Everybody’s Time is a work by Arman installed on the square in front of the Gare Saint Lazare in Paris since 1985. Meeting points, landmarks, this monumental sculpture, in keeping with the architecture, responds to the principle of accumulation dear to the artist in the lineage of the duchampian ready-made. The visual artist Arman, taking up the theme of travel in a metaphorical form, chose to treat the representation of daily life in an allegorical and grandiose way, following the example of the heroic lives of characters from mythology. Apart from the obvious beauty of the elements, Everybody’s Time refers by its form and treatment to the idea of classical statuary.
The Museum of Art and History of Saint-Brieuc (France) proposes to divert images from the Lucien Bailly photographic background (background kept at the museum) in an offbeat way to create digital postcards. A great way to discover cultural heritage.
After a residency at the Musée de l’Elysée and the mudac, the INT studio presents the collections of both museums through kinetic, immersive and participative installations in the Arcades. Thus, before moving in in the fall of 2021, both museums are present on the site and lead us to experiment their collections in a new way.
“LCD (LUMINA, CHROMA, DATA): Enter the color! How to navigate simultaneously through the collections of the Musée de l’Elysée and the Mudac while giving meaning to the search? LCD proposes to go beyond the traditional search by keywords, dates or authors by means of linking the photographic and design works of the two museums through colour.
A selection of around 500 objects from the mudac and the Musée de l’Elysée were analysed by software to determine the value (RGB) of each pixel. The algorithm creates a colour chart specific to each work. It then places them on a grid projected on the wall. Using a controller, the visitor is invited to choose a position in the colour spectrum (X axis) and saturation (Y axis). The two objects closest to the chosen colour are displayed on the main screens.
The sculpture highlights the database query. The chromatic circle suspended in the centre and the mechanics come to life to illustrate the path taken to access the chosen colour. By immersion, the visitor finds himself immersed in the collections of the mudac and the Musée de l’Elysée.
How, from contemporary art to cinema to photography, artists immortalize the passing of time. Article on Slate.fr
Chrono Shredder (2007) by Susanna Hertrich. She has imagined a device, both calendar and clock, which undergoes an impulse every 3 minutes, gradually destroying the present day to display the new one, condemned to the same treatment. The destroyed days pile up at the bottom of the structure, symbolizing the passage of time and the impossibility of going back (the irrecoverable aspect of shredded paper).
Femke Herregraven investigates which material base, geographies, and value systems are carved out by financial technologies and infrastructures. Her work focuses on the effects of abstract value systems on historiography and individual lives. This research is the basis for the conception of new characters, stories, objects, sculptures, sound and mixed-media installations. Her current work focuses on the financialization of the future as a ‘catastrophe’ and uses language, the voice and the respiratory system to examine these monetized speculative catastrophes within our social, biological and technological ecosystems. She taught at Artez Arnhem and the Gerrit Rietveld Academie and is an alumnus of the Rijksakademie van beeldende kunsten in Amsterdam (2017–2018). In 2016, she collaborated with Dutch investigative journalist on the Panama Papers. She is currently part of On-Trade-Off (2018–2021): an artist-run experimental research project on lithium. In 2019, she was nominated for the Prix de Rome. She is currently a Creator Doctus (practice-based PhD) candidate at Sandberg Instituut (2020–2023)
Guangzhou Triennial 6 / Guangdong Museum of Art, Guangzhou, 2019
When I began my career as a curator, museums were viewed as organizations that collected, preserved, displayed, and researched works of art, then educated the visitor about the information emerging from that work. The art object was the center of the museum’s focus, and the facts related to it helped write the narrative of our artistic culture.
Salvador Salort-Pons, DIA director talks about the Japan exhibit during the press conference.***The Detroit Institute of Arts is holding a press preview to introduce the new Japanese Art Gallery. Detroit, Mi. November 3, 2017, (Clarence Tabb Jr./Detroit News) Clarence Tabb Jr., The Detroit News
Over time, particularly in recent years, cultural organizations such
as museums and libraries have strengthened their relevance in our
society. They are the keepers of our history and culture, and through
scholarly research and interpretation they help shape our social
identity, an authentic point of reference that people can trust.
But
museums are becoming more than just buildings that house art
collections and their associated factual information. Through permanent
collections and a variety of cultural programs and exhibitions, ranging
from the DIA’s current exhibition, Star Wars™ and the Power of Costume,
to the Detroit Historical Museum’s award-winning community-based work on
the Detroit ’67 project, museums are evolving into places to gather and
share human experiences. They are establishing themselves as community
builders that emphasize our rich, diverse cultures as a bonding medium
for our society. Their collections are becoming mirrors where diverse
communities seek to be represented and reflected, culturally and
individually.
Scholarly research and conservation are the bedrock
from which we start to build. Collections are a launching point to
present and discuss matters with which communities wrestle, or by which
they are inspired or simply enjoy. In the museum space, we welcome
opportunities to hear multiple perspectives, the different views of the
world that emerge from experiencing our art collection and the meanings
that they spark for individuals.
Arts organizations can help our
citizens develop critical thinking and creative skills so they are
better prepared for their lives. Moreover, understanding how others
think, learning how to listen, and creating a space for empathy,
energized by the power of art, are some of the greatest opportunities
museums can offer our audiences.
In our daily work, we must go
beyond the walls of our buildings. We establish lines of dialogue with
our communities, deepening our relationships with them and generating
authentic bonds, as we serve them with programs that resonate with their
interests while maintaining a museum-quality product. The result is an
environment of trust and unity in which our society can thrive. Museums
are places where we connect our past and present, build trust,
inspire and envision a hopeful future.
Salvador Salort-Pons is director, president and CEO of the Detroit Institute of Arts.
“Paul Virilio : Thinking Speed” a film by Stéphane Paoli (documentary 90 min / 2008 / La Générale de Production / ARTE France) In an unprecedented way, this dazzling story of Paul Virilio’s thought confronts the reflections of philosophers, political actors and journalists such as Rifkin, Yunus, Bender, Klein, Jean Nouvel.
Progress and catastrophe are the obverse and reverse sides of the same coin (…) To invent the train is to invent the derailment, to invent the plane is to invent the crash (…) there is no pessimism in this, no despair, it is a rational phenomenon (…), masked by the propaganda of progress.
Is your museum looking to get donations online? Are you looking for a WordPress donation plugin? With the current crisis hitting museum finances, institutions are looking at how they can raise funds online. In this article, we will share fundraising and donation plugins that can help your museum to collect one off and recurring donations from those visiting your website. We’re focusing on WordPress websites in this article as this is the world’s most popular content management system and is used extensively to build museum websites. One of the advantages of using WordPress is the extensive plugin library. A plugin is a piece of software that can add functionality or features to your website without the need for programming knowledge. There are dozens of WordPress donation plugins available, some are free, while others require either a one off payment or a subscription. In this article we look at the two most popular options the free PayPal Donations Button and the most popular paid option GiveWP
Museums are thinking about the aftermath of the pandemic. A webinar organized on Friday by the Organisation for Economic Co-operation and Development (OECD) and the International Council of Museums (ICOM) has identified possible solutions, including greater social integration of museums. The Montreal Museum of Fine Arts has been using this approach for several years now, and it has been praised by both organizations.
PHOTO THOMAS SAMSON, ARCHIVES AGENCE FRANCE-PRESSE
The COVID-19 pandemic has severely damaged economies around the world, including the cultural sector. Museums, both public and private, have not escaped this situation. Ekaterina Travkina, OECD Coordinator for Culture, Creative Industries and Local Development, who moderated the webinar (which was attended by 1,400 people from the international museum sector) noted that in the United States, 30% of museums will not be able to reopen without financial assistance. This is due in particular to a return of tourist activity that will only be very gradual and not for at least six months. In the meantime, museums must make up their cash shortfall to cover at least their operating costs. Many private museums have had to lay off staff. “There needs to be a Marshall Plan for museums,” suggested Joan Roca, director of the Barcelona History Museum. The situation of private and public museums is very different, noted Mattia Agnetti, Executive Secretary of the Venice Museums Foundation (MUVE), who said it would take “10 to 12 months” before museums could be back to normal.
Digital shift
All speakers praised the digital shift in museums. While digital was previously a marginal offer for most museums, it has now become, by necessity, the only option. British researcher John Davies, working for Nesta, a foundation specialising in innovation, said that the current crisis allows museums to build a loyal audience on the web. Museums have become intensely integrated into social networks, a form of communication with the public that is both healthy and generates development. “But is the virtual option capable of generating revenue? “Agnetti wondered. “We need to change our ways of thinking and work with non-traditional partners,” suggested Inkyung Chang, the director and founder of the Iron Museum in Korea.
Social role
One of the future axes of a profitable and sustainable development of museums seems to be their social integration. What we are currently experiencing is an experience that should enable us to change our attitude in our strategies,” said Italian economist Pier Luigi Sacco. We need to solidify the relationship between museums and society. » Mr. Sacco and other webinar speakers praised the humanist vision of the Montreal Museum of Fine Arts (MMFA), which works for the well-being and health of the population in addition to being a cultural and artistic presenter. “The example of Montreal should be applied elsewhere,” said Mr. Sacco, who encourages museums around the world to intervene differently in their communities. The educational and art-therapy activities developed by the MBAM on nearly 4,000 m2 and its partnerships with scientists and researchers in the health field are initiatives on a scale that is unique in the world. Ekaterina Travkina told webinar participants that Quebec is the only place in the world where a doctor (a member of the Association Médecins francophones du Canada) can prescribe a museum visit to a patient. Nathalie Bondil, who represented the North American museum sector for this webinar, emphasized the social and educational role of museums. Referring to the MBAM’s Éduc’art platform, launched in 2017 with the support of the Quebec government’s Digital Cultural Plan. A virtual program distributed to schools in the province’s 17 regions and created from the museum’s art collection. A program that makes perfect sense now that students are confined to their homes. We will no longer have the same relationship with our digital platforms,” Ms. Bondil told La Presse after the webinar. That’s one of the great things. This crisis is going to make us develop our collaborations even more through digital platforms. This includes sharing expertise with other museums. It will bring us even closer together. » The importance of the social role of museums is currently being seen in full confinement,” adds Bondil. That’s what’s expected of us,” she says. We exist for the health and well-being of our societies. That’s what the International Council of Museums’ official definition of a museum in the 21st century is all about. The crisis is therefore an excellent opportunity for all museums to shift their focus from their collections to their social role. » Concluding the webinar, Nathalie Bondil said that culture is an essential service, more than ever in times of containment. When you’re isolated, it’s culture that unites you and allows you to escape,” she said. Places of culture are more important than ever in deconfining minds. »
