorpå en person modtager og stikordet midlertidighed. Tuans rum-begreb atmosfære-potentiale. De tre eksempler i ar- ligesom mødet med aura kan. Begge trækker påvirkes af farven blå, er (Bille & Flohr Søren- giver os en fornemmelse af de mange knapper, tiklen her er alle kunstudstillinger, og dermed noget, vi engang har følt, helt tæt på igen og sen 2012:107). På samme måde er kunstværker vi kan skrue på, i forsøget på at forme eller er håbet at bidrage til, at atmosfærebegrebet gør minder, drømme og associationer nærvær- og rummets arkitektoniske dele også immate- forstærke visse atmosfærer. kan spille en mere aktiv rolle i arbejdet med ende for os, idet de rammer os som små stik rielle effekter, der kan flyde ind i os med varie- Ikke mindst vil den ”bagage” af minder, fø- at skabe rum for møder og udvekslinger med af følelser, der virker meget lig Roland Barthes rende intensitet. lelser og forventninger, et subjekt uundgåeligt kunst. punctum-affekt.4 Når det sker, opstår en slags Skal vi arbejde med den materielle tager med sig til et rum, være med til at danne sprække i tid, hvor fortiden eller forestillinger verdens effekter, må vi kigge på det Böhme atmosfæren, hun oplever derinde. På samme om fremtiden lister sig så tæt ind på os, at vi kalder Wirklichkeits-laget af objektverdenen måde kan man forestille sig, at atmosfære-fæ- Et flydende fænomen, vi kan kan opleve dem som tilstedeværende i nuti- (Bjerregaard 2015:77). Her bor de eventuelle nomenet kan blive påvirket af andre faktorer, arbejde med den. Som multi-tidslige spændinger (Bille, Bjer- ekstaser, og her gemmer sig også muligheden der ligger uden for selve rummet. I På sporet af Atmosfære er det stof, der udfylder et rum. regaard & Flohr Sørensen 2015:34) kan atmos- for æstetiske oplevelser – som fx oplevelsen den tabte tid beskriver Marcel Proust en scene, Det er totaliteter, som gennemsyrer alting, og fære altså for en stund få tiderne til at smelte af atmosfære. Alle genstande har både en fast, hvor hovedpersonen Hr. Swann ligger i sengen derfor befinder vi os aldrig på et sted uden sammen for os. målbar Realität, realitet, som altid vil være der, på sit værelse omfavnet af dynens varme og det atmosfære (Böhme 2008:2). Til gengæld kan Når et fænomen er flydende, midlertidigt og og en Wirklichkeit, virkelighed, som er det, velkendte, intime rum. Men jo mere Hr. Swann vi opleve atmosfærer mere eller mindre diffust subjektivt, kan det være svært at se, hvordan vi potientielt fornemmer og mærker (Böhme falder hen, jo mere opmærksom bliver han på (Bille & Flohr Sørensen 2012:106), ligesom de en kunstudstilling skal kunne planlægge det. 2001:56). Virkeligheden vil ændre sig afhængig lydene fra vinden, lyset og gadelivet udenfor. nogle gange lægger sig tungt om os – mens vi Muligheden for iscenesættelse af atmosfære af et objekts omgivelser. For at frigøre et objekts Det, der foregår uden for rummet, bliver en andre gange helt overser dem. ligger særligt i fænomenets karakter som no- eller et rums ekstaser må vi arbejde med den del af hans erfaring af det ellers så lukkede so- Oplevelsen af atmosfære kan forveksles med get inter-subjektivt og quasi-objektivt (Böhme sammenhæng, vi møder det i, og måden, vi veværelse. Da Hr. Swann bevæger sig lige på oplevelsen af fænomener som aura og affekt, 2008:4). Et specifikt rums atmosfære er noget, kan tilgå det (Bjerregaard 2015:77). grænsen mellem at være vågen og sove, ople- men hvor disse to i sidste ende kan spores til vi godt kan diskutere og dele med hinanden, ver han desuden, hvordan begyndende drøm- mødet med et objekt eller en detalje, vi klart kan fx når vi som publikum forlader en teatersal me eller minder fra dagen, der gik, melder sig Rummet som medium for atmosfære udpege, er atmosfære uden referent og ander- med stort set samme oplevelse, hvilket Böhme og meget levende bidrager til hans oplevelse af ledes ejerløst. Atmosfærer er momentære stør- knytter til teatrets tradition med at bruge lyd, I arbejdet med atmosfære kan det være nyttigt rummet. Scenerne fra hans eget hoved smel- relser uden en fast ontologisk status (Böhme kulisser og andre rumlige elementer til at for- at tænke udstillingsrummet som et place i stedet ter sammen med de mere sanselige indtryk fra 2008:3), der opstår som den totale sum af alle me en samlet oplevelse (Böhme 2013:1). Det for space: distinktionen stammer fra geografen værelset og gadelivet udenfor. Hr. Swanns op- tilstedeværelser i et rum (Bille & Flohr Søren- peger på, at fænomenet ikke er udelukkende Yi-Fu Tuan, der peger på, at et rum anskuet levelse vil de fleste genkende. Scenen gør det sen 2012:106). Hvis alle rummets (kunst)gen- subjektivt. som place er mere end struktur, materiale og lettere at forstå, hvordan atmosfærer former Line Brædder Værktøjskasse til atmosfæriske kunstrum

86 sig af mange dimensioner. Den viser, hvordan fysiske, strukturelle – og endda immaterielle effekter, hvis man i højere grad begyndte at Nyttige forsinkelser 87 atmosfærer kan være dannet af noget på sam- dimensioner – ligeledes glider sammen. Der- identificere forskellige udgaver af både nær- me tid subjektivt og objektivt – og hvordan en med bliver opløsning et redskab til værktøjs- værs- og atmosfære-oplevelsen. Hans-Ulrich Vores hjerner begynder straks at aflæse tegn atmosfære udvisker grænserne mellem de to, kassen. Gumbrecht skelner mellem nærvær og atmo- og budskaber, når vi træder ind i rum, vi ikke når den folder sig ud. sfære på trods af de to fænomeners tilsynela- kender. Det er en automatiseret meningspro- Helt grundlæggende for atmosfærer er den dende tætte relation. Han beskriver det nær- duktion, som Gumbrechts nærværs-teori kri- Objektets virkning og opløsning multisensoriske oplevelse. Ud fra fænomeno- værende som noget, der er muligt for kroppen tiserer for at overdøve vores evne til at opleve logiens ræsonnement oplever og udformer vi En måde, kunstkuratoren kan arbejde med at række ud efter (Gumbrecht 2004:xiii). Ople- nærvær og andre effekter, et sted måtte have altid rum, og dermed også atmosfære, med opløsninger på, er via et nyt objekt-fokus. I velsen af nærvær opstår i mødet med objekter (Gumbrecht 2004:xiv). Det vil gavne både op- hele vores krop. Et rum, der taler til flere san- stedet for at se objektet som repræsentation, i verden, som via en sanselig oplevelse påvirker levelsen af nærvær og atmosfære, hvis et ud- ser fremfor blot til øje og sind, vil give kroppen informant, argument eller vidnesbyrd, kan man vores krop helt umiddelbart. Nærværs-effekter stillingsrum kan forsinke det hurtige spring til mere at arbejde med, hvilket kan give rummets fokusere på, hvordan det virker på rummet og er reaktioner, objekter kan sætte i gang udeluk- en repræsentationel tænkning, hvor vi auto- atmosfærer større mulighed for at virke på os. på os selv. I kuratorisk sammenhæng kræver kende via vores sanser i et fysisk tæt møde med matisk forsøger at overskue og afkode rummet Dermed er det multisensoriske et vigtigt værk- det, at man tillader sig selv at gå følelsesmæssigt materialitet (Gumbrecht 2004:xv). Atmosfære, akkurat længe nok til, at vi lægger mærke til, tøj for udstillingsrummet, der vil arbejde med og subjektivt til værks og forsøger at opleve derimod, knytter sig ofte til det, vi ikke umid- hvordan det virker på os (Bencard 2014:29, atmosfæriske oplevelser. objekterne som ”physical extension, tincturing delbart kan overskue, og denne tågedannelse Stewart 2007:4). For at forsinke en menings- Inden artiklens udstillingscases kommer vi a space” (Bjerregaard 2015:82). vidner om en mulig afstand mellem subjektet produktion kan man ryste udstillingsgæstens ind på flere teoretiske og historiske perspekti- Et fokus på effekter og opløsninger kan kon- og det æstetiske objekt i atmosfære-mødet. forventninger. Når et udstillingsrum lægger veringer, der kan supplere med nøgleord til en kret omsættes til flere forskellige greb i en ud- Gumbrects nærvær er derimod opsat på en sig i tråd med de forestillinger, vi på forhånd atmosfærisk redskabsindsamling. stillingspraksis. Man kan eksempelvis frigøre afstandsløs nærkontakt, hvad Anders Troelsen har haft om at befinde os her, vil mødet mel- objekter fra et overordnet udsagn i udstillings- har beskrevet som sammenhængende med, at lem stedet og os selv blive ret udramatisk; et rummet og overveje at fjerne udstillingens vi- ”subjektet uden vilje og kontrol kastes tilbage på nærmest umærkeligt event med en atmosfæ- Indsamling af redskaber fra teori denskabelige forståelsesramme – eller i hvert kroppen og materialiteten” (Troelsen 2012:253). re, vi måske knapt fornemmer. Omvendt kan og historiske tilbageblik fald nedjustere den til fordel for associative Det kunne tyde på, at nærværet hos Gum- overraskelser eller mini-chok i udstillingen Billedet af en kasse fyldt med værktøj, der billedlogikker og subjektive fascinationer. Man brecht har noget sublimt over sig, hvilket ikke besværliggøre vores automatiserede læsning kan trække, skrue og banke atmosfære frem, kan også udviske de udstillede objekters græn- gælder atmosfærefænomenet, da atmosfære jo af rummet og rette fokus mod dets effekter og holder selvfølgelig ikke. Så konkret lader fæ- ser ved at installere dem, så de bliver svært afhænger af et aktivt, medskabende subjekt. atmosfærer. Dette atmosfære-fremmende greb nomenet sig ikke koge ned. Alligevel kan overskuelige og kræver kropslig bevægelse, Nærværs-oplevelsen og dens sanselige går imod den gængse forestilling om, at at- man udlede en række nøgleord fra teori om eller installere dem så tæt sammen, at de for møde er i høj grad produktivt for atmosfære. mosfære-fænomenet typisk folder sig ud i det atmosfære og familiære fænomener, der kan den besøgende fremstår sammenflydende og i Man kan sige, at oplevelsen af nærvær, lige- hjemlige, hyggelige rum. Trygge, harmoniske danne retningslinjer for atmosfære-arbejdet åbenlys dialog med hinanden. som oplevelsen af affekt, vil være væsentlige og velkendte rum vil naturligvis også have sine i udstillingsrum. Det bliver til redskaber i en faktorer for, hvordan et rums atmosfære for- stemninger og atmosfærer, siden fænomenet hypotetisk værktøjskasse, der kan bidrage til mer sig. Men målet om at fremme nærvær kan varierer uendeligt i karakter og stemning. Men Anderledes end nærvær samtalen om en konkret anvendelig atmos- også fastholde fokus på det enkelte objekt på når et udstillingssted vil arbejde med skærpede fære-terminologi. Vi ved allerede, at atmosfæ- Et nyt fokus på oplevede effekter handler ikke en måde, hvor man overser andre væsentlige atmosfærer, er det måske mere interessant at re understøttes af multisensoriske rumlige ele- bare om atmosfære, men også om flere an- faktorer i rummet uden om selve objekterne. fokusere på atmosfære som noget, der knytter menter. Vi ved også, at atmosfærer kan opløse dre, lignende fænomener, som nu og gennem (Bjerregaard 2015:74) Vil man arbejde med sig til, hvad Sigmund Freud har defineret som grænser og lade ellers adskilte tider, dimensi- alle tider har virket på mennesker, der møder atmosfæren i et udstillingsrum, er det vigtigt det Unheimliche (Freud 1966). oner, objekter, subjekter vise sig som sammen- kunst, som for eksempel det sublime og aura. at behandle det totale rum af både materielle Det Unheimliche har en dobbeltkarakter af på flydende for os. Den virkning virker oplagt at Tættest op ad atmosfære-oplevelsen ligger og immaterielle dimensioner som museets ho- den ene side det fortrolige og behagelige, og på spejle, hvis man ønsker at skabe udstillinger nærværs-oplevelsen. Det vil sandsynligvis vedmedie og se ud over mødet mellem subjek- den anden side noget lurende ubestemt, diffust med fortættede atmosfærer, så også rummets være nyttigt for kunstkuratorens arbejde med tet og det enkelte, nærværende værk. og fremmedartet – som, i Freuds beskrivelse, Line Brædder Værktøjskasse til atmosfæriske kunstrum

88 giver os følelsen af at være uhyggeligt til mode En barok model menligningerne mellem vores tids rumdan- en enkelt krop (Hansen 2009:15). Der er noget 89 (Ring Petersen 2002:214). Arkitekturprofessor nelser og barokkens strategier bliver konkret over disse helt tidlige udstillingsrums accept Anthony Vidler har beskrevet det Unheim- Der har altid været en tæt sammenhæng anvendelige, fordi de peger på formelle stra- af sanselighed, subjektivitet og effekter, der liche (hos Vidler uncanny) i arkitekturen og mellem den måde, man har formet udstil- tegier fra barokkens rum, som vil have poten- virker oplagt at beskæftige sig med i arbejdet analyseret fænomenet som æstetisk udtryks- lingsrum på, og tidens herskende kunstbegreb tiale til at forstærke en række atmosfærer, hvis med atmosfærer. De tidlige samlinger vidner form, der benytter affamiliariseringen som et og kunstopfattelse (Hansen 2009:37). Når vi vi overfører dem specifikt på udstillingsrum i om en større anerkendelse af verdens mystiske middel til at få det velkendte til at fremtræde interesserer os mere og mere for, hvordan ud- dag. Lad os derfor kaste et blik på barokkens fænomener og subjektive tiltrækningskræf- fremmed eller fornemmes en smule uvirkeligt stillingsrum virker på os; når modernitetens (udstillings)rum og se, om vi kan hente nøgle- ter, hvad mange senere museumsrum ikke på eller drømmelignende (Vidler 1992). Det Un- værkbegreb opløser sig; og når vi efterlyser san- ord til atmosfære-arbejdet her. samme måde har værdsat eller givet plads. Vil heimliche er måske nyttigt at sætte i relation til selighed, nærvær og atmosfære, så peger det på, man arbejde mere bevidst med atmosfærer atmosfære-fænomenet i forsøget på at beskrive at vi befinder os i et paradigme med en visuel på udstillinger i dag, kunne man oplagt lade Kuriøsiteter, anekdoter og og benytte sig af spændingsforholdet mellem model, der minder om barokkens. Martin Jay sig inspirere af flere ting fra fortidens kurio- uoverskuelighed det trygge og velkendte og det ubestemmelige, har identificeret forskellige visuelle modeller, sitetskamre: For det første synes måden, de forstyrrende element, vi ikke helt kan placere. der har eksisteret siden renæssancen og haft stor I barokken præsenterede de tidlige udstillings- tidlige samlinger refererer til deres samler på, Det, der kun akkurat er forvredet og forskudt indflydelse på den måde, hvorpå rum og bille- rum som Wunderkammern, gallerier, kabi- interessant for atmosfære. For når samlingen nok til, at det vil gøre os vagtsomme og rette der er formet i forskellige tider (Jay 1988:17). netter og kunstkamre over hele Europa sirlige bliver repræsentant for en enkelt persons in- vores opmærksomhed imod at opklare, hvad Barokken præges af en måde at tænke verden miks af menneskeskabte genstande, videnskab- teresser, historie og egen-logik, bliver besøget forvirringen skyldes. Rum med karakter af det på, som udmønter sig i desorienterende, kom- elige instrumenter, naturalia og kuriositeter intimt. Her træder man ind i en privat verden, Unheimliche vil skærpe vores opmærksomhed plekse rum og billeder, der ikke umiddelbart (Hansen 2009:20). Tidens samlinger bevægede der udstiller et andet menneskes inderste be- på det, der omgiver os, og på vores egen tilste- lader sig gennemskue og dechifrere. Dette sko- sig på tværs af museale praksisser og langt fra gær, selvbillede og syn på virkeligheden som deværelse her. På samme måde synes brugen piske regime, som afløser renæssancens, kalder videnskaben, som vi forstår den i dag. Som et sanseligt rum, og her ligger et stort potentiale af metonymier at have et potentiale for atmo- Jay den 3. visuelle model. Tit kendetegnes visu- mikrokosmos beskrev en samling gerne ver- til at sætte gang i en fortættet oplevelse af at- sfære-arbejdet. Historiker og psykolog Eelco elle produkter, skabt under indflydelse af den den ved hjælp af ting, der indgik i en forbin- mosfære. Som for eksempel på Thorvaldsens Runia forstår metonymier som måder at sam- 3. visuelle model, ved at være maleriske, taktile, delse af langt mere skjulte tankeforbindelser Museum, hvilket de fleste vil være tilbøjelige mensætte elementer på, der egentlig ikke pas- haptiske og åbne – karakteristika, der er oplagt end de Linnéske systemers senere søgen efter til at beskrive som et sted med atmosfære: Her- ser sammen. Ved at sammensætte noget, der sammenlignelige med de rumlige greb, artik- repræsentative typeeksempler og ”store for- inde træder Bertel Thorvaldsen let frem for er ”just slightly out of place”, bygger man med len her har relateret til atmosfære. tællinger”. Med anerkendelsen af kuriositeter os i egen, nærværende person, eftersom byg- fuldt overlæg bro mellem to perspektiver, tider Rum af den 3. visuelle model genererer udforskede samlingerne nysgerrigt kroge af ningen er fyldt med hans kunstværker, private eller genstande, vi ikke normalt sammenligner uklarheder og røgslør frem for overskuelig- verden, videnskaben ikke kunne forklare. Dis- samling, personlige hverdagsgenstande – og (Runia 2006:15-16). Det skaber små pauser af hed. De desillusionerende elementer vil udfor- se kuriøse objekter af fjernt eller endda mytisk endda gravsted placeret helt centralt i museets overraskelse, hvor atmosfærer forstærkes og dre normen og producere øjeblikke af ubehag ophav viste det enestående og anekdotiske – og indre gårdrum. opleves af os. Metonymi-værktøjets potentiale (Jay 1988:18) – ikke ulig det, vi kender fra det må have emmet af aura. De kuriøse objekter fungerer som en slags illustrerer, hvordan det atmosfæriske udstil- Unheimliche. Rum og kunst, der skabes i tider, I samlingerne nøjedes man ikke med at kig- fysiske sprækker med atmosfærisk potentiale lingsrum let bliver et sted for nye perspektiver som er påvirket af denne model, vil forsøge at ge på genstandene. Man rørte ved dem, vejede i et nutidigt udstillingsmøde. Kuriositeterne på verden – et potentiale, jeg vender tilbage til. repræsentere det ikke-repræsenterbare, hvilket deres vægt i hænderne og snusede dem ind legemliggør verdens uforklarlige og forunder- Alle disse opløsninger, forsinkede meningsef- ifølge Jay er dømt til at fejle. Det er en umulig gennem næsen. De tidlige udstillinger talte lige størrelser i museumsrummet, som vi må fekter, twists og unheimliche elementer danner opgave, og som resultat heraf vil tiden være til- også til kroppen i kraft af, at de ofte blev ind- gå på opdagelse i uden facitliste. Også et an- små sprækker eller tomrum med råderum til bøjelig til udtrykke sig med en særlig melan- rettet i små, private gemakker hjemme hos det rumligt fænomen fra 1500- og 1600-tallet den enkelte besøgendes personlige associati- koli eller sensibilitet (Jay 1988:17-18). Martin den fyrste eller konge, der stod bag samlingen. virker oplagt at tænke sammen med atmosfæ- oner, erindringer og forestillinger. Dette kan Jays visuelle regimer er med til at forklare, Herinde kunne han kontemplere det verdens- re, nemlig tidens brug af gennemgangsrum intensivere en række atmosfærer i udstillings- hvorfor et fænomen som atmosfære kan være billede, han selv nøje havde udvalgt og opbyg- og korridorer. I de langstrakte gallerier blev rummet. særligt interessant for netop vores tid. Sam- get, i intime og private rum beregnet til blot kroppens bevægelse et vilkår for betragtnin- Line Brædder Værktøjskasse til atmosfæriske kunstrum

90 • Tomrum og sprækker med plads til mimet rundkredsbevægelsen i sit musikstykke 91 beskueren som medskaber af ”infinity loops” og lydbølger, der dundrede • Anekdoter- eller enkeltmenneskets historie gennem brystkassen. Lydværket gentog sig • Mødet med det totale rum selv med en nærmest umærkelig udvikling, • Metonymier, ulmende forstyrrelser og man kun oplevede, hvis man lyttede længe mini-chok nok. Ligesom middelalderværkets mange lag og detaljer krævede lyden at blive studeret igen og igen. Det er en afgørende pointe, at lyden Case 1: Soundscapes – lydlag til ikke bare aktiverede krop og sanser, men også gamle værker subjektivitet og forestilling. Lydlaget gav liv til ”Hear the painting. See the Sound” lød det fra indre billeder i hovedet, dannet af den besø- the National Gallery of London, da de åbnede gendes erindringer og fantasi. På den måde be- udstillingen Soundscapes i 2015.6 Museet havde sad udstillingens grundpræmis, sammen med bedt seks lydkunstnere fortolke et valgfrit værk tomrum og mørke, et stærkt potentiale for, at fra samlingen, og det resulterede i seks møder et immaterielt, subjektivt lag kunne blande sig mellem ældre maleri og nye miljøer af lyd, lys med det sanselige møde. og installationer. De første sekunder i udstil- På vej gennem udstillingen ventede flere lingen satte øjnene ud af spil. Et tæt mørke rum med værker bragt til live på ny af invite- havde overtaget museumsrummene, og man rede lydkunstnere. Et sted havde kunstnerne måtte blinke et par gange for at få synet igen. Janet Cardiff og George Bures Miller tilmed Mørket pakkede den besøgende ind i et rum bygget en opdigtet arkitektonisk 1:1 model af langt fra verden og tvang kroppen til at skærpe huset fra Messinas maleri St. Jerome i sit stu- alle sanser. En skatkammerstemning prægede die fra år 1475, som besøgende kunne træde Fig. 1. Mørke og lyd lagt til Wilton-dyptikon på udstillingen Soundscapes 2015. især salen, hvor et wilton-diptykon tronede fra ind i. Det trak billedets rum ud i beskuerens. I Foto: © The National Gallery, London. en piedestal (fig. 1). Her gav kraftigt spotlys udstillingsforløbets sidste rum mødte man en værket sit eget rum af lys midt i mørket. Tråd- kystscene af Théo van Rysselberghes fra 1892. gen (Illeris 2006:65-66). Når perioden på den skuelige, skiftende og krystallinske kan vi tage te den besøgende ind i lyscirklen, ville resten Musikeren Jamie XX havde vendt den fred- måde var interesseret i rum med passagekarak- med os som mulige værktøjer til at arbejde af rummet udviske sig for hende i mørket og fyldte, impressionistiske landskabsskildring ter, vidner det om en opfattelse af verden som med atmosfære. skabe et intimt møde, isoleret helt tæt på det på hovedet. I stedet for en lydside, der under- noget, der konstant gynger mellem tilstande Disse nøgleord kan tilføjes til de andre stik- mange hundrede år gamle værk. Værket blev støttede maleriets oprindelige stemning, havde og altid er på nippet til at forvandles (Hansen ord i værktøjskassen, som indtil nu er frem- sat tilbage i sit rette element med det ophøjen- han komponeret mareridtsagtig elektronisk 2009:34). Samme virkelighedsopfattelse kom kommet og kan omsættes til retningslinjer for de lys, hvor en beskuer blev opslugt og bogsta- lyd. Mødet mellem billede og lydværk funge- til syne i galleriudstillingernes uhierarkiske og måder at forme og tænke det totale udstillings- veligt talt blændet af det gamle mesterværks rede som en metonymi, der introducerede nye svært overskuelige rum, som dyrkede overgan- rum på for at intensivere oplevelsen af rum- nærvær og autenticitet. Værkets aura fik lov at perspektiver på maleriet. Med kontrasten åb- ge mellem etager, modsatte rumtyper og funk- mets atmosfærer: bruse frem. nede Jamie XX for nye oplevelser med det over tioner, det ydre og indre, det menneskeskabte Men der var mere end aura på spil i Sound- hundrede år gamle og velkendte værk. Et twist og naturen (Hansen 2009:34). Selvsagt havde • Det multisensoriske scapes. Udstillingsrummenes plads til krop og der måske også kunne inspirere de besøgende spejl-motivet og spejlinger stor interesse, for- • Opløsning af grænser og kategorier subjektivitet skabte også optimale forhold for til alternative, fremtidige oplevelser med mu- di de underbyggede tidens blik på verden som • Fokus på genstandens ekstaser og atmosfære. Omkring wilton-diptykonet ak- seets øvrige samling. et sted for konstant skiftende krystallinske til- Wirklichkeit tiveredes kroppen, fordi man måtte bevæge På den måde byggede Soundscapes miljøer stande spækket med metamorfoser. • ”Et skrøbeligt her og nu”: Destabiliseringer, sig rundt om piedestalen for at se værket fra op om sine værker, der gav plads til dramati- Passage-karakteren, det uhierakiske, uover- spændingsfelter, midlertidighed, skift begge sider. Komponisten Nico Muhly havde ske, sanselige og affektive møder med dragen- Line Brædder Værktøjskasse til atmosfæriske kunstrum

92 de aura og subjektive forestillinger, som skabte ner frem for videnskabelige fakta og værkers havde opdaget det samme. Udstillingen syn- 93 gode forhold for atmosfære. Udstillingen lod vidnesbyrd. Udstillingens miks af kunstgen- liggjorde, hvordan visuelle forbindelser, vi nor- fortolkende og multisensoriske dimensioner stande og kulturhistoriske objekter fra alle malt tager for subjektivt oplevede og ikke-væ- kreere nye oplevelser sammen med hovedvær- tider, steder og stilarter var opstillet som en sentlige for museumsudstillingen, både er kerne. Lyd, rumlige installationer og kropslige dominolignende associationsrække inspire- ”virkelige”, delbare og interessante for de fleste. virkemidler trak værkerne ud over billedram- ret af Aby Warburgs Mnemosyne Atlas (fig. At de besøgende lod til at dele oplevelsen er mens kant, ud i det fysiske rum og videre ind i 2). Carambolages præsenterede en strøm af interessant, for dermed indgår alle udstilling- beskueren. Værkerne fjernedes fra deres histo- vidt forskellige billeder og objekter, som løb i ens objekter og subjekter i aktiv udveksling. riske kontekst og blev sat fri til nye fortællinger smalle gangforløb. Verdenskendt maleri, ka- Grænserne mellem genstande, tider, katego- skabt af lydkunstnerne såvel som af den aktive, rikaturtegninger, våben, afrikansk stamme- rier og de besøgende flyder sammen, og deraf subjektive beskuer. beklædning, kristne ikoner, skrumpehoveder, opstår et særligt øjeblik med oplevelsen af, at drikkekrus, og dekonstruktivistiske montage- alting i dette finurlige kuriositetskammer – for værker var udstillet side om side (fig. 3). Gen- en stund – indgår i en fælles udveksling eller Case 2: Carambolages – tværfaglig standenes sammenhæng blev ikke forklaret, relation. udstilling af det inter-subjektive Fig. 3. Værker og genstande ophængt som og al faktuel information var rykket væk fra associationsrække, Carambolages 2015/16. Carambolages på Grand Palais i Paris (2015- selve genstandene til enden af hvert gangfor- Foto: © Grand Palais. Case 3: Elmgreen & Dragsets 16) kurateret af Jean-Hubert Martin er et ek- løb. Her kunne man søge svar, hvis trangen til narrative udstillingsverden sempel på en udstilling, hvor også kuratoren at finde ud af, om en figur var et eller 1000 år Udstillingen tilsidesatte dermed det vidnes- har tilladt sig at tage afsæt i egne associatio- gammel, blev for stor. byrd, genstandene bragte med sig som referen- På Victoria & Albert Museum står Hr. Swanns ter. Forvirringen udskød meningsproduktion, tunge himmelseng uredt. Dagens avis, kaffe- Fig. 2. Udstillingsview, Carambolages 2015/16. Foto: © Grand Palais. så man i stedet bemærkede, hvad der foregik ringe og halvt røgne cigaretter er efterladt på mellem objekt-rækken og en selv. Og øjet lejlighedens borde, og i arbejdsværelset flyder fandt alligevel hurtigt en rød tråd i forløbet: stakkevis af uafsluttede projekter. På væggene Genstandene indgik i en slags visuel relation, hænger familiefotos, på spejlet huskesedler, og som var de et Nachleben-spøgelse til det forrige et opdækket spisebord venter på gæster, der objekt. Alle refererede de til deres sidemakker tilsyneladende er lige på trapperne. via form, æstetik, motiv, materiale eller farve. De gamle gallerirum på London-museet En Giacometti kat blev efterfulgt af en 2000 blev for en stund forvandlet til et rigt hjem, år gammel skulptur af en mus, som igen blev hvis beboer viste sig overalt, da museet hyre- fulgt af et våben, hvis overflade var forveks- de Elmgreen & Dragset til at udstille i deres lende lig med mussefigurens. Lighederne trak tidligere Textile Gallery (fig. 4). Her indrette- gæsten med på en vandring, hvor man opslugt de kunstnerduoen en lejlighed i de herskabe- kunne glide gennem opstillingen, der mest af lige, højloftede gallerier – formet af møbler, alt mindede om en associationsrække fra ku- krukker, spejle og lysestager primært fra mu- ratorens hoved. seets samling af design og kunsthåndværk. Fascination og overraskelse spillede en stor Hjemmet har Elmgreen & Dragset opbygget rolle i Carambolages-oplevelsen. Mange ob- med en ganske særlig karakter i tankerne, jekter var fantastisk smukke. Endnu flere var nemlig Hr. Swann fra Marcel Proust tidlige- finurlige eller bizarre. Sammensætningen af re omtalte bogværk. Deres totalinstallation genstande var underholdende i en sådan grad, Tomorrow (2013-2014) ikke bare fortsatte ro- at folk stoppede op, grinede og prikkede til manens fortælling om Hr. Swann. Den lagde tilfældige medbesøgende for at høre, om de også en fysisk dimension til et fiktivt univers Line Brædder Værktøjskasse til atmosfæriske kunstrum

94 95

Fig. 4. Elmgreen & Dragset: Tomorrow, 2013. Victoria & Albert Museum, London. Installation view © Fig. 5. Elmgreen & Dragset: Tomorrow, 2013. Victoria & Albert Museum, London. Installation view © Perrotin. Foto: Anders Sune Berg. Perrotin. Foto: Anders Sune Berg.

og udviskede grænserne mellem to medier fra at man satte sig tilrette i sofaen eller spillede på om hjørnet i den ustabile situation, man var både velkomne og påkrævede. Victoria & Al- forskellige tider. flyglet. På den måde førte udstillingsrummet blevet en del af, dominerede alle rum. bert havde med denne bestillingsopgave truf- At bebo er at sætte sig spor, og dem havde Hr. den besøgende tilbage til sine sanser og erin- De snerrende elementer af unheimliche for- fet et valg om at opløse deres kulturhistoriske Swann tilsyneladende efterladt i alle installa- dringer om sit eget hjem – eller andre hjem, styrrelser prentede rummet dybere ind i den grænser og objektsyn ved at invitere kunsten tionens kroge. Den opdigtede mand var så hun engang har kommet i. Men de besøgende besøgendes bevidsthed. Det skabte et rum, indenfor. Også rollerne opløstes af den måde, nærværende, at flere udstillingsgæster troede fik ikke lov at hvile i trygheden længe. Overalt i hvis lige man aldrig før har været i. Et rum kunstmuseet og kunstnernes praksis flød på det, når de hører, at fortællingens hovedper- scenen for ”hjemlig hygge” var indlagt forstyr- som i stedet for imitation var en selvstændig sammen på. Det skete, når museumsarbejde- son netop var gået i bad. Det kunne hjemmets rende elementer, der umuligt kunne overses. lille verden. Den erkendelse skabte en stærk ren agerede butler og blev performer i kunst- butler, en forklædt museumsformidler, berette Blandt andet ville et hypermoderne køkken bevidsthed om at være tilstede i et unikt her og værket, samt i konkurrencen Tomorrow, hvor om.7 Hjemmet fremstod som en tidslomme. forvirre. Og så snart gæsterne skærpede op- nu. Samtidigt tvang de forvirrende elementer Elmgreen & Dragset via museets hjemmeside Med overvægt af art nouveau-lignende møb- mærksomheden, ville de opdage surrealistiske den besøgende til at arbejde på højtryk for at inviterede folk til at bidrage med bud på Hr. lement tog den ved første øjenkast sine gæster og ildevarslende elementer, der tegnede por- ”samle brikkerne” med aktiv hjerne og skær- Swanns morgendag – et initiativ, der lagde sig tilbage til begyndelsen af det tyvende århund- trættet af en mand i krise. HIV-medicin, vrede pede sanser, mens hun gik på jagt i skuffer og mellem kunstværk og udstillingsformidling. I rede i en imitation af en verden, som engang breve, urolige noter og arkitektur-projekter lå breve. Tomorrow bliver Elmgreen & Dragset altså til var. Rummene og butleren lod besøgende snu- uafsluttede, fik den besøgende til at undre sig På den måde tænkte udstillingsrummet sine en slags museumsformidlere og museet til med- se rundt, studere opstillingerne af bøger, por- (fig. 5): Hvad ville morgendagen byde på for besøgende som subjektive medskabere, hvis skabere af værket. Udstillingens private, multi- celæn og private fotografier og opfordrede til, Hr. Swann? Oplevelsen af at noget lurede lige personlige bidrag til Hr. Swanns historie var sensoriske og unheimliche rum fyldt af fiktion Line Brædder Værktøjskasse til atmosfæriske kunstrum

96 og opløsninger vil for mange af de udstillings- Danh Vos 2018-udstilling på Statens Muse- Potentialer ved opløsning og skal komplimentere og lægge sig til det ratio- 97 gæster forme sig som en intens oplevelse og en um for Kunst i København,10 der spredte sig mulige balancer nelle syn frem for at erstatte det. Hvis en ud- særlig udveksling mellem stedet og en selv. En videre fra gallerirummene til indretningen stilling kan glimte (Lims 2009), altså konstant oplevelse med atmosfære, gæster måske sent af både ankomstsal, museumscafe og muse- Atmosfære-arbejdet hænger tit sammen med skifte mellem to modsætninger som det sub- vil glemme. Deri ligger muligheden for, at en ets skulpturgade, eller i Cisternerne, hvor en en opløsning af kunstmuseumstraditionen, vi jektive og det objektive, kan de to modpoler personlig relation mellem den besøgende og kunstner, kunstnergruppe eller arkitekt årligt kender fra modernitetens autonomi og den gå i dialog, forstærke den anden og sammen Victoria & Albert Museum er sået eller væ- omdanner hele det tidligere vandreservoirs hvide kube. At bevæge sig væk fra en traditi- vise nye veje. I kontante skift eller vekselvirk- sentligt forstærket. 4.320 kvadratmeter store underjordiske sale on kan selvfølgelig betyde, at man må give køb ninger mellem kontraster kan man forestille De tre udstillingscases eksemplificerer artik- til én stor totalinstallation.11 Når kunstnere på noget. Hvis vi flytter fokus væk fra det, vi sig, at atmosfærer får særligt gode forhold til lens teori om, hvilke måder at tænke og forme på forskellig vis inviteres ind på kuratorens ved, kan noget gå tabt. Men ikke desto min- at virke på os – og på samme tid rummer det- udstillingsrum på, der har potentiale til at for- felt, leder det til opløsninger og nye dialoger dre vil det, at give plads til hvad vi mærker, te et spændende potentiale for formidling på stærke et møde med atmosfære. De underbyg- med potentiale for voksende atmosfære på kunne forløse noget andet. For opløsninger, kunstmuseet. ger ligeledes forståelsen af, hvordan atmosfære kunstudstillingen. Omvendt vil der sandsyn- nærvær og atmosfærer er noget produktivt i En kurator må selvfølgelig være opmærk- er en kraft, der opstår som følge af opløsning ligvis også vise sig potentialer for arbejdet sig selv (Bjerregaard 2015:80), der kan åbne som på, at arbejdet med atmosfæriske rum- og og udveksling på tværs af grænser. Derfor vil med atmosfærer, hvis museet og kuratoren nye og meningsfulde relationer med kunsten. miljødannelser ikke blot skaber ”intetsigende atmosfærer have bedre forudsætninger for at tør låne fra kunstnerens felt og ”opløse” sin I artiklen argumenteres for, at et øget atmosfæ- kulisser” eller ren imitation af en verden uden- virke på os i kunstudstillinger, der opløser sine egen, typiske tilgange til at bygge udstillinger re-fokus åbner nye muligheder for at beskæfti- for. Afgørende for atmosfære-oplevelsen er, at egne grænser, tør tænke kunsten som noget op – ligesom Carambolages gjorde det ved at ge sig med det, som videnskabelige termer og den besøgende bliver opmærksom på sin egen mindre autonomt og rummet som multisenso- lade kuratorens egne associationer spille en logikkens veje undslipper sig. Her kan opstå en tilstedeværelse og udvekslinger i et særligt her risk helhedsoplevelse – ligesom vi ser det i de afgørende rolle i udstillingen. bekymring for, om museet ender som et cen- og nu, hvilket også de tre udstillingscases har tre udstillingscases, der naturligvis med fordel Peter Bjerregaard foreslår, at kuratoren gen- ter for oplevelsesøkonomi og plastiske miljø- vist. Derfor må et rum pege på sig selv som kunne suppleres af mange flere. tænker sig selv som ”distractor” og argumente- er. Det kan være årsagen til, at kunstmuseerne noget unikt, fx ved brugen af metonymier, un- rer for, at ”(…) the curators job is to introdu- ofte overlader subjektive input og miljødannel- heimliche elementer og andre udsættelser af ce noise to create new patterns”.12 De kollaps, ser til kunstnere. Men måske vil en større vi- meningseffekter. Atmosfæreinitiativer fra det medfører, vil – ligesom forventningsbrud, den og bevidsthed om atmosfære-fænomenets Lykkes det at indfange en absolut opmærk- kunstneren og kuratoren udsættelse af meningseffekter og metynomier muligheder åbne for kuratorens arbejde med somhed, som atmosfære bringer med sig, vil Der synes at være en omfattende tendens til at – være producerende i sig selv, fordi det tvin- endnu uudnyttede muligheder. Det er mulig- det gøre en forskel for kunstværkets vilkår på overlade ansvaret til kunstneren, når der skal ger nye tanker og metoder på banen, hvorved heder, som ikke nødvendigvis skal erstatte de udstillingen. I mødet med atmosfære vil de be- formes totale rum, miljøer med affekt, asso- noget nyt kan folde sig ud (Bjerregaard 2015). måder, kunstmuseerne før har arbejdet på, søgende granske rummet og for alvor opleve ciationer og ikke-videnskabelige udsagn på Atmosfære, for eksempel. men nærmere udvide dem. eller mærke dets værker. museet. Både udstillingerne Soundscapes og I den forbindelse kan man se arbejdet med Martin Jays teori om den 3. visuelle model Atmosfære har også et potentiale for den Tomorrow har primært ladet kunstneren tage atmosfære som noget, der gør udstillingen til minder om, at det skopiske regime, der giver enkelte besøgendes oplevelse på museet og for sig af atmosfæreinitiativer. Samme voksende en forskningsmaskine af samarbejder, dia- bedre plads til atmosfærer, ikke bringer os tæt- forholdet mellem museum og gæst: Det atmo- tendens til kunstnerinterventioner og kunst- loger, processer og undersøgelser (Bencard tere på noget sandt end det, vi kan opnå ved at sfæriske udstillingsrum sætter sin besøgende i nerkurateringer ser vi overalt på kunstmuseer, 2014, Bjerregaard 2015) og museet til et slags dyrke det objektive, videnskabelige og målba- centrum og beskæftiger sig med anekdoten og som ved MoMAs tidlige Artist’s Choice pro- fremtids-laboratorium (Bjerregaard 2015:80), re. Tværtimod kan atmosfære og andre ”pro- enkeltmenneskets historie frem for det univer- gram8 eller Palais de Tokios nuværende Carte frem for fortidslager. Det indikerer, at atmo- dukter” af den 3. visuelle model let mislede og selle. Det er et sted, hvor aparte kuriositeter Blanche-koncept. Vi ser det også, når kunstne- sfære-arbejdet i sidste ende kan lade museet manipulere os (Jay 1988:20). Det er en forvir- og subjektive fascinationer kan udfordre store re laver totalinstallationer i udstillingsrum – give endnu mere ”tilbage til samfundet” – og ring, der bestemt er gavnligt for et rums atmo- sandheder, logikker og gængse videnskabelige som da Kristine Roepstorff i 2018 omdannede altså kan bidrage til museets eksistensberetti- sfærer, men som af andre årsager kan synes at systemer. Denne prioritering af det personlige Kunsthal Charlottenborgs 1.sal til udstillingen gelse i en tid, hvor kunstmuseerne ofte nedpri- tage overhånd i museumrummet. Derfor bør og immaterielle kan være effektfulde for mu- Renaissance of the Night’s mørke stenhave,9 i oriteres. kunstmuseet tænke atmosfærer som noget, der seumsoplevelsen. Når kunstmødet ser ud over Line Brædder Værktøjskasse til atmosfæriske kunstrum

98 videnskabelige resultater og også giver rum til vi har lært, at det, vi ser på fotografiet, er noget Bjerregaard, Peter 2015. “Dissolving objects: Madsen, Theis Vallø 2017. “Museets nærvær: Et forsøg 99 følelser og dialog formes et museumsrum, som voldsomt, tragisk, lykkeligt eller unikt (Barthes Museums, atmosphere and the creation of på at kortlægge dét, der ikke kan kortlægges.” kan virke langt mere relevant for den enkelte. 2005:37). presence.” Emotion, Space and Society 15, Nordisk Museologi 1, 106–122. DOI: http://dx.doi. På den måde flytter oplevelsen af atmosfære 6. Soundscapes, The National Gallery of London, 8. 2015, 74–81. DOI: https://doi.org/10.1016/j. org/10.5617/nm.6336 vores opmærksomhed mod, hvordan vi selv juli 2015 – 6. september 2015. emospa.2014.05.002 Madsen, Tina 2017. “Walking and sensing at Faaborg føler, eller på de minder og forestillinger, vi 7. Interview med ”butlere” fra Victoria & Albert Bogh, Mikkel 2016. Tæt på. Intimiteter i kunsten 1730– Museum. Atmosphere and walk-along interviews bærer med os. Det vil desuden kunne udvikle Museums hjemmeside http://www.vam.ac.uk/b/ 1930. København: Statens Museum for Kunst. at the museum.” Nordisk Museologi 2, 124–141. det vigtige tilhørsforhold mellem den besøgen- blog/network/what-butler-saw (18. april 2017). Böhme, Gernot 2001. Aisthetik. Vorlesungen über DOI: http://dx.doi.org/10.5617/nm.6351 de og museet, hvilket ikke mindst kunstmuseet 8. https://www.moma.org/calendar/groups/19 (19. Aësthetik als allgemeine Wahrnehmungslehre. Merleau-Ponty, Maurice 1945. Kroppens selv kan få meget ud af. oktober 2018). München: Wilhelm Fink Verlag. fænomenologi. København: Det lille Forlag. 9. Kirstine Roepstoff: Renaissance of the Night, Böhme, Gernot 2007. Atmosfære: Den kropslige Petersen, Anne Ring 2002. Storbyens billeder – fra Kunsthal Charlottenborg, 16 juni – 12 august 2018. tilstedeværelses rum og rummet som industrialisme til informationsalder. København: Noter 10. Danh Vo: Take My Breath Away, SMK, 30. august fremstillingsmedium + Atmosfærer: Forbindelsen Museum Tusculanums Forlag. 1. I Danmark har Faaborg Museum netop afsluttet – 2. december 2018. mellem musik og arkitektur hinsides fysikken. Runia, Eelco 2006. “Presence.” History and Theory deres 3-årige forskningsprojekt Kunst og Nærvær 11. Udstillingsstedet Cisternerne, www.cisternerne.dk København: Kunstakademiets Arkitekturskole 45:1, 1–29. DOI: https://doi.org/10.1111/j.1468- og Thorvaldsens Museum påbegyndte i 2017 (19. oktober 2018). Institut for Bygningskultur. 2303.2006.00346.x forksningsprojektet Powerful Presences, der 12. Bjerregaard, Peter: “Exhibitions as Research: Böhme, Gernot 2013. “The art of the stage set as Stewart, Kathleen 2007. Ordinary Affects. Durham and undersøger Thorvaldsens skulpturelle portrætters Curator as…. “ oplæg på konferencen Curatorial a paradigm for an aesthetics of atmospheres.” London: Duke University Press. nærvær for museumsgængere i dag. Challenges, 27. mai 2016. Ambiances. Online: http://journals.openedition. Troelsen, Anders 2012. “Nærvær og atmosfære. To 2. En pointe, som Theis Vallø Madsen fremlagde på org/ambiances/315 (accessed 16.10.2018). æstetiske begreber”. I Birgit Eriksson, Jacob Faaborg Museums finnisage for projektet Kunst og Litteratur Freud, Sigmund 1966: “The uncanny”. The Standard Lund, Henrik Kaare Nielsen & Birgitte Stougaard Nærvær den 16. august 2018. Edition of the Complete Psychological Works of Pedersen (red.). Æstetisering. Forbindelser og 3. Denne pointe bygger på bl.a. filosoffen Yi-Fu Bachelard, Gaston 1969. The Poetics of Space: The Sigmund Freud (1917–1919), vol. 17. London: forskelle – festskrift til Morten Kyndrup. Aarhus: Tuans teori om place som noget, der også formes classic look at how we experience Intimate Places. The Hogarth Press and the, Institute of Forlaget Klim, 244–255. af subjektive minder og associationer (Tuan Boston: Beacon Press. Psychoanalysis, 217–256. Tuan, Yi-Fu 1977. “Space and place: Humanistic 1977:387–388), Merleau-Pontys iagttagelser om Barthes, Roland 2005. Det lyse kammer – Gumbrecht, Hans Ulrich 2004. Production of Presence: perspective”. In Stephen Gale & Gunnar Olsson kropslige før-bevidsthed som noget, der går forud bemærkninger om fotografiet. København: What Meaning Cannot Convey. Stanford: Stanford (ed.) Philopsophy in Geography, 20. Holland: D. for vores rumoplevelser (1945:98) og Bachelards Gyldendals Bogklubber. University Press. Reidel Publishing Company, 387–427. tanker om, hvordan vores kropslige erfaringer fra Bencard, Adam 2014. “Presence in the museum. On Hansen, Maria Fabricius 2009. “Tilstandskift Warburg, Aby 1999. “Mnemosyne. Indledning”. barndomshjemmet er indskrevet i os og danner metonymies, discontinuity and history without og gennemgange: Gallerier, kabinetter og Passage - Tidsskrift for Litteratur og Kritik, grundlag for, hvordan vi senere kan opleve alle series.” Museum & Society 12:1, 29–43. kunstkamre i 1500- og 1600-tallet.” Passepartout – 14:31/32, 163–168. DOI: https://doi.org/10.7146/ andre rum (1969:15). Benjamin, Walter 2004. Kunstværket i dets tekniske skrifter for kunsthistorie 14:28, 13–42. pas.v14i31/32.4009 4. Små afbrydelser eller pauser, fotografiet pludselig reproducerbarheds tidsalder. København: Medusa. Illeris, Helene 2006. “Kunstkammeret som Wiit, Pernille Henriette 2015. ”Atmosfære på museum: kan lade opstå. Som en pil af følelser, der helt DOI: https://doi.org/10.7146/kok.v22i77.24781 dannelsesritual.” Nordisk Museologi 1, 59–73. at (be)gribe en stemning. Nordisk Museologi 1, uventet rammer os og bringer os i affekt af Bille, Mikkel, Peter Bjerregaard, Tim Flohr Sørensen DOI: http://dx.doi.org/10.5617/nm.3551 40–55. DOI: http://dx.doi.org/10.5617/nm.2999 sorg, eufori, melankoli eller kærlighed (Barthes 2015: “Staging atmospheres: Materiality, culture, Jay, Martin 1988. “Scopic regimes of modernity”. I Hal 2005:12–13). Denne type affekt-oplevelse er helt and the texture of the in-between.” Emotion, Foster (ed.). Vision and Visuality. Winnipeg: Bay klart betinget af subjektets perception. Et punctum Space and Society 15, 31–38. DOI: https://doi. Press, 3–23. Line Brædder, cand.mag. i kunsthistorie afhænger af den enkelte beskuers bagage, følelser, org/10.1016/j.emospa.2014.11.002 Lim, Liza 2009. “Staging an aesthetics of presence.” [email protected] minder og erindringer (Barthes 2005:57). Bille, Mikkel & Tim Flohr Sørensen 2012. Materialitet Search: Journal for New Music and Culture 6: 5. Studium er en slags objektivt-vedtaget indlært – en indføring i kultur, identitet og teknologi. Online: http://www.searchnewmusic.org/lim.pdf Ryesgade 127, 3.1. affekt, der kan ramme os følelsesmæssigt, fordi Frederiksberg: Samfundslitteratur. (accessed 16.10.2018) DK–2100 København Ø, Danmark Nordisk museologi 2019 • 1, s. 100–114 The creation of a museum system

the debates reflect the ongoing processes of interviewed a number of museum professionals 101 The creation of a museum system organizing the professional Danish museum who have been active in the debate throughout field, and constitute a significant source for the period.4 identifying the so-called historical conditions In the following, I start by setting up a the- Professionalizing Danish museums 1958–2018 of the current Danish museum structure. oretical framework for analysing institutional Denmark is one of the only countries in development. Then, I analyse the Danish the world with a long tradition of regulating museum legislation and the ongoing debates Susanne Krogh Jensen public subsidies for museums by law. In from 1958 to 2017, seeking to identify if, other countries, legislation has often been how, when and by whom the structure of the related to named museums (e.g. the British museum field has been negotiated, and finally act for subsidizing the Imperial War Museum I discuss how the present debate can be seen in from 1920) or it has focused on the general relation to the historical development. Abstract: Since 1958, legislation has regulated the Danish museum field, preservation and protection of cultural describing the role of museums, structuring the field and defining museum heritage (e.g. Law 107/01 on Cultural Heritage Historical institutionalism, path work. In this article, I analyse the Danish museum legislation and the related in Portugal from 2001). Only a small number dependence and critical junctures discussions since 1958 in order to track the development of the Danish museum of countries have passed specific museum field. Drawing on the tradition of historical institutionalism, I identify three phases acts that regulate coherent museum fields. Analysing the current structure of the museum of professionalization delimited by critical junctures in 1958, 1976 and 2001. Each Among these countries are e.g. Poland (1996), field as a product of historical conditions, I phase is characterized by specific aims conveying a specific understanding of Iceland (2001), Latvia (2007), Japan (2008), am inspired by the research tradition known professionalism. Finally, I relate the current debate about the museum field to the Estonia (2014) and Sweden (2017).2 Several as historical institutionalism that is promi- historical context, asking whether a new critical juncture is imminent. of these pieces of legislation (e.g. the Baltic nent within the fields of political science and Museum Acts) have been directly inspired by sociology. Historical institutionalists perceive Keywords: Professionalization, legislation, institutional development, history. Denmark, and therefore the Danish legislation development as a chain of interdependent provides a unique empirical case for studying variables connected over time rather than as the development of a legal structure for a isolated events (Steinmo 2008), and they tradi- professional museum field over an extended tionally argue that institutional change follows In June 2017, the Danish Minister of Culture by appropriations under the Finance Act period of time. path-dependent, evolutionary ways (Kangas formed two working groups to suggest new and specific legislation had been limited to The study is based on textual analysis of & Vestheim 2010:273). Path dependence was models for the structure and subsidiary system institutions such as the National Museum. 10 Danish Museum Acts from 1958, 1964, introduced into political science in order to of the state-supported museums in Denmark to The Museum Act of 1958 introduced a model 1969, 1976, 1984, 1989, 2001 and 2012,3 as explain the resilience of institutions and the replace a system that was argued to be unjust, for structuring a professional museum field well as on relevant archival material related different, not necessarily efficient, development lacking transparency and based on historical through addressing the role and responsibilities to the legislation and the accompanying of institutions under similar circumstances conditions.1 In this paper, I analyse the Danish of museums as parts of the Danish welfare debates. The materials used include ministerial (e.g. Pierson 2004). In this research tradition, museum legislation since 1958, asking how state, and by defining a set of criteria triggering reports on the cultural field and on museums development is characterized as a punctuated historical conditions and different agents have subsidies that enabled museums to hire from 1956, 1969, 1975, 1995, 2011 and 2017, equilibrium in which so-called critical junctures affected the development of the professional professional staff. relevant archives from the Ministry of Culture, represent points in time “in which major museum field. Throughout the period, there has been a parliamentary committees and museum changes are triggered primarily by exogenous Until the Danish Parliament in 1958 strong tradition for museum professionals associations, containing correspondence, forces, and new institutional arrangements passed the first Museum Act for history to participate in the legislative process, responses to public hearings, minutes from and new developmental pathways are created.” museums (the term covers all cultural heritage discussing the structure of the museum field, meetings and posts in the professional journals (Sorensen 2017:25, see also Capoccia 2016). museums as defined in the act), a limited the definition of museum work and the role of Stof fra Danske Museer, Museumsmagasinet In the analysis of the museum legislation, I number of museums had been subsidized museums in society. Thus, the legislation and and Danske Museer. Furthermore, I have seek to identify and characterize such critical Susanne Krogh Jensen The creation of a museum system

102 junctures in the development of the Danish Anita Kangas and Geir Vestheim advocated 103 museum field. the use of path dependence as a lens through During the last decades, several researchers which to analyse the resilience of Nordic working with historical institutionalism have cultural policy, calling for further empirical stressed the importance of endogenous processes studies in the field (Kangas & Vestheim 2010). in institutional change as a supplement to path This paper constitutes such an empirical study dependence, critical junctures and exogenous with a focus on the museum field and thereby or external drivers of change. Thus, in 2010, the contributes to the existing body of research, American political scientists Kathleen Thelen providing an overview of the recent Danish and James Mahoney introduced a conceptual museum history as well as a new perspective framework for analysing institutional change on museums as a public, institutional field. focusing on institutions as inherently dynamic entities that develop as power shifts between 1958–1976: Political agents within the institutions (Mahoney and professionalization Thelen 2010). Pursuing this line of thought, I look at the development of the Danish museum In 1956, the Danish Ministry of Education field both as an incremental process affected published a report identifying 116 history by endogenous drivers and as a punctuated museums and 24 special museums outside the equilibrium influenced by exogenous events. city of Copenhagen.6 Of these, only 38 received Overall, the history of the Danish museum state subsidies specified in the Finance Act at Fig. 1. In January 2018, the Danish Minister of Culture, Mette Bock, invited 300 museum professionals and stakeholders to discuss visions for the Danish museum field. Photo: Thomas Rahbek, The Agency for Culture field can be described as an ongoing profes- a tariff unchanged since 1941. Local subsidies and Palaces. sionalization. As a concept, professionali- were described as varying, and the condition zation is often only vaguely defined and of the collections as critical. In March 1958, the resulting act aimed to establish a subsidiary 166 (1958), § 2), the 20 art museums were related to the development of controlled Minister of Education therefore presented the system in order to distribute public funding for all supervised by the National Board of Art occupational groups within a specific field first museum bill concerning subsidies to local, museums between local and national budgets Museums (Kunstmuseumsnævnet). In 1963, a of work (e.g. Abbott 1991, Evetts 2011). In history museums, arguing that: by allotting state subsidies in an amount equal report by the National Inspectorate for Local this article, I regard professionalization as a to the local. Museums (Statens Lokalmuseumstilsyn, SLT) multidimensional process in which different […] the old generation of museum founders is explained the hierarchical structure by way phases in the development promote different dying out, the collections have multiplied and the of stating that the same requirements did not Defining museum fields aspects of making an occupation professional.5 requirements for their preservation have grown, so apply to small and big museums: while the To the best of my knowledge, using such optics that most museums today find themselves in a very Different perceptions of the purpose and purpose of small museums was to register, for studying museums has not previously been difficult situation both concerning their financial affordances of history and art museums led to maintain and present the collections with done. Over the years, the development of basis and concerning their management (Folketingets two specific Museum Acts passed in 1958 and an educational aim, more information and professional museum work has been studied by Forhandlinger (hereafter FF) 1957–58, column 2903; 1964. Both acts defined specific financial and scientific effort was expected of big museums a number of scholars in the field of museology all quotes have been translated from Danish by the professional standards as well as accessibility (FF 1963–64, appendix A, columns 485–494). and museum studies (e.g. van Mensch 1992, author). as criteria for obtaining state subsidies (Act 166 In other words, the hierarchical position of the Weil 2002, Davis et al. 2010). Furthermore, (1958), § 3, sec. 1.d, 1.e, and Act 118 (1964), § 3, individual museum determined the definition the historical development of the Danish As such, the first Danish Museum Act was the sec. 1.d and 1.f). While history museums were of the work required to fulfil the criteria in the museum legislation has been analysed several result of a critical juncture brought on by an organised hierarchically, with up to 17 regional legislation. This structure has been debated times (e.g. Lundbæk 1985, Banke 1992, Dam incremental decline in human capital in the museums (landsdelsmuseer) required to have several times over the years and most recently Christensen 2007, Harnow 2017, Nørskov museum field, a decline in the condition of the professional staff overseeing and consulting resurfaced in the debate in 2017. 2018). However, in 2010 cultural scientists collections and a lack of sufficient funding. The other subsidized museums in the region (Act The museum professionals in both history Susanne Krogh Jensen The creation of a museum system

104 and art museums were given considerable In practice, the skills of the museum and public benefit was a new political agenda As shown, the introduction of a legal 105 influence over the supervision and develop- professionals who were hired were also assigned to the museums – representing a framework for museums in Denmark can ment of the field. In both supervisory relatively broad. Thus, some of the most political professionalization of the field. be seen as a result of a critical juncture bodies, the SLT and the National Board of active participants in the development of the During the 1960s, the political ideals created by the endogenous development of Art Museums, museum professionals had professional museum field were the author, related to museums were increasingly linked the Danish museum field existing prior to considerable representation. Thus, five out of literary historian and director of Viborg to the field of mediation. Both the 1958 and 1958. The legislation constituted a juridical the seven members in the SLT represented the Museum (1960–1993) Peter Seeberg and the 1964 acts stressed accessibility by requiring professionalization by providing museums National Museum and the Association of Danish architect and director of Vendsyssel Historical subsidized museums to have fixed opening with a comprehensive ruleset, setting up two History Museums (Dansk Kulturhistorisk Museum (1960–1997) Palle Friis, and although hours and free access for schoolchildren (Act parallel museum fields with different structures Museumsforening, DKM Act 166 (1958), § 7), the art museums were more monodisciplinary, 166 (1958), § 3.1.e and Act 118 (1964), §3.f). for cultural historical museums in 1958 and art and two of the 3–4 members of the National two of the most prominent figures in the field In 1969, the Ministry of Culture published a museums in 1964. Board of Art Museums represented the National were the attorney and head of the private art report identifying ‘the relationship with the The museum acts focused on defining the Gallery and the Association of Danish Art association in Esbjerg (1956–1986) Torben part of the population that does not have any role of the museums as public institutions, Museums (Foreningen Danske Kunstmuseer, Permin, and the businessman and founder special interest in museum collections’ as and during the 1960s the related debates FDK, Act 118 (1964), § 3, sec 1.e, §4 and §7). of the contemporary art museum Louisiana the main issue for museums. The museums centred on political ideas about the relevance Especially the members of DKM were very Knud W. Jensen. In other words, the necessity were asked to learn from the new media – i.e. of museums for a wider public, rather than on active in drafting the legislation. Mogens of academic credentials was disputed and the radio and TV – and to become “dangerous defining professional educational standards Bencard, the former director of Ribe Museum definition of the required skills was vague museums” and “arsenals, from which for the employees. from 1961 to 1980 and secretary of DKM during the 1950s and 60s. arguments could be collected to criticise during the 1960s and 70s, commented: “We Instead, the debate about the museum field the existing order of society” (Report 517, 1976–2001: Institutional made the laws […] we came in and submitted focused on defining the role of museums as 1969:155). Thus, political ideals about the professionalization a bill to the minister – a finished bill with all public institutions. In 1958, the Minister of museums as relevant through mediation the sections” (Interview Mogens Bencard). Education stated: were articulated – constituting a political The subsidiary system led to the hiring of These bills often provided a significant part of professionalization of the field. a growing number of paid professionals in the final museum acts. Museums are not just a matter of entertainment. It This ideal was subsequently operationalized museums that had previously been run by is at the history museums that ordinary people have in the 1969 Museum Act, which specified volunteers. In 1967, DKM counted a total of the best opportunity to gain an understanding of the that both history museums and art museums 213 paid employees in state-subsidized history Professional standards and the background to the situation we live in today, and the could apply for additional funding if they museums (Archive of DKM: Museumsstatistik relevant museum awareness that we are not isolated neither in space arranged presentations of cultural movies, 1967–70), and in 1980, this workforce had Initially, the museum legislation defined only nor in time (FF 1957–58, columns 2904–2905). music or literary readings etc. (Act 272 (1969) grown to 1007 permanent full-time positions vaguely the professional standards required and 273 (1969), § 1.2, § 5.1.3 and FF, app. A, (Gregersen et al. 1980:31). Furthermore, in in museums. During the political debates, the Similarly, in 1964 during the parliamentary 1968–69, column 4207). In addition, the acts 1972 the sum allotted to state-recognized non-professionals’ past efforts were praised debate about art museums, a Member of introduced the title of Museum Educator museums was more than six times higher and politicians expressed the concern that Parliament from the Social Democrats said (museumspædagog) as professional staff than in 1958 in constant prices (Report 727, too strict educational requirements could that ‘society must strive to give the eternal dedicated to working with mediation. In 1975:204)7 due to the equal allocation of damage citizen initiatives. To that effect, the values of culture first priority in order to practice, also the new museum professionals subsidies between the local and national level, representative from the conservative-liberal prevent the banishment of human values took a special interest in mediation. Leila the growing financial engagement from local party, Venstre, said in 1958: “I don’t think that under the mounting pressure of technology’ Krogh, the former director of J.F. Willumsens authorities and the increase of subsidized we shall be too strict […], since the job hitherto (FF 1963–64, column 2113). Thus, the stakes Museum (1973–2006) explained: “[mediation] museums. The success of engaging local has been done, even if the contributing agents were high, and even though the definition of was my own personal approach to museum finances made it difficult for the state to control have not been absolute professionals” (FF, museums as educational institutions was not work – that was what I wanted with my subject” its mounting expenses in the field. Moreover, 1957–58, column 3033). new, the articulated stress on their relevance (Interview Leila Krogh). recession replaced the economic optimism Susanne Krogh Jensen The creation of a museum system

106 of the 1960s. This contributed to creating The museums want duties. They want both the right 1975–76, appendix B, column 1301–1302), a development of the field during the 1970s. In 107 another critical juncture in the development and the duty to do research, collect, preserve and definition which in the 1984 act was expanded 1976, the new supervisory body, SMN, was of the Danish museum field – originating mediate. When this is desired to be expressed in the into the five so-called ‘pillars’ of museum work introduced, consisting of 16 members of which from the intrinsic development of the field and law, it is because it can be difficult for small local – collecting, registration, preservation, research eight were elected by the regional museum the exogenous change – i.e. the international museums to be allowed to do the less popular tasks. and mediation (Act 291 (1984), § 2). Also, the councils – i.e. museum professionals. The economic downturn. With the law in hand, this could be easier (Archives definition of educational skills for museum influence of museum professionals was evident, In 1976, a new Museum Act, including of the Ministry of Culture j.nr. 215000-1-83: letter to directors was included in the legislation in for instance, in discussions about restructuring history, nature and art museums, was the Ministry of Cultural Affairs, 20 August 1982). 1984. The Act specified that the director the subsidiary system and introducing block passed and it significantly restructured the of the museum should be a professionally grants – a political strategy which museum museum field and its subsidiary system. The In other words, the museum professionals educated, full-time employee (Act 291 (1984), professionals managed to block several hierarchical structure of the history museums wanted a statutory role in order to secure their § 11.1.7). Professional education was specified times during the 1970s and 1980s. However, was replaced by regional museum councils bargaining position facing different local and as ‘a university degree in a subject relevant for the influence of the professionals declined with the purpose of co-ordinating the work national political agendas. This desire tied into the museum such as archaeology, ethnology, towards the end of the 1980s. Whereas SMN between the museums in the regions (Act 304 a debate during the 1970s and 80s between the ethnography, history, art history or natural initially approved or rejected applications for (1976), ch. 3). According to the Minister of Ministry for the Environment and the Ministry history’ according to the topic of the museum state subsidies, oversaw budgets and work Cultural Affairs, the new structure aimed at for Cultural Affairs about the jurisdiction (FF, 1983–84, Appendix A, column 891). plans, and approved the employment of promoting ‘a desired decentralization of the over the preservation of heritage sites and Finally, the division of labour between the professional staff (Act 304 (1976), ch. 2), in museum administration while at the same time archaeological investigations. As a result, nine individual museum institutions was organized. 1989 the council was reduced to 12 members upholding a central coordination’ (FF, 1975– of the 44 paragraphs in the Museum Act of 1984 In 1984, each museum was required to claim without political representation, and the task 76, column 3642–3645). Thus, organization, regarded the organization of archaeological responsibility for a specific part of the Danish of reviewing budgets was transferred to the coordination and consolidation of the field work, including penal provisions for the cultural heritage or for a specified topic local contributors (Act 380 (1989), § 1.6 and became central topics in the museum debate violation of the duty to report possible (Act 291 (1984), § 11.1.3). Furthermore, the 1.13), thereby reducing the political influence during the 1970s, 80s and 90s. archaeological findings during construction National Museum and the National Gallery and economic control of SMN considerably. work (Act 291 (1984), ch. 8). Furthermore, were included in the Museum Act as the main In addition, in 1989 the state subsidies became in 1989 local authorities were instructed to museums for cultural history and art with the subject to an annually set maximum, fixed on ‘The museums want duties’ inform ethnological museums about physical task of further developing and keeping central, the state budget (Act 380 (1989), § 1.12). This Interestingly, the need for coordination was planning in the geographical area (Report national records of archaeological work and art meant that the annual state subsidies to the formulated by the museum field during 584, 1989, §36a). Thus, during the 1970s and collections in state-recognized museums (Act individual museums could vary according to the beginning of the 1970s, underlining 80s, the administrative role of the museum 291 (1984), ch. 2, Act 291 (1984), §11.1.11). the annual number of subsidized museums the dynamic development of the museum institutions concerning heritage was defined Thus, a centralized, hierarchical structure of the and local funding, making it impossible field as well as the influence of the museum in increasing detail. museum field was introduced and the previous for the museums to budget with fixed state professionals. In 1972, Peter Seeberg, who responsibilities of the regional museums were subsidies. was chair of DKM at the time, claimed that placed with the main museums and newly Accurately, Ole Strandgaard describes Defining the field the museum field was facing a new phase formed supervisory body – the National Board the development of the museum field as a of professionalization, advocating a new, As part of the ongoing coordination, the of Museums (abbreviated SMN for Statens transition from a museum world to a museum necessary focus on coordination between the legislation and the debate from the 1970s Museumsnævn). Such ongoing definitions of system (Interview Ole Strandgaard). The museums as the best way to live up to the role focused on defining professional museum work, the museum field attest to it’s dynamic nature. economic recession of the 1970s constituted an expected of the museums (Bro-Jørgensen the skills required and the internal division of exogenous driver leading to significant changes et al. 2001:63–71). A decade later in 1982, labour in the field. In 1975, a brief written by in the subsidiary system of the museum field. Influential professionals the director of Odsherred museum, (1976– SLT to the Ministry of Cultural Affairs stated However, as shown, the need for consolidation 1988) and then chair of DK Ole Strandgaard, that museum work consisted of three phases Formally, the museum professionals continued and coordination of the field was brought on explained to the Ministry of Cultural Affairs: – collecting, preservation and mediation (FF, to hold considerable influence over the by its massive growth and voiced by museum Susanne Krogh Jensen The creation of a museum system

108 professionals. In other words, the shifting In 2001, a new museum act was passed, con- museum professionals, but it also attests to the the development of the Danish museum 109 focus of the legislation and the creation of a tinuing the focus on organizing the museum power struggle between the regulators – i.e. the field. museum system was the result of endogenous field – e.g. defining a parallel structure ministry – and the practitioners. The Heritage Agency advocated and developments as much as of the exogenous for cultural history, art and natural history The most significant change introduced by facilitated mergers between museums in order economic downturn. museums, introducing the zoological, geological the Museum Act of 2001 was the replacement to create sustainable institutions (see e.g. The ongoing attempt to define the museum and botanical museums as the main museums of the elected council SMN with a professional Vinther 2010), and in 2010, the Ministry of field, museum work and the skills required for the natural field (Act 473 (2001), chs. 2, 3 agency, the Heritage Agency of Denmark Culture set up a working group to analyse the became key elements in the developments of and 4). Furthermore, the act reintroduced the (abbreviated KUAS: Kulturarvsstyrelsen, Act museum field and to make recommendations the 1980s. In other words, the museum field focus on mediation by defining mediation for 473 (2001), § 38). The first director of the about its future structure, collaboration and underwent an institutional professionalization children and accessibility for the disabled as agency was the former director of the National co-ordination, core tasks, local anchorage with a focus on defining the key properties prerequisites for receiving state subsidies (Act Museum from 1996 to 2002, Steen Hvass, who and the implementation of new technologies of the field. Simultaneously, the museum 473 (2001), §4.1.12-13). he describes the establishment of KUAS as an (Kulturministeriet 2011:42–44). The group professionals gradually lost influence over the administrative manoeuvre in order to merge consisted of a representative from the supervision of the field, leading up to a critical the field of cultural heritage from offices in Ministry and the directors of the Heritage Power struggle juncture that developed during the 1990s and several different ministries into one agency Agency, the National Museum and the caused a structural break at the beginning of Following an increase in the number of (Interview Steen Hvass). National Gallery, representing a centralized, the new Millennium. museums working with both archaeology, However, in a speech given at the DKM top-down process that was directly opposed ethnology and history, the Museum Act of annual meeting in 2000 the Minister of Culture to the previous legislative debates in which 2001 required not only an educated director stated: “The […] council for the museums is the museum associations had been directly 2001–2017: Administrative but also educated staff covering the topics of characterized by being a collegial body, seeking represented. After massive pressure from professionalization the museum (Act 473 (2001), §14.1.7). This was consensus on all evaluations and opinions. This different stakeholders, a reference group was During the 1990s, the debate about the facilitated by a program, introduced during the is not always appropriate when counselling formed, including the Association of Danish structure of the museum field in Denmark 1990s by SMN, subsidizing the employment a ministry” (Gerner Nielsen 2000). In other Museums, which was created by a merger of resurfaced (e.g. Banke 1991, Selmer 1991). of new permanent curatorial positions for words, the structural change represented the previous museum associations in 2005, The Minister of Culture asked a number of a three-year period. This program, which both a bureaucratic professionalization of and a number of other relevant stakeholders. museum professionals to describe their visions existed until the middle of the 2000s, enabled the public administration but also a political The concluding report, which formed the basis for the future of the field. In one of the resulting a number of small museums to hire additional showdown with the influence of the museum for the subsequent revision of the Museum essays, the director of Odense Bys Museer, academic personnel. professionals. Act, recommended that the structure should Torben Grøngaard Jeppesen, envisioned a In the remarks for the proposed bill, it be continued but with a focus on enhancing museum field consisting of state-financed was argued that the requirements for the quality, coordination and professionalism Changing structures central museums, 14 state-subsidized regional director varied according to the size and the (Kulturministeriet 2011). Thus, the envisaged museums and a number of locally financed character of the institution, and therefore In 2007, a comprehensive reform of the showdown with the previous museum museums (Grøngaard Jeppesen 1995:28), thus they were difficult to define (Bill 152 (2000- Danish administrative structure resulted structure did not happen – probably due to the reintroducing a hierarchically structured field. 2001), remarks §14.1.7). As opposed to the in the dissolution of the regional counties continuous influence from the practitioners Even though this idea was heavily criticized previous legislation, the bill did not specify and mergers of a number of municipalities. and other stakeholders in the field. by the museums (Harnow 2017), and the the academic qualifications of the director, but Although the regional funding for museums revision of the legislation was postponed in the adopted Act this requirement was not transitionally was continued by the State, in Sustainability, relevance and due to the lack of agreement and ongoing changed, and the director was still required practice the reform upended the organizational simplification regional experiments with co-operation and to have a ‘relevant’ education (Act 473 (2001) structure and the subsidiary system, which decentralization in the cultural field (Act 1085 §14.1.7). This discrepancy between the bill and had been tied to the counties since 1976. Thus, The current Museum Act, which was passed (1995)), it reveals an emerging will to rethink the act can be seen as a result of the resilience the structural reform of 2007 constituted an in December 2012, maintains the definition the structure of the museum field. of the field and of the ongoing influence of the exogenous event, which significantly affected of museums as public institutions with five in- Susanne Krogh Jensen The creation of a museum system

110 terdependent tasks – namely collection, regis- for working in museums at least at managerial by the declining influence of the practitioners. changing aims in the legislation have contributed 111 tration, preservation, research and mediation. level. In other words, the deletion of the The introduction of a professional, supervising to different dimensions of professionalization However, it also reintroduces the value-based definition of skills in the Museum Act of 2012 agency in 2001 marked a critical juncture in – namely legal/political professionalization, mission of the museum field by focusing on attests to the increasing power of the regulative the development of the Danish museum field. institutional professionalization and adminis- ‘professional and economic sustainability’, the part of the museum field. Nevertheless, Due to the strong resilience of the field, the trative professionalization. cooperation between museums and the out- the importance of academic training Museum Act of 2001 continued the previous On the other hand, the junctures were side world (Act 1391 (2012), § 1.1), as well as within museum-related disciplines has been focus on both coordination and organization promoted by exogenous events namely as actualization of knowledge and relevance for maintained – indicating a certain resilience in of the field, maintaining the definition of aca- the formation of the welfare state during the citizens and society (Act 1391 (2012), § 2). the field related to connecting the definition of demic professionalism. However, facilitated 1950s, the economic downturn during the The Museum Act simplified the regulations museum professionalism to certain disciplines by the administrative changes in Denmark in 1970s and the administrative reform in 2007. by abolishing the definition of specific quali- within the humanities. 2007 as an exogenous event, the Museum Act Thus, in some ways, the development of the fications for museum directors, arguing that Another way in which the Museum Act of of 2012, reformulated the role of museums, Danish museum field confirms the theory both academic and managerial skills are required 2012 changed the museum field was by changing changing the legal framework for the Danish of punctuated equilibrium; however, it also (Bill L 24 (2012) § 1.11). The Association of the subsidiary system for awarding research museum field from predominantly defining a accentuates a dynamic process in which Danish Museums endorsed this argument grants – in practice requiring applicants to hold professional institutional field to defining the intrinsic developments form critical junctures. during the legislative process in August 2012. a doctoral degree (Bill 24 (2012), point 3.4.4.4). ideological value of museums – thereby sub- In other words, the current museum field Nevertheless, in practice a museum-related, For museums that had predominantly employed jecting the museums field to a new political is conditioned by specific events as well as academic education is still valued for museum candidates with the Magister Artium degree, an professionalization. by intrinsic developments determined by directors. A survey of the staff listed on the academic degree between the Master and the the power relation between regulators and websites of state-recognized museums in 2019 PhD existing in the humanities in Denmark practitioners. Three phases of shows that only three of the 97 state-recognized until 2007, this constituted a challenge. The PhD professionalization museums have directors with education not degree had been introduced in the humanities A new critical juncture? directly related to the topic of the museum – in in 1993 and the candidates had initially been In my analysis of the Danish museum one case, the museum director is educated as a rejected by the museums as too theoretical legislation since 1958, I have identified three In 2017, the debate about the museum fields librarian, in the second the director is educated for practical museum work (Danske Museer critical junctures, which can be seen as was reopened, motivated by the need for within the field of sociology of religion and in 1996, SMN’s annual report:12). The new rules historical conditions for the current museum further sustainability in the institutions and the third the director has a degree in political excluded most curators from research grants. field – namely the introduction of specific the perceived inscrutability of the existing sciences. The former director of Roskilde The enforcement of the rules represented a museum legislation in 1958, the restructuring subsidiary system. Two working groups, each Museum 1977–2017, Frank Birkebæk, professionalization and thereby a specialization of the museum field represented by the consisting of a former museum director and furthermore explained the significance of of the field of research in museums. Museum Act of 1976 and the introduction of three consultants from outside the museum academic professionalism within the traditional Even though the Heritage Agency initiated a professional supervision in 2001. field, were asked by the minister to consider museum-related disciplines by saying: programs to accredit existing museum On the one hand, each of the junctures the need for equality in the requirements researchers and to subsidize the education was formed by intrinsic developments in the for museums, the future distribution of The most important thing is that you are an educated of new PhDs at the museums, the change museum field, creating perceived instabilities responsibility between the local and national professional – with a professional museum- related has significantly influenced the organization in the form of a lack of resources during the level, future incentives to the museums education – when you are a museum director. […] of work within the museum institutions, 1950s and 60s, rapid growth and the need and future possibilities for re-evaluating If you do not have the professionalism, you do not leading to increasing division of labour and for the consolidation of political bargaining and revoking state recognitions (Mission understand the institution and then you are not specialization. power during the 1970s and 1980s and the statement, 30 June 2017). The mission of the capable of developing it (Interview Frank Birkebæk). To sum up, since the 1990s the museum power struggle between the Ministry of groups thus suggested a significant showdown field has been characterized by an endogenous Culture and the museum professionals during with central parts of the existing structure, Thus, Frank Birkebæk is maintaining an power struggle between the Ministry of Cultu- the 1990s and 2000s. e.g. the distribution of tasks and the equality academic museum education as a prerequisite re and museum professionals – characterized In addition, the analysis has shown how throughout the museum field. Susanne Krogh Jensen The creation of a museum system

112 In December 2017, the two groups handed (accessed February 2019). However, the Japanese ’Bite’? Historical Institutionalism and the Politics Mahoney & Kathleen Thelen (eds.) Explaining 113 in their reports, both suggesting a significant Museum Act dates back to 1951 and the Swedish of Institutional Change.” Comparative Political Institutional Change, Ambiguity, Agency and restructuring of the field and a redefinition Museum Act is not mentioned in the UNESCO list. Studies 49:8, 1095–1127. DOI: https://doi. Power. Cambridge: Cambridge University Press, of central concepts – both to some degree 3. In 1958, the Museum Act only included history org/10.1177/0010414015626449 1–38. DOI: https://doi.org/10.12681/scad.8976 returning to previous ideas and debates. museums, and in 1964 and 1969 separate Davis, Ann, François Mairesse & Andrée Desvallées Museumsmagasinet 1976–1987. The first report (Birkebæk & Bak 2017) legislation was passed for art museums and (eds.) 2010. What is a Museum? München: Verlag Nielsen, Astrid Gade & Christian S. Nissen 2017. Sæt underlined the relevance of museums as history museums. Dr. C. Müller-Straten and ICOFOM. Museerne Fri. Museernes fremtidige organisering, public institutions, suggesting a subsidiary 4. The study is part of my doctoral research on Dam Christensen, Hans 2007. “Hvad er et museum?” opgavefordeling og tilskudssystem, https://kum.dk/ system based on performance and reducing the development of the museum profession in In Papers for the Third Nordic Conference on fileadmin/KUM/Documents/Publikationer/2017/ the definition of museum work to preservation Denmark since 1958, which is included in the Cultural Policy Research. Bø in Telemark: Visioner_for_fremtidens_museer/ and mediation – thus doing away with the large, national, Danish research program Our Høgskolen in Telemark. Visionsgrupe_2.pdf (accessed January 16, 2018). time-honoured five pillars of museum work. Museum. Danske Museer (1987–2016). Nørskov, Vinnie 2018. “Museums and museology in The second report (Nielsen & Nissen 2017) 5. For this perspective, I thank one of the Evetts, Julia 2011. “Sociological Analysis of Denmark in the twenty-first century.” Nordisk proposed a hierarchical system in which only anonymous referees of this paper. Professionalism: Past, Present and Future.” Museologi 1, 89–95. DOI: https://doi.org/10.5617/ the state-owned museums and 5–10 regional 6. The museums in the Copenhagen area were not Comparative Sociology 10, 1–37. DOI: https://doi. nm.6400 knowledge centres should be state-subsidized part of the initial analysis. org/10.1163/156913310x522633 Pierson, Paul 2004. Politics in Time: History, by performance contracts, while financing the 7. The number of subsidized history museums Gerner Nielsen, Elsebet 2000. “Ikke revolution men Institutions, and Social Analysis. Princeston: rest of the museums locally based on block grew from 38 in 1958–59 receiving 354,000 dkr evolution.” Danske Museer 4, 4–8. Princeton University Press. grants. (i.e. about 736,000 dkr. in 1972) to 75 museums Grøngaard Jeppesen, Torben 1995. Tanker om en ny Selmer, Jørgen 1991. “Museernes mangfoldighed.” Adhering to the tradition of public debate receiving 4,874,600 dkr. in 1972–73. museumslov. København: Kulturministeriet. Danske Museer 2, 23–24. among stakeholders, no proposal for a new Harnow, Henrik 2017. “Det danske museumslandskab Sorensen, Andre 2014. “Taking Path Dependence Museum Act has been introduced as of the i forandring. Et blik på 20 års museumsudvikling”. Seriously: an Historical Institutionalist Literature beginning of 2019. However, the general I Hanne Plechinger (ed.). Museumsleder, forsker Research Agenda in Planning History.” Planning political willingness to renegotiate the basic Abbott, Andrew 1991. “The Order of og netværksskaber Torben Grøngaard Jeppesen, 40 Perspectives, 30:1, 17–38. DOI: https://doi.org/10. structures organizing the museum field, the Professionalization, an Empirical Analysis”. Work år ved Odense Bys Museer. Odense: Odense Bys 1080/02665433.2013.874299 relative radicalism of the proposed solutions and Occupation 18:4, 355–384. Museer, SIDETAL Gregersen, Søren, Svend Heltoft & Margit Baad and the relatively weak position of the Banke, Lars 1991. “Har vi den rigtige museumsstruk- Kangas, Anita & Geir Vestheim 2010. Pedersen 1981: Personalestatistik 1980. museum practitioners suggest that we are at tur?” Danske Museer 1991:1, 11–15. “Institutionalism, Cultural Institutions and Oplysninger om danske museer 3. København: a new critical juncture, and a fundamental Banke, Lars 1992. Museumsloven, og anden antikvarisk Cultural Policy in the Nordic countries.” Nordisk Statens Museumsnævn. renegotiation of the structure of the Danish lovgivning. København: Det kongelige danske kulturpolitisk tidskrift 2, 267–284. Steinmo, Sven 2008. “Historical institutionalism.” In museum field is possible in the near future. kunstakademi, Konservatorskolen. Kulturministeriet 2011. Udredning om della Porta, Donatella & Michael Keating (eds.). Birkebæk, Frank & Lene Bak 2017. Visionsgruppe fremtidens museumslandskab. København: Approaches and Methodologies in the Social Museerne. Afrapportering 1 December 2017 Sciences - A Pluralist Perspective. Cambrigde: Notes Kulturministeriet: https://kum.dk/uploads/ https://kum.dk/fileadmin/KUM/Documents/ tx_templavoila/udredning_museer_2011.pdf Cambridge University Press, 118–138. DOI: 1. Mission statement for vision groups concerning Publikationer/2017/Visioner_for_fremtidens_ (accessed January 17, 2018). https://doi.org/10.1017/cbo9780511801938.008 the distribution of tasks and subsidies in the museer/Visionsgruppe_1_rapport.pdf (accessed Lundbæk, Morten 1985. “Organization of Museums Stof fra kulturhistoriske museer 1971–1988. museum field, 30 June 2017. https://kum.dk/ January 16, 2018). in Denmark and the 1984 Museum Act.” The van Mensch, Peter 1992. “Towards a methodology of fileadmin/KUM/Documents/Nyheder%20og%20 Bro-Jørgensen, Marianne, Erling Greve Kristensen & International Journal of Museum Management museology”, phd. Thesis, University of Zagreb. Presse/Pressemeddelelser/2017/Kommissorium_ Jens Vellev 2001. Peter Seeberg – Tingenes Spejl, and Curatorship 4, 21–27. DOI: https://doi. Vinter, Per, Dorthe Kvist & Søren Svith 2010. for_visionsgrupper_om_museer.pdf (accessed Museumstekster 1960-1997, Dansk Tidsskrift for org/10.1016/0260-4779(85)90050-0 Kærlighed eller Tvangsægteskab – erfaringer February 2019). Museumsformidling no. 21. Mahoney, James & Kathleen Thelen 2010. “A Theory fra fem museumsfusioner. København: 2. Source: https://en.unesco.org/cultnatlaws/list Capoccia, Giovanni 2016. “When Do Institutions of Gradual Institutional Change.” In James Kulturstyrelsen. Susanne Krogh Jensen Reviews • Nordisk museologi 2019 • 1, s. 115–119

114 Weil, Stephen E. 2002. Making Museum Matter. Presse/Pressemeddelelser/2017/Kommissorium_ Washington: Smithsonian Books. for_visionsgrupper_om_museer.pdf accessed Reviews February 2019. UNESCO database on Cultural Heritage laws https:// Legislation en.unesco.org/cultnatlaws/list accessed February Act 166 (1958), Act 54 (1964), Act 118 (1964), Act 13, 2019. 272 (1969), Act 273 (1969), Act 304 (1976), Act 291 (1984), Act 380 (1989), Act 1085 (1995), Act Interviews 473 (2001), Act 1391 (2012) Books & Latour 2007). Udstillingen var et forsøg på at Bill 152 (2000-2001), Bill L 24 (2012) Frank Birkebæk, Director of Roskilde Museum 1975- fremme en demokratisk diskussion om ting og Folketingets Forhandlinger 2017, December 6, 2016. Hege B. Huseby & Henrik Treimo (red.). materialitet ved at forstå ting som både objekt Report (Betænkning) no. 152 (1956), 517 (1969), 727 Mogens Bencard, Director of Ribe Museum 1961- Tingenes metode. Museene som tingsteder. og forsamling. På norsk og dansk afslører ordet (1975), 332 (1991), 584 (1989) 1980 and Director of Rosenborg Castle 1980- Oslo: Norsk Teknisk Museum 2018. 160 s. ’ting’ netop denne dobbeltbetydning ved både at 1998, January 10, 2017. ISBN 978-82-90115-53-6. været navnet for en forsamling, hvor man dis- Steen Hvass, Director of the National Museum 1996- kuterede og afgjorde sager, som man var uenige Archives 2002 and Director of the Heritage Agency of Er det muligt at kombinere ønsket om åbenhed om, og som ting forstået som fysiske genstan- Archives of the Association of Danish Art Museums. Denmark 2002 to 2011, August 24, 2017. og inklusion med museets kerneaktiviteter, de og objekter. Pointen ved at fremhæve denne Archives of the Ministry of Culture: Ministeriet for Leila Krogh, Director of J.F. Willumsens Museum forvaltning, forskning eller formidling? Eller, dobbeltbetydning ved ting er at vise, at objekter kulturelle anliggender 1. Kontor j.nr 176/1963 1973-2006, September 12, 2017. sagt med andre ord, er det muligt at gøre mu- ikke er afgrænsende entydige størrelser, men and 413/62, j.nr. 13000-1-67 and 1800-2-68, Ole Strandgaard, Director of Odsherred Museum seerne til tingssteder, altså steder, hvor tingene dynamiske produkter af de relationer, de indgår. Ministeriet for kulturelle anliggender j.nr. 1700- 1976-1988 and Head of Museumshøjskolen 1988- ikke blot vises frem med én tolkning, men som I den forstand står ting/genstande/objekter ikke 5-74, j.nr. 215000-1-83, Kulturministeriet j.nr. 2005, October 10, 2017. samlingspunkter for diskussioner og udlæg- uden for verden, som noget der kan fastlægges 215000-1-89. ninger fra forskellige perspektiver? Dette er og beskrives entydigt, men virker i verden og Archives of the Association of Danish History problemstillingen, som kataloget/ antologien/ bestemmes kontekstuelt og dynamisk. Museums (Dansk Kulturhistorisk Susanne Krogh Jensen, MA in history, procesrapporten Tingenes Metode kredser om. Det, at ting snarere ’gøres’ end at de blot ’er’, Museumforening) PhD student, I 2015–2017 igangsatte Oslo Museum, Kul- har som teoretisk udgangspunkt vundet bred Archives from the subcommittees for culture [email protected] turhistorisk Museum i Oslo og Norsk Teknisk genklang inden for studiet af materiel kultur, i pertaining to the museum legislation in 1958, Museum i fællesskab seks projekter, der på hver Actor Network Theory (ANT) studierne og i en 1964, 1969, 1976, 1984, 1989 and 2001. University of Copenhagen sin måde forsøgte at udfolde denne problemstil- lang række andre discipliner. Man kan ligefrem Department of Information Studies ling i praksis. Med udgangspunkt i genstandene tale om en større bevægelse, og det i en grad at Njalsgade 76, 2300 var målet med projekterne at udvikle metoder der næppe har været den større internationale Other sources DK - Copenhagen, Denmark til at få forskellige samfundsaktører inddraget konference inden for kultur, historie og socio- Mission statement for vision groups concerning i formidlingen af den materielle kulturarv dels logi i de seneste årtier, der ikke har haft denne the distribution of tasks and subsidies in the https://informationstudies.ku.dk/ for at kaste nyt og mere forskelligartet lys over teoretiske vinkling som tema eller hele spor. museum field, 30th of June 2017. https://kum.dk/ employees/?pure=en/persons/48090 genstandene og dels for at inkludere flere for- Talrige studier og antologier har set dagens lys. fileadmin/KUM/Documents/Nyheder%20og%20 skellige aktører i kulturarvsarbejdet. Af enkelte kan nævnes: Material Cultures: Why Teoretisk tager projekterne et fælles udgangs- Some Things Matter (Miller 1998), The Body punkt i Bruno Latours teori om ting som relati- Multiple: Ontology in Medical Practice (Mol oner for en række aktører, særligt som det blev 2002), Reassembling the Social (Latour 2005), udforsket af ham og medkuratoren Peter Weibel Materialiseringer (Damsholt m.fl. 2009), New i udstillingen Making Things Public, der blev vist Materialisms: Ontology, Agency, and Politics i ZKM, Karlsruhe i 2005 (Latour 2005; Weibel (Coole et.al. 2010). Reviews Reviews

116 Det teoretiske perspektiv er således på ingen og den praksisnære metode. Denne nærhed til som folkeobservatorium ved at inkludere en mindesmærker, konkret Atlanterhavsvolden, 117 måde nyt, hvilket også afspejler sig i de mange processen er på den ene side katalogets styrke, række forskere og kunstnere i tolkningen af kik- som består af omkring 15.000 større og min- referencer i kataloget. Det særlige ved Tingenes men også svaghed, hvilket jeg afslutningsvis vil kerten. Resultatet blev en todelt udstilling, der dre bunkere og forsvarsmiljøer bygget af na- Metode-projektet er, at de forsøger at tage kon- vende tilbage til. både blev vist på Norsk Teknisk Museum og på zisterne under 2. Verdenskrig. Projektet tager sekvenserne af denne teoretiske position og føre Det første projekt, som beskrives, tager ud- det midlertidigt genåbnede Folkeobservatorium sigte på, som projektlederne Henrik Treimo og den ud i livet. For hvad betyder det at tænke ting gangspunkt i en samling af genstande fra Kongo i Holmenkollen. Her fortaltes om Folkeobserva- Ketil Gjølme Andersen formulerer det, hvor- som både objekter og forsamlinger af relationer? indsamlet og indkøbt dels i kolonitidsperioden toriet, og man inddrog 20 samtidskunstværker, dan Atlanterhavsvolden kan flyttes ind i mu- Kan man forsat klassificere og udstille genstan- og dels i nyere tid. For at få et nyt blik på sam- et aktivt konserveringsværksted og et historisk seumsrummet. Resultatet blev til udstillingen dene på klassisk vis, eller må dette gentænkes? lingen og dens betydning blev deltagere fra det arkiv. De uddybende refleksioner af projektle- Grossraum, en udstilling udformet af forskere, De seks delprojekter har på seks forskellige må- kongolesiske miljø i Norge inviteret med til at der Henrik Treimo afspejler en meget grundig personer med nært kendskab til genstandene der taget udfordringen op. Det er der kommet identificere genstandene og sætte dem i relati- proces med lange workshops, der inkluderede og scenografer, som kan oversætte genstande til en meget åbenhjertig, processuel reflekterende on til deres egen nutid. Resultatet blev en ud- kunstneriske tolkninger, konserveringsmæs- en rumlig oplevelse. I den forbindelse blev især antologi ud af, hvor læseren bliver inviteret helt stilling, en webside og en række arrangementer sige undersøgelser og historiske udredninger. bunkernes materialitet, betonen, et vigtigt ele- ind i ’maskinrummet’ og med i overvejelserne for publikum og skolebørn. I interviewet med Samtidig var det også et projekt, som overdrog ment i oversættelsen fra udendørs til indendørs, undervejs. projektleder Tone Cecilie Simensen Karlgård kurateringen til en ekstern kunstner og dermed fra enorm skala til et enkelt rum. Foruden den fælles introduktion, hvor det sætter hun ord på deres overvejelser med at lave afgav museets klassiske monopol på at fortolke I det femte projekt fortæller Gro Røde og teoretiske udgangspunkt beskrives, er katalo- udstillingen og de udfordringer, de mødte un- og iscenesætte museets genstande, hvilket gav Reidun A. Johannessen om projektet Ting taler. get således en opsamling på de seks projekter: dervejs. Blandt andet viste det sig lige så svært i anledning til visse konflikter, men også mulig- Her byggede man videre på en allerede eksiste- Kongoblikk – et blikk på Kongo, Olsens kikkert, teorien som i praksis at bryde barrieren mellem hed for at tiltrække et andet publikum, end man rende permanent udstilling over Oslos historie Skjeletter i skabet, Store ting, Ting taler og Trap- museet og de inviterede deltagere og at inkorpo- var vant til. på Oslo Museum, Oslove – byhistorie for be- ped. Til beskrivelserne af projekterne lægges et rere deres forskellige tolkninger af tingene, ikke Det tredje projekt tog udgangspunkt i en gynnere. Projektet gik ud på at lade forskellige lag af refleksioner, som både kan tage form af mindst, når de var uenige. Det mest overra- særlig medicinsk samling på Norsk Teknisk deltagere vælge en ting ud fra udstillingen og et evaluerende interview eller en uddybende be- skende var imidlertid ifølge projektlederen, at Museum med humane præparater (skeletter, på 450 ord beskrive, hvorfor de har valgt net- skrivelse og analyse af projektets udfordringer udstillingen endte med at blive en ret klassisk organer i glas mv.). Da dette materiale er om- op denne genstand, samt hvad den betyder for og perspektiver. Katalogets tre lag af beskrivel- udstilling med klassisk opstillede genstande givet af svære etiske dilemmaer i forhold til, dem. Deltagerne var især nytilflyttere, som ikke se: teori, praksis og refleksion, understreges af med tekster bag glas. Der var en forventning hvordan det skal håndteres og udstilles, var for- havde været på bymuseet før. Resultatet blev katalogets elegante grafiske tilrettelæggelse, som om, at ved at inddrage nye aktører ville den nye målet at inddrage eksterne og interne aktører til en udstilling, hvor deltagernes associationer og har givet hver del sin farve (laksefarvet, sartgul viden om genstandene give et nyt udtryk og en en diskussion om dette. Blandt deltagerne var valg kunne læses og dermed lagde et nyt lag af og himmelblå) og form. anderledes fremstilling, end det endte med at både forskere, museumsansatte, en præst, tre tolkninger på det allerede udstillede. Den teoretiske del er disponeret som en klas- blive tilfældet. kunstnere samt en skoleklasse. Resultatet blev I det sjette og sidste projekt fremlægger sisk indledning, der afsluttes med et overblik Det andet projekt handler om Olsens kikkert. en udstilling og en række ’ting’ , der blev afholdt Geoffrey Gowlland og Peter Bjerregaard deres over deltagerne, institutioner og den samlede Her fik en kunstner frihed til at udforme en ud- med udgangspunkt i de udstillede genstande. I refleksioner over udstillingen Trapped. Udstil- aktivitetsplan for projektet. I den praksisorien- stilling omkring en stor stjernekikkert ’Olsens refleksionerne, som tager form af et interview, lingen bestod af tre forbundne dele: en montre terede del indledes hvert projekt med et billede kikkert’, der var opstillet i et folkeobservatori- fortæller projektleder Ellen Lange om de mange med en stor samling af musefælder, et rum med og et kort introduktion, hvorefter projektet kort um, der allerede i 1885 blev grundlagt i Slots- overvejelser, de gjorde sig undervejs, om de nye forskellige former for fælder fra de historiske og beskrives, de konkrete resultater oplistes, de in- parken i Oslo, hvorefter observatoriet flyttede til indsigter og perspektiver de fik, og hvordan den etnografiske samlinger og endeligt et rum, som terne og eksterne deltagere angives, og proces- Holmenkollen i 1912. Kikkerten blev dog alle- processuelle tilgang også i udstillingsformen fik fremviste forskellige måder at designe fælder planen fremlægges. Endeligt i tredje del reflek- rede demonteret igen 5 år senere og har siden de besøgende til at blive mere nysgerrige og gav på. Udstillingen refererer tilbage til Alfred Gells teres over projekterne og de opnåede erfaringer. ligget spredt på magasin. Projektet var et samar- dem lyst til at snakke sammen, om det de så. klassiske udstillingsanalyse ”Vogels net: Traps Den tredelte form understreger den fælles be- bejde mellem billedkunstneren Marius Engh og I det fjerde projekt omfavnes en særlig udfor- as Artworks and Artworts as Traps” og stiller sig stræbelse i alle projekterne trods deres forskel- Norsk Teknisk Museum om at skabe opmærk- dring, nemlig hvordan man udstiller, formidler den udfordring, om fælden som analyseobjekt lighed og giver indtryk af processens udvikling som omkring kikkerten og bygningens historie og forstår virkeligt omfattende kulturhistoriske og metafor for kunstværkets funktion kan om- Reviews Reviews

118 sættes i interaktion og engagement hos de besø- faktisk blev resultatet …” (s. 73). Og i projektet seren ikke forledes til at tænke, at der er tale Latour, Bruno 2005. ”From realpolitik to dingpolitik 119 gende. Hvorvidt dette lykkedes, står dog hen i om Olsens kikkert forstår man, at metoden var om noget fuldstændigt nyt og uafprøvet, funge- or how to make things public”. I Bruno Latour & det uvisse, idet beskrivelsen stopper ved intenti- så omstændelig og derfor langstrakt, at det var rer kataloget og de praksisnære beskriver godt Peter Weibel. Making Things Public: Atmospheres onerne og udformningen og ikke inddrager de en stor udfordring at holde det hele gående og som velgennemtænkte forsøg, der nu kommer of Democracy. Cambridge: MA/ MIT Press, besøgendes oplevelser og refleksioner. informere de mange deltagere undervej, også ”i til bredere kundskab. Dermed bidrager katalo- 14–43. I det hele taget kendetegnes alle de seks perioder da det ikke skjedde noe” (s. 99). get til det udsyn og den løbende teoretiske dis- Bruno, Latour 2005. Reassembling the Social: An projekter ved at være beskrivelser ”midt i pro- Den tætte procesbeskrivelse får samtidig kussion og erfaringsudveksling, der tilsammen introduction to actor-network-theory. Oxford: cessen”. Der bruges meget plads og tekst på at gjort en abstrakt akademisk diskussion helt kan bringe os videre i spørgsmålet om, hvordan Oxford University Press. forklare intentionerne med projekterne, og jordnær og konkret. Man forstår simpelthen museerne kan åbne op for tingenes kompleksi- Miller, Daniel 1998. Material Cultures: Why Some hvordan de spandt sig ud fra projektledernes bedre, hvorfor en ting både kan være et fysisk tet, og hvordan ting indgår som komponenter i Things Matter. Chicago: University of Chicago synsvinkel, men forbløffende lidt plads på at objekt og en forsamling af relationer, der er dy- diskussioner og forståelser, som rækker langt ud Press. indfange, hvad alle de andre aktører, som pro- namiske og kontekstafhængige. over museets rum. Mol, Annemarie 2002. The Body Multiple: Ontology in jekterne anstrenger sig for at inddrage, egentlig Men den praksisnære tilgang gør samtidig, at Medical Practice. Duke University Press. tænker og mener. Det ville ellers have ligget fint der er tendens til, at antologien skriver tingene Weibel, Peter & Bruno Latour 2007. ”Experimenting Litteratur i forlængelse af hele projektets sigte og have be- og projektdeltagernes erfaringer frem, som var with representation: Iconoclash and Making riget katalogets pointer. de nye og dermed ikke bygger videre på de tal- Coole, Diana & Samantha Frost (eds.) 2010. New Things Public”. I Sharon Macdonald & Paul Basu Et andet forhold, der kan undre, er den gen- rige eksempler på afprøvede eksperimenter og Materialisms: Ontology, Agency and Politics. Duke (eds.). Exhibition Experiments. Oxford: Blackwell tagne brug af vendingen om, at ’tingene kalder’. erfaringer, der allerede findes på lignende til- University Press. Publishings, 94–108. Det er så at sige tingene, der ’kalder’ på, hvem gange på museer og institutioner verden over. Damsholt, Tine, Camilla Mordhorst & Dorte Gert der skal inddrages af interne og eksterne aktø- Inddragelse af eksterne kunstnere som medku- Simonsen (red.) 2009. Materialiseringer. Århus: rer i projekterne. I ANT taler man om at følge ratorer af kulturhistoriske udstillinger har været Aarhus Universitetsforlag. Camilla Mordhorst, ph.d., Udviklingsdirektør aktøren, ’to follow the actors’, og mange analy- afprøvet talrige gange på kulturhistoriske mu- Gell, Alfred 1996. ”Vogel’s net: Traps as artworks and Nationalmuseet ser er netop udformet ud fra dette metodiske seer. Kunstneren Fred Wilson’s velkendte mu- artworks as traps”. Journal of Material Culture 1:1, [email protected] greb. Tanken er, at man ved konsekvent at følge seumsinterventioner de sidste 30 år er blot et 15–38. DOI: 10.1177/135918359600100102 en bestemt aktør kan udfolde det komplicerede velkendt eksempel. Aktuelt fra Danmark vil jeg netværk af relationer, aktører og forhold, som er kunne nævne dette forårs udstilling Dialoger på meddefinerende for vores forståelse af det særli- Moesgaard Museum i Århus, hvor oprindelige ge fænomen. At bruge vendingen ’tingen kalder’ folk gen-iscenesætter ældre fotografier af deres er imidlertid lidt en anden sag i min optik, idet forfædre, eller Faaborg Museums eksperimen- tingen dermed tillægges en særlig evne til hand- ter med kunst og nærvær denne sommer, hvor ling og specifik udpegning, som den næppe har. forskere og kunstnere gik i dialog om nærværets Ting ’påvirker’ med deres tilstedeværelse, og i betydning for museumsoplevelsen. Også Steno den forstand har de ’agens’, men deres ’kalden’ Museet i Aarhus og Medicinsk Museion i Kø- er i bedste fald diffus og fuldstændig afhængig benhavn har i snart en årrække lavet udstilling- af tid, sted, kontekst og aktører. er, der på lignende vis forsøger at åbne op for Tingenes Metode inviterer læseren med helt genstandes multiple relationer med inddragelse ind i processen, og det er både antologiens af mange aktører i selve udstillingsproduktio- styrke og svaghed. Det er fx befriende ærligt nen og forståelsen af emnet. og selvkritisk, når Tone Cecilie Simensen Kar- Det kan være, at et sådan udblik ville have gård fortæller, at der ”lå større forventninger forstyrret hele den procesnære projektbeskriv- til at deltakerene skulle bringe inn ny kunns- else og katalog-ideen som en opsamling af en kap om gjenstander i samlingen enn det som række konkrete projekter i Oslo. Så længe læ-