‘Art education in the age of COVID-19’, The Museum of Contemporary Art (2021)

Review of: ‘Art education in the age of COVID-19’, The Museum of Contemporary Art (2021) https://www.youtube.com/watch?v=2kgukEQd6Mg (YouTube)

Stay Gold

This chapter focuses on the experiences of participants in an intergenerational art program for LGBTQIA+ audiences, which takes place at the Museum of Contemporary Art, Tucson (MOCA). In this chapter, the authors outline the impetus and purpose of this program. They consider the impact that it has had on LGBTQIA+ individuals and the formation of an intergenerational community. From combating loneliness to creating connections across generations, this program invites individuals into the museum space who identify as LBTQIA+ but rarely have the opportunity to connect with one another. Facilitators and participants design projects and gallery activities that promote engagement through dialogue and art-making. As such, art provides connections that give participants opportunities to share and learn from one another. Contemporary art and the museum become sites for engagement. Gallery activities and art-making allow participants to experiment with a range of materials and learn new skills through humor, play, creative inquiry, and collaboration.

What is wrong with Singapore

This artwork was produced as part of the residency programme organised by the Centre of Contemporary Art, Nanyang Technological University, Singapore, and the Museum of Contemporary Art and Design, Philippines called Acts of Life, with support from the Goethe-Institut. During the residency, the artist observed that media technology is utilised to abate the narratives by the nation state to define how a subject should operate and experience the world. Reflecting this, the artist created a work to discern the truthfulness and relevancy of a national narrative in individual lives. For this, a survey is devised as an artistic strategy to juxtapose the desires of a subject with the expectations of a nation state. An opinion booth was set up as part of the 2019 Singapore Art Week. With the header “What is wrong with Singapore”—the booth invites the audience to contribute their opinion towards the statement by writing it down on a postcard and pasting it on a designated wall. The accessibility, dissemination, and restriction of these opinions are left completely to the judgement of the audience visiting the booth.

Physics in the structure and form of the architectural project. Museum of Contemporary Art Niterói, Brazil

This article analyzed the formal, functional, and structural aspects of the Museum of Contemporary Art Niterói in Brazil, by identifying the criteria associated with architecture and physics; this is to establish the importance of the analysis of the architectural project to obtain the basic skills of the architect. A mixed methodological framework was used, the quantitative phase was developed from a questionnaire under a non-probabilistic sample allowed to recognize the formal, structural, and functional aspects of the work under study, the qualitative phase used an interview that established the value represented by the recognition of the application of physics in architecture. As a relevant finding, it is highlighted a basic understanding of the physical elements applied to architecture, specifically in the case of Museum of Contemporary Art Niterói, Brazil, and that they recognize the importance of the analysis of architectural works as a pedagogical tool that favors obtaining the basic skills of the architect.

‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING

The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.

Applicability of traditional storage methods in Indonesia for today’s conservation practice

This contribution aims to distil the experience from several conservation projects in Java, Indonesia, into a summary of methods in an attempt to arrive at some suggestions for best practice for the preservation of cultural heritage items in a tropical country. The related projects concerned a museum of contemporary art, traditional puppet theatre materials, a museum of traditional art and an archive.

Teens Challenged to Re-think the Concept of European Identity in the Museum

Museums seek to be places for democratization, inclusion and polyphony. In this paper we present the multimodal conversations of the participating adolescents in the course of a museum pedagogical program in the Museum of Contemporary Art of Crete. The program’s topic is Europe and the concept of European identity. Firstly, we prepare the ground through creating an environment of safety and confidence, and next, together with our groups we study the selected artworks, following the routines of ‘Artful Thinking’, which propose the development of critical thinking through specific questions. This process reinforces reflective thinking and skills of participating in a dialogue. Our aim is to describe and share how a museum through its collections and programs can constitute a space where democratic dialogue and healthy debate are cultivated. In this space, everybody is invited to participate in inquiring, reflecting on self, answering, sharing, with and through the art.

Koloniale Klassifikationer: Kunstbegrebet til forhandling på Museer i Sydafrika

Siden apartheids fald i starten af 1990erne, har genstande tidligere klassificeret som etnografiske artefakter, i stigende grad fundet vej ind på kunstgallerierne i Sydafrika. Her behandles de som kunstværker, der fremhæves for deres æstetiske kvaliteter, fremfor de kulturhistoriske kontekster, de er skabt i. I denne artikel, der bygger på feltarbejde foretaget på museer og kunstgallerier i Cape Town og Johannesburg i perioden 2016-2018, undersøger jeg konsekvenserne ved denne ekspansion af klassifikatoriske grænser og fremhæver, hvordan en række sydafrikanske kuratorer afviser ekspansionens påståede valorisering: For dem er genstandenes indlemmelse i kategorien kunst ikke en valorisering, men snarere en måde hvorpå skaberne bag såkaldt traditionel afrikansk kunst fortsat eksotiseres. Men hvor er der plads til såkaldt traditionel kunst fra Afrika, hvis ikke på kunstmuseer som Johannesburg Art Gallery og Cape Towns nye Zeitz Museum of Contemporary Art Africa? Hvor er der plads til afrikansk kunst, der ikke er printet, malet eller fremstillet fortrinsvist med æstetisk konsumering for øje?