“Made in Neuchâtel. Deux siècles d’indiennes” 7 October 2018 – 19 May 2019. Musée d’art et d’histoire de Neuchâtel
By « Made in Neuchâtel. Deux siècles d’indiennes », the Art and History Museum of Neuchâtel offers the first large exhibition on “indiennes” (printed cotton cloths) made in Neuchâtel between the 18th and 19th century. From a rich series of more than 300 artefacts – “indiennes”, projects on paper, sample books, portraits and historical sources- the exhibition makes us discover one of the main printed canvas producer area from all over Europe. This immersive and interactive installation closes the exhibition. It let the visitor choose between three patterns, which have been designed from ancient “indiennes”. The visitor can change the colour and the scale of the pattern and project it on walls by a control interface. The public take part to the creation and commercialisation process who has been and still is set up by the textile industry, by creating a unique fictitious tapestry.
François Pinault entrusted the choice and design of the interior furnishings of the Bourse de Commerce of Paris and the creation of the furniture surrounding it to the Breton designers Ronan and Erwan (born in Quimper, respectively in 1971 and 1976) Bouroullec. A look back at two paths that meet, differ and complement each other around a very first museum project in Paris.
The Centre Georges-Pompidou is celebrating its 40th anniversary this year. How does the utopia of its origins still inhabit this incredible cultural machine today? A look back at four decades of success.
It is home to one of the world’s largest museums of modern art, at the head of a major collection of works from 1900 to the present day, the Institute for Research and Acoustic/Music Coordination (Ircam), founded by Pierre Boulez, a gigantic public library (the BPI), temporary exhibition galleries, theatres and cinemas. Familiarly known as “Beaubourg”, the liner gained a foothold in the Les Halles district under the impetus of President Pompidou, who dreamed of a place in Paris “that would be both a museum and a centre of creation, where the plastic arts would rub shoulders with music, cinema, books and audiovisual research”. Before its inauguration in 1977, the aesthetics of the architects Renzo Piano and Richard Rogers sparked an epic controversy. But once the Centre national d’art et de culture Georges-Pompidou was launched, its success continued unabated. A laboratory for sensory experiences (sound, visual, audiovisual), mixing artistic practices (painting, sculpture with the Brancusi collection, graphics, design, poetry, dance…) and multiple audiences, this flagship of French cultural institutions offers the opportunity to discover an avant-garde in perpetual turmoil.
Unique model? Giving the floor to artists (Annette Messager, Giuseppe Penone, Daniel Buren…) as well as to those who made or are making the institution (Claude Mollard, its first secretary general, Serge Lasvignes, its current president, Frank Madlener, the director of Ircam…), this film revisits four decades of inventiveness. At a time when the art market is booming, international museums are competing fiercely and public funding is dwindling, it invites us to reflect on a unique model which, like the Louvre, is now bringing its “brand” to life outside Paris, with the Centre Pompidou-Metz, and abroad, in Málaga, Shanghai and Brussels.
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.”
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.
15
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.
By
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.
Big
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.
