Is time to be placed under the category of rarity? Can we still take it, accept to lose it, savour the boredom and the time of waiting? And if pleasure makes us forget that we exist, boredom makes us feel it. The time of memory, the time of waiting, the time of remembering. It is the time that gives rhythm to our days, our individual days. And then other people’s days, and maybe even the city’s day. With the media interference that gives us the impression, with the help of machines, that it is always accelerating. Time. Why do you want to take it? Do we need to learn it?
Is there a common denominator for “global” museum practice? This and further questions have been discussed at the conference “The Idea of the Global Museum” that took place at Hamburger Bahnhof – Museum für Gegenwart – Berlin November 2nd and 3rd, 2016. Over two days, conference participants offer specific knowledge and points of view: What are the effects of a “global” approach on museum work past, present, and future? What are its necessities, possibilities, and challenges? This conference is part of a project, which explores the collection of the Nationalgalerie with respect to its international and transregional entanglements and will result in a large-scale exhibition project at Hamburger Bahnhof. On the initiative of the German Federal Cultural Foundation, the project is funded as part of its program “Global Museum.”
What is design entrepreneurship “Design entrepreneurship evades these economic rituals because the designers don’t wait for a client to bring them a design problem; instead, the designers define the problem themselves and develop its solution in a business venture. And their solution can often be as creative as its team, price and distribution.” Robert Lzicar, Head of MA Design, HKB, Bern
Homework “Fake Prototype” Task: Choose an existing organization or project as an example. Choose a piece of content about that organization and model your project onto it.
Homework “Company Profile” Task: Create a written profile on one of the organizations listed below. Additionally prepare a few images and large text slides for your group’s in-class presentation. Use your way of thinking and approaching subjects as a designer to learn more about the company. But don’t forget points of view outside of what traditionally is thought of as design: cultural, financial, at a societal level, engineering-wise, in regards to its financing, etc.
The API Culture Days in Berlin aim to create a platform to discuss open access for culture and accelerate
the adoption of the licensing policies and tools for openness. The
first of the events in series happened on the 10 Dec 2019 in
collaboration between Stadtmuseum Berlin, Humboldt Forum and Yunow.
museum professionals from Berlin museums and cultural institutions who
already acted towards open access within their organisation, or started
to, met to make things go faster.
gathering the main Berlin’s museums we were able to produce a mapping
of the key leaders of change regarding open access and open data in
Berlin’s cultural scene. We
also worked together to identify the different challenges and friction
points to work on in the future. The main topics of discussion revolved
around the need to a common culture of open access, how to fulfil users
needs with digital offerings but also how to uniform databases and
co-create a technical infrastructure.
questions for the next editions will be around ethical guidelines of
open access for museums and how to free sensitive content.
This event is part of our research programme “Open Museum“, read more about it on our website. Follow us on Twitter and Facebook for the announcements of further events.
Just bringing down museum walls is no longer enough to transmit cultural values and knowledge. Museums and cultural institutions need to embrace and advocate a policy of total openness of their collections with no limits on space, time, use and ownership.
From the opening of data to the enhancement of heritage in the age of open APIs and artificial intelligence, museums are looking for guidance through these different stages so that tomorrow’s accessible heritage is usable and relevant.
The conference was founded in 2000 by Corinne Estrada, CEO of Agenda cultural communications agency and Damien Whitmore, then-Director of Communication at TATE. Their objective was to offer a high calibre networking and knowledge building opportunity to top arts professionals. In its 19 years, Communicating the Arts has attracted more than 6,500 delegates from 40+ countries in 20 global cities.
Theatres, operas, festivals, galleries, heritage organisations, historical Monuments and museums have the power to transform their local areas into lively, beautiful and resilient communities with arts at their core.
Placemaking is a call to action for the arts world to capitalise on local assets, inspiration and potential to create public spaces that promote good health, stimulate local economies and lead to increased creative activity, innovation, diversity and civic engagement.
This requires carefully constructed and managed partnerships between the public, commercial, and not-for-profit sectors. How constitutive members collaborate with each other, across institutions and disciplines; with local communities and their changing demographics; with city stakeholders; with diverse funders; and with other urban agendas is crucial to their success.
At Communicating the Arts Lausanne we will share best practices and develop new understandings through a series of interactive case studies and conversations about the growing contribution that cultural organisations are making to create better cities.
We invite inspiring cultural leaders and experts from within and outside the arts to hear from international trends toward placemaking, learn from their mistake and discuss how cultural organisations can best serve their cities.