Journal articles on the topic 'Museum practice'
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1
Tzanelli, Rodanthi. "The “Mangle” of Human Practice." Transfers 8, no. 2 (June 1, 2018): 129–32. http://dx.doi.org/10.3167/trans.2018.080209.
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Praça Mauá, 1 – Centro, Rio de Janeiro – RJ, 20081-240, Brasil https://museudoamanha.org.br/enWe are accustomed to museums full of heritage displays from bygone eras, helpfully “seriated” for the visitor to tell a story of linear human progress toward an “end”: the great metanarrative of (Western) modernity. This is not so with the Museu do Amanhã (Museum of Tomorrow) in Rio de Janeiro. A joint public-private partner venture (by the City of Rio de Janeiro, the Roberto Marinho Foundation, Banco Santander, the British Gas Project, and the government of Brazil), the museum was conceptualized as a dark but openended narrative on climate change and the future of humanity.
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Ray, Joyce. "Digital curation in museums." Library Hi Tech 35, no. 1 (March 20, 2017): 32–39. http://dx.doi.org/10.1108/lht-12-2016-0154.
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Purpose The purpose of this paper is to present a perspective on the development of digital curation education and practice in museums in the USA. Design/methodology/approach Methods used include: a historical overview of the development of digital curation, originally as a field of practice – primarily in the sciences – and then as a field of study; a case study of the adaptation of a digital curation curriculum (DigCCurr) framework developed in schools of library and information science (LIS) to a museum studies program; and a discussion of trends in digital curation practices in museums. Findings The case study (the digital curation certificate program of Johns Hopkins University’s museum studies program) describes a successful adaptation of the LIS DigCCurr framework in a museum studies program. Practical implications Findings could help to advance the museum field through the integration of digital curation education, practice and research. Social implications By adopting and supporting digital curation practices, education and research, museums can reach and engage more online users seeking information about museum collections. More online users may also become onsite visitors. Originality/value There is little existing literature on digital curation education in museum studies programs.
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Dudley, Sandra H., and Kylie Message. "Editorial." Museum Worlds 1, no. 1 (July 1, 2013): 1–6. http://dx.doi.org/10.3167/armw.2013.010101.
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Museum Worlds: Advances in Research represents trends in museum-related research and practice. It builds a profile of various approaches to the expanding discipline of museum studies and to work in the growing number of museums throughout the world. It traces major regional, theoretical, methodological, and topical themes and debates, and encourages comparison of museum theories, practices, and developments in different global settings.
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Perla, Armando. "Democratizing Museum Practice Through Oral History, Digital Storytelling, and Collaborative Ethical Work." Santander Art and Culture Law Review, no. 2 (6) (2020): 199–222. http://dx.doi.org/10.4467/2450050xsnr.20.016.13019.
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The museum as an institution can trace its origins to the colonization process. Many are still undemocratic and exclusionary institutions by nature. This article explores how digital collections, digital storytelling, and ethical guidelines for museum professionals working with historically marginalized communities can contribute to democratize museum practice and theory. Making use of two case studies: 1) the creation of the Canadian Museum for Human Rights’ (CMHR) oral history collection; and 2) the planning of the Swedish Museum of Movements’ (MoM) ethical guidelines – this piece proposes a shift from theory to practice in human rights museology to help institutions be more attuned and responsive to the communities they intend to serve. Both case studies demonstrate that implementing human rights museology in national museums is not an easy task and still faces multiple challenges. Yet, they also indicate that this concept can be more productively informed through practices developed by the marginalized groups which have been historically excluded from taking part in the decision-making processes in museums.
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Prottas, Nathaniel. "Between Practice and Theory." Museum Worlds 6, no. 1 (July 1, 2018): 60–73. http://dx.doi.org/10.3167/armw.2018.060106.
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In this article, I consider the definition and use of the term dialogue in museum education, focusing on the work of Rika Burnham and Elliot Kai-Kee, whose ramifications for art itself have often been sidelined by educators. First, I examine the relationship between Burnham and Kai-Kee’s theory of education and Hans-Georg Gadamer’s and John Dewey’s writing on art, arguing that dialogical museum teaching implicitly relies on a definition of art as performative. Then, I explore the ramifications of Gadamer’s and Dewey’s definition of art as performative for the field of museum education. Finally, I argue that by understanding art as an active participant in our encounters with it—and by refocusing our attention on art’s role in museum educational practice—we create a radically new argument for museums as educational institutions that bring people and art into dialogue with each other.
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Hakamies, Inkeri. "Practice Makes ‘Museum People’." Museum and Society 15, no. 2 (July 12, 2017): 142–52. http://dx.doi.org/10.29311/mas.v15i2.829.
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This article examines how museum work is evaluated, and how it affects museum professionals’ identities. The empirical material consists of biographical interviews of Finnish museum professionals. The key concept for the analysis is ‘museum people’, which represents the ideal museum workers. As a community of practice ‘museum people’ are defined by what they do – ‘proper’ museum work. Analyzing the defining practices and elements of the community also reveals that it is placed in a time and space of its own. Reflecting oneself to ‘museum people’ and their practices can be elemental for the identity work of a museum professional.Keywords: Museum work, practices, community of practice, professional identity
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Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (February 8, 2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Geoghegan, Hilary. "Museum Geography: Exploring Museums, Collections and Museum Practice in the UK." Geography Compass 4, no. 10 (October 2010): 1462–76. http://dx.doi.org/10.1111/j.1749-8198.2010.00391.x.
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Luepken, Anja. "Politics of Representation—Normativity in Museum Practice." Journal of Religion in Europe 4, no. 1 (2011): 157–83. http://dx.doi.org/10.1163/187489210x553548.
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AbstractThis article explores the relevance of normativity for the critical term 'museality.' The normative structures that become visible in museum practice are outlined in connection with the practice of appropriation. The relations between museum practice and the ruling paradigm of incumbent political systems are shown as strategies of legitimization. An additional focus is laid on the blurred boundaries between museums and temples. Finally, the 'ethization' of museums in recent decades is discussed. It is shown that normativity is a central aspect of museality, being correlated to all its facets.
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Napoleon, Ebiyefa, and Dr Nwankwo Elochukwu Amaechi. "INFORMATION TECHNOLOGY IN MUSEUM PRACTICE IN 21ST CENTURY." International Journal of Engineering Applied Sciences and Technology 6, no. 6 (October 1, 2021): 55–71. http://dx.doi.org/10.33564/ijeast.2021.v06i06.007.
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This study looks at how information technology can be used in museum practice in the twenty-first century. According to the findings, visitors who visit museums for leisure or enjoyment, as well as students on field trips, can be engaged by technology in a variety of ways. The museum setup must evolve to offer a comfortable experience for visitors to connect digitally as 21st century visitors become more knowledgeable about technology. The employment of outreach packages, social media, and other media strategies, such as a mobile app for the museum and museum screen pads to expose the museum's contents as indicated, is beneficial to both the museum and visitors in general.
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Guo, Mengxing, and Karthiyaini Devarajoo. "How Can the Museums in Shanxi Province Make Better Use of the Participatory Model to Improve Public Education?" International Journal of Education and Humanities 2, no. 2 (April 7, 2022): 38–41. http://dx.doi.org/10.54097/ijeh.v2i2.283.
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This research regards the whole practice of museum participatory mode reform in Shanxi Province as a case, and the related practices of Shanxi Museum, Shanxi Museum of Bronze, The Coal Museum of China, Taiyuan Museum and Shanxi Science and Technology Museum, which are the first to carry out museum participatory mode reform, as a case respectively. Collect relevant data through interviews, collate and analyze the problems reflected in these data, and finally form an in-depth understanding, reliable conclusions and constructive suggestions. Answered how can the museums in Shanxi Province make better use of the participatory model to improve public education.
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Mangione, Gemma. "Making Sense of Things: Constructing Aesthetic Experience in Museum Gardens and Galleries." Museum and Society 14, no. 1 (June 9, 2017): 33–51. http://dx.doi.org/10.29311/mas.v14i1.624.
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Studies of museum behaviour in sociology often examine how external environments shape organizational practice. Through an ethnographic study, this article considers programmes for visitors with disabilities at a major metropolitan art museum and botanical garden to ask how ‘sensory conventions’ vary across museums, and with what effects. I trace how museum staff construct the aesthetic experience of art and nature differently to shape how visitors use their senses, and which senses they use, when interacting with museum collections. Examining aesthetic meanings across different kinds of museums reveals these institutions’ differing local cultures and how such cultures affect visitor experience. In particular, aesthetic practices across museums facilitate varying opportunities for perception, and interactions that may privilege particular embodied capacities.Key words: art museums; botanical gardens; aesthetics; senses; disability
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Chisolm, Margaret S., Margot Kelly-Hedrick, Mark B. Stephens, and Flora Smyth Zahra. "Transformative Learning in the Art Museum: A Methods Review." Family Medicine 52, no. 10 (November 5, 2020): 736–40. http://dx.doi.org/10.22454/fammed.2020.622085.
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Abstract: Clinical educators are continually seeking innovative methods and settings for teaching. As such, they have increasingly begun to use art museums as a new educational space in which to build clinically-relevant skills and promote learners’ professional identity formation. Art museum-based pedagogy can be understood through the framework of transformative learning theory, which provides an account of how adults learn through experience. In this article, the authors apply this theory to art museum-based teaching and offer a practical overview of art museum-based activities, highlighting three exemplars: visual thinking strategies, personal responses tour, and group poems. This toolbox of art museum-based teaching methods provides a launching pad for educators and learners to explore this innovative educational strategy.
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Rectanus, Mark W. "Community-Based Museum Ecologies: Public Doors and Windows and Les Nouveaux Commanditaires (‘The New Patrons’)." Museum and Society 17, no. 2 (July 17, 2019): 141–56. http://dx.doi.org/10.29311/mas.v17i2.2751.
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A growing number of artist-led initiatives and para-institutional organizations are creating community-based projects that signal the emergence of alternative museum ecologies. This article will examine two initiatives, Public Doors and Windows (PDW) and Les Nouveaux Commanditaires (NC) (‘The New Patrons’) that reflect a diverse range of practices that contribute to, or create, museum ecologies outside the physical and conceptual spaces of museums. These museum ecologies also contribute to discourses on the participatory museum and intersect with experiments in community engagement and social practice. Although they may have distinct conceptual points of departure, the diverse institutional platforms and initiatives of PDW and NC demonstrate the ways in which emerging museum ecologies are challenging museums to rethink their relations to communities.
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Behal, T. O. "The features of using the interactive museum expositions in modern exhibition practice." Science and Education a New Dimension IX(254), no. 46 (June 30, 2021): 15–17. http://dx.doi.org/10.31174/send-hs2021-254ix46-03.
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The article analyzes the characteristic features of the interactive museum exposition as an integral part of the museum space. The main factors influencing the development and improvement of the modern museum exposition in general are substantiated. Based on the analysis of exposition solutions of European museums, the main models of multimedia technologies that can be used in the design of interactive museum expositions are proposed.
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Stefko, Mariya S. "FRENCH MUSEUMS AND SCIENCE: A NEW PHASE OF DISCUSSION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 76–85. http://dx.doi.org/10.28995/2686-7249-2022-7-76-85.
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The author examines in the context of modern museum practice the materials of the colloquium “Museum and Science”, organized by the French National Committee of ICOM in 2021. The author notes the relevance of the topic which relates to the development of a new definition of the concept of “museum” and the influence that ICOM France has in the International Council of Museums. Many of the problems considered by French museum professionals and scientists characterize the state of the museum sphere in France but are also consonant with Russian museum practice. French museum specialists stress the need to bring the relations of museums, universities and laboratories to a qualitatively new level, the importance of strategic planning of scientific work in consideration of the potential of each of the parties. Museology, as a scientific field, has taken its rightful place in the system of knowledge about museums and is recognized by the academic and museum community as an integral part of it. Scientific research, in which museums, universities and laboratories participate, can become the basis for a higher level of graduate training and their development in museum. The authors note the connection of museum science with a high level of public confidence in the museum as a source of reliable knowledge open to society
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Jagošová, Lucie. "Professional standards in museum pedagogy in the international context." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 35–47. http://dx.doi.org/10.46284/mkd.2020.8.4.3.
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Professional standards of museum work are defined by the clearly formulated International Council of Museums (ICOM) Code of Ethics and by the activity of professional organisations on both national and international levels. The goal to establish the general requirements for the education of museum workers was mainly pursued by the ICOM and some of its committees. Since museum pedagogy has developed into an independent discipline and museum pedagogue (educator) has became a full-value profession, the specialised commissions within individual professional organisations and the efforts of individual researchers have helped to gradually transform these general requirements into specific standards of museum pedagogy. These standards reflect both the scope of activities and necessary competencies of museum pedagogues, and the expected quality of education practice in museums (best practice). The varied views of professional standards for museum pedagogues in the international context represent a source of inspiration in the sphere of Czech museum pedagogy, which is undergoing a dynamic development in several areas of its activities (educational practice, consolidated legislative position) and gradually formulating its own professional standards.
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Fairchild, Charles. "Understanding the Exhibitionary Characteristics of Popular Music Museums." Museum and Society 15, no. 1 (June 9, 2017): 87–99. http://dx.doi.org/10.29311/mas.v15i1.664.
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The literature on the popular music museum has primarily focused on the study of heritage and cultural memory with a secondary focus on tourism. Given the unprecedented expansion of the museum sector worldwide in recent decades, which has produced an increasing number of major museums dedicated to popular music, it is an opportune time to expand this range of analytical concerns. Specifically, the development of popular music museums has not yet been closely examined within the broader historical trajectory of the so-called ‘new museum.’ This article seeks to outline the range of exhibitionary types commonly used in a range of high-profile popular music museums in pursuit of this line of inquiry. The goal is not simply to produce a generic survey or typology of displays, but to place the use of different forms of museum display within the specific historical trajectory that has produced steadily larger numbers of these kinds of museums in recent years. I organize these exhibitionary types into two broad streams of museum exhibition practice implied in the historical survey presented here: a populist-vernacular stream of museum display and an institutional-educational one. I seek to place the exhibitionary practices of contemporary popular music museums in a broader and longer trajectory of similar practices in order to get a more grounded sense of the more important characteristics of these kinds of museums.
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Tapia, Juliet Moore. "Poking Holes in the Oil Paintings: The Case for Critical Theory in Postmodern Art Museum Education." Visual Arts Research 34, no. 2 (December 1, 2008): 35–44. http://dx.doi.org/10.2307/20715473.
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Abstract This article discusses the theory and practice of transformative postmodern museum education, presented as a necessary response to contemporary society in which multiple perspectives have made modernist philosophies and practices of museum education largely irrelevant. I make a deconstructivist analysis of the history of museum education by describing modernist notions of museums and their educational roles. I then propose a definition and explication of a pedagogy of postmodern art museum education that casts the project of art education and the museum within frameworks of challenge, inquiry, and resistance that stimulate interpretations of art to take place in the wider context of everyday life.
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Marstine, Janet. "Cultural Collisions in Socially Engaged Artistic Practice." Museum Worlds 1, no. 1 (July 1, 2013): 153–78. http://dx.doi.org/10.3167/armw.2013.010110.
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In this article I explore how socially engaged artistic practice draws upon hybridity as a methodological approach advancing social justice. Through the case study of Theaster Gates’s To Speculate Darkly (2010), a project commissioned by the Chipstone Foundation of Milwaukee, Wisconsin, and shown at the Milwaukee Art Museum, I consider how socially engaged practice mobilizes continually shifting notions of postcolonial hybridity to help museums make meaningful symbolic reparations toward equality and inclusivity. The research is based on interviews I conducted with Gates and with the director and the curator of the Chipstone Foundation. The article will demonstrate that, with hybridity, artists have the potential to subvert hegemonic power structures and to inspire reconciliations between museums and communities. While such reconciliations generally involve complex processes with no clear end point, the evolving concept of hybridity is an effective vehicle to foster pluralistic institutions, cultural organizations characterized by practices built upon shared authority, reciprocity, and mutual trust. Theaster Gates refers to the methodology of hybridity as ‘temple swapping’, an exchange of values between seemingly unlike groups, in his case the black church and the museum, to explore their interconnections and relational sensibilities. Temple swapping, I aim to show, is a valuable metaphor through which to examine socially engaged artistic practice and its implications for museum ethics.
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Irina Anatol’evna, Kuklinova. "The problems of museography in French periodicals of the 1930s." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 90–98. http://dx.doi.org/10.30725/2619-0303-2022-2-90-98.
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The 1930s are of special importance for establishing museum theory and practice. The paper emphasizes the understanding of the term museography, thus allowing the author to characterize innovations in the development of many trends in museum activities during this period. Displays and exhibitions in museums of all kinds could boast of considerable achievements. Among other things, they are explained by the development of another trend in museum practice – interaction with visitors, including a completely new public, including the working class. Museography development is analyzed based on French periodical publications, in which prominent figures in the fields of culture, the arts and museums presented their views and ideas. This material is introduced for the first time into scholarly discourse in Russian. The parallel development of European and Soviet museums in the 1930s seems important, evaluations by French museum workers of the museum experience in the USSR matter a lot for the history of Russian museum affairs and studies.
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Fouché, Florian, and Marianne Mesnil. "The Antidote Museum in practice: an artist and an ethnologist's iew on the Romanian Peasant Museum." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 94–117. http://dx.doi.org/10.57225/martor.2018.23.06.
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During an interview from Autumn 2017, in Bucharest, Marianne Mesnil (ethnologist) and Florian Fouché (artist) talk about their experience at the Romanian Peasant Museum in Bucharest. They are discussing about the museum display experienced by Irina Nicolau (1946-2002) and Horia Bernea (1938-2000): the exhibition hall “The Plague”, the curtains from “Village School”, the manifest “The Antidote Museum”, or the concepts of “father-museums” and “mother-museums”, the exhibition hall “Time”. Starting with their reflections on the Peasant Museum, the discussion turns to the exhibition that Florian Fouché had about the museum, entitled “The Antidote Museum” (Centre d’art Passerelle, Brest,2014), but also to the exhibitions that Irina Nicolau had set up in France, Un village dans une malle (Paris, 1991), and another one in Belgium, Roumanie en miroir, mémoires de tiroir (Treignes, 1997). The article is accompanied by photos taken by Florian Fouché of his exhibition.
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Palhegyi, Joel. "Revolutionary Curating, Curating the Revolution: Socialist Museology in Yugoslav Croatia." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 17–34. http://dx.doi.org/10.57225/martor.2018.23.02.
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The communist period for Yugoslav Croatia brought about dramatic changes in museum practice and theory between the early 1950s and late 1970s. Driven by questions concerning how to properly develop socialist museums, Croatian museum professionals sought to transform the bourgeois history museum into a truly popular institution that would make Croatia’s cultural legacy accessible to the masses and allow visitors to understand their place in the socialist Yugoslav imaginary. To this end, museum professionals developed two new museum models, the Revolutionary Museum and the Native Place Museum. Revolutionary Museums were charged with memorializing the founding myths of socialist Yugoslavia, chief among them the anti-fascist, communist revolution during World War Two, and the postwar building of socialism. Native Place Museums similarly reinforced the Yugoslav state by exhibiting local history and culture within the larger trajectory of socialist Yugoslavism. Furthermore, these two models were front and center for new museological experimentation intended to create a distinctly socialist museum space that would engage the everyday working-class visitor. Analyzing contemporary museological journals and museum planning documents, I argue that these museum models were successful in implementing much of the new museological theory, but in doing so moved away from one of the fundamental principles of museum practice: the exhibition and explanation of authentic material culture to the museum visitor.
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Clements, Johanna, Anna Insa Vermehren, Ida Fossli, and Jaroslav Bogomolov. "The Use of Digital Solutions in Museums Today and in the Future." Journal of Media Innovations 7, no. 1 (May 11, 2021): 52–62. http://dx.doi.org/10.5617/jomi.8795.
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In this paper we look at digital solutions in museums today and with a view to the future. We believe that they have a potential to innovate museum practices and reach audiences with relevant content. We have found the Norwegian Government’s Museum Framework (Kulturdepartementet 2009) a useful starting point to consider ‘digital’ through the lens of the areas of collection care, research, content dissemination, innovation and business development. In this paper, our focus is on smaller museums and heritage organisations. We contribute our thoughts, experiences and give some practical ideas how small museums can better utilise digital media and digital solutions.
This paper was written by staff members of Museum Nord who are part of the Research and Development Team. Museum Nord was lead partner in the CINE project, 2017-2020 (CINE project 2017) which enabled the team to gain valuable insights into this area of knowledge and practice.
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Michalik, Magdalena. "THE INSTITUTION OF MUSEUM, MUSEUM PRACTICE AND EXHIBITS WITHIN THE THEORY OF POSTCOLONIALISM – PRELIMINARY RESEARCH." Muzealnictwo 59 (April 3, 2018): 28–33. http://dx.doi.org/10.5604/01.3001.0011.7254.
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The article contributes to considerations on the exhibits of colonial origin that exist in Western culture, and on the institution of museum with regard to the terms of postcolonial theory. Moreover, it addresses practical issues concerning museum’s policy towards artefacts of non- European origin. I referred to the basic concepts used in the theory of postcolonialism, such as: otherness, hybridity, mimicry, the Third Space, and to the interpretation of collectibles – “semiophores” (carriers of meaning) – as named by Krzysztof Pomian. I presented issues related to museum exhibitions, and the existence of museums in countries affected by colonialism, using the examples of: the return of Maori heads (mokomokai) from French museums to New Zealand, permanent exhibitions of the Cinquantenaire Museum in Brussels and the Rijksmuseum in Amsterdam, activities of the AfricaMuseum in Tervuren, and the temporary exhibition in Berlin – “Deutscher Kolonialismus: Fragmente seiner Geschichte und Gegenwart” from 2017. The problems that have been examined reveal the hybrid structure of “semiophores” coming from outside Europe, which makes both their reception by the viewer and the way of their presentation by the museum difficult. The article helps to realise that displaying the “otherness” of the non- European cultures is quite a challenge for curators, similarly as the concept of such institution like museum must be for these cultures. This results in creation by the museum of the so-called Third Space. The soonest research should give an answer to the question asked by Professor Maria Poprzęcka: To what extent history of art co-created the massive structure of cultural supremacy and intellectual and artistic domination, which found its institutional and material form in museums that were being erected all over the world.
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Bira, Monica, and Alexandra Zbuchea. "A Theory-Practice Divide in a Museum Showcase." Culture. Society. Economy. Politics 1, no. 1 (June 1, 2021): 55–78. http://dx.doi.org/10.2478/csep-2021-0005.
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Abstract We aim to map the divide between practice and research in the field of knowledge production and diffusion related to museum studies. In doing so, we draw on the domain literature regarding the evolution of museums as institutions and its implications for the development of a dedicated field of studies. The current research focuses on the publishing work undertaken by museum professionals and researchers, as an essential component contributing to the advancement of research as well as to the diffusion of good practices. More precisely, we scrutinized European journals from the domain available on the Web of Science (WoS) as well as journals not included in the “main” scientific flows and generally published in various languages, other than English.
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Clover, Darlene, Nancy Taber, and Kathy Sanford. "Dripping pink and blue." Andragoška spoznanja 24, no. 3 (October 26, 2018): 11–28. http://dx.doi.org/10.4312/as.24.3.11-28.
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In response to calls by feminist cultural theorists to develop means to unmask patriarchy, the system of power that lies at the heart of museums that maintain problematic hierarchical binaries of masculinity and femininity, we designed the Feminist Museum Hack. The Hack draws on theories of representation, feminist critical discourse analysis and visual methodologies/literacy to operate as a critical and creative practice that can be adapted to any museum context. The primary aim of the Hack – a methodology and pedagogy – is to provide a lens through which adults can see the unseen of patriarchy and how it hides so cleverly in plain sight in the museum’s practices of representation. In this article, we use examples of how we have used the Hack as researchers and educators in various museum settings to expose, decode and disrupt the hegemonic gendered messages in the images, displays, curatorial statements, labels and even in object placement and stagecrafting. We also show how the Hack functions as a practice of ‘direct agency’, a means to re-write and engage with museum narratives. We argue that the Hack is an important and innovative practice because it turns museums into spaces of ‘pedagogic possibility’ – sites where we can learn new strategies of feminist opposition to counter the male gaze and its ability to define women’s lives.
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Nicolescu, Gabriela. "The museum’s lexis: Driving objects into ideas." Journal of Material Culture 21, no. 4 (November 22, 2016): 465–89. http://dx.doi.org/10.1177/1359183516664207.
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This article discusses how exhibition making can be seen as a creative method for building anthropological knowledge. Situations of conflict between social classes, curatorial practices and disciplines remind us of the existence of a very subtle and enduring museum lexis which governs how political ideas are put on display. Research was conducted in tandem with an exhibition the author curated in the National Museum of the Romanian Peasant 21 years after the collapse of the communist regime in South-Eastern Europe. Reflecting upon this process, the author shows how museums use a specific lexis that is based not only on existing practices but also on contingency. These facets each engage two different notions of temporality: while practice involves repetitiveness, predictability and continuity over different historical periods, contingency creates unexpected groupings of things, settings and meanings. It is the balance of the interplay between practice and contingency that dictates how the audience engages with museum discourse.
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Ades, Susan C. "Museum Learning:Theory and Practice." Journal of Museum Education 14, no. 3 (September 1989): 16–17. http://dx.doi.org/10.1080/10598650.1989.11510121.
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Rabineau, Phyllis. "David Dean. Museum Exhibition: Theory and Practice.:Museum Exhibition: Theory and Practice." Museum Anthropology 19, no. 1 (March 1995): 88–89. http://dx.doi.org/10.1525/mua.1995.19.1.88.
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Candlin, Fiona, and Jamie Larkin. "What is a Museum? A new approach." Museum and Society 18, no. 2 (July 4, 2020): 115–31. http://dx.doi.org/10.29311/mas.v18i2.3147.
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The Mapping Museums research team recently compiled a dataset of UK museums. In doing so, we had to decide what counted as a museum. In this paper, we outline our initial approaches for establishing the criteria for selection: using definitions; key characteristics; and self-identification; and describe why they proved inadequate with respect to the heterogeneity of museum practice. We then explain how assemblage theory helped us conceptualise the complex realities of the museum sector and to address the problem of selection, which in turn led to our developing a non-essentialising model of museums and a new account of the UK museum sector.
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Malygina, Yuliya I. "Costume of the second half of the XX – beginning of the XXI century in Russian museum practice." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 60–66. http://dx.doi.org/10.30725/2619-0303-2021-2-60-66.
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The article considers the main stages in developing museum attitudes to the costume of the second half of the XX – beginning of the XXI century, collecting and exhibiting costume in foreign and Russian museums. There is examined the theory of Danish researcher M. R. Melchior separating the history of collecting and exhibiting costume in museums into «dress» and «fashion» museology. While the «dress» museology is largely based on the study of garments and their classification, «fashion» museology focuses on organizing events that could be considered fashionable themselves, creating spectacular exhibitions that attract the attention of the public and ensure the museum’s recognition, organizing communications around the museum. The limitations and contradictions of the theory are noted and the issue of the applicability of the theory to the national museum practice is brought up. In the view of the fluidity of terms that comprehend vestmental practices in the human sciences, there is given the analysis of the use of the term «fashion» in relation to stylistic changes in the costume of the Soviet period. There is given a view at the costume collections of the State Historical Museum and the All-Russian Museum of Decorative Art including the main sources of acquisition of the collections and the prospects for their further formation. In both cases, the most representative part of the collection belongs to the 1960s–1980s. And while in the State Historical Museum the costume was gathered mostly as background material for illustrating historical events the All-Russian Museum of Decorative Arts’ acquisition was purposefully based on the artistic quality of the items, which helped to form up the collection of the author’s costume. In the concluding part of the article there is given a view upon the exhibition practice of the State Historical Museum and the All-Russian Museum of Decorative Art representing the costume of the second half of the XX and early XXI centuries
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Pegno, Marianna. "Hybridizing Museum Practice: Refugee Audiences and Museum Programming." International Journal of the Inclusive Museum 8, no. 4 (2015): 23–31. http://dx.doi.org/10.18848/1835-2014/cgp/v08i04/44503.
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Baker, Sarah, Lauren Istvandity, and Raphaël Nowak. "Curatorial practice in popular music museums: An emerging typology of structuring concepts." European Journal of Cultural Studies 23, no. 3 (March 29, 2018): 434–53. http://dx.doi.org/10.1177/1367549418761796.
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Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.
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Bolshakova, Yu M., S. N. Bolshakov, and N. A. Mikhalchenkova. "Assessment of the pedagogical functions and practices of modern museums." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 108–16. http://dx.doi.org/10.30725/2619-0303-2020-3-108-116.
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This article discusses the tasks of implementation of pedagogical functions by the modern museum community. The article interprets the results of a sociological study in the field of the implementation of pedagogical tasks by museums countries of Northern Europe and the Baltic. The relevance of the study lies in the disclosure of the pedagogical potential of museums in the world. The importance of the study lies in the possibility of choosing the forms and methods of pedagogical influence on pupils and students, museum visitors. The study demonstrates the unique capabilities of the museum community. The potential of museums consists not only in the preservation of objects of art and culture, but also in the promotion of civilizational values, the humanization of education, and the continuity of the values of world culture. An important result of the educational function of museums is not only the transfer of knowledge, but also the development of new creative skills in children and youth. The pedagogical potential of museums, as European practice shows, can be effective museum competitiveness strategies.
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Ferres, Kay. "Cities and Museums: Introduction." Queensland Review 12, no. 1 (January 2005): 1–4. http://dx.doi.org/10.1017/s1321816600003846.
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In September 2004, the Museum of Brisbane, Museums Australia and the Centre for Public Culture and Ideas at Griffith University hosted a symposium, ‘Cities and Museums’, at the university's Southbank campus. This event initiated a conversation among museum professionals and academics from across Australia. Nick Winterbotham, from Leeds City Museum, and Morag Macpherson, from Glasgow's Open Museum, and were keynote speakers. Their papers provided perspectives on museum policy and practice in the United Kingdom and Europe, and demonstrated how museums can contribute to urban and cultural regeneration. Those papers are available on the Museum of Brisbane website (www.brisbane.qld.gov.au/MoB). The Cities and Musuems section in this issue of Queensland Review brings together papers that explore the relationship of cities and museums across global, national and local Brisbane contexts, and from diverse disciplinary perspectives. The disciplines represented in this selection of papers from the symposium include social history, urban studies, literary fiction, and heritage and cultural policy.
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Ebitz, David. "Sufficient Foundation: Theory in the Practice of Art Museum Education." Visual Arts Research 34, no. 2 (December 1, 2008): 14–24. http://dx.doi.org/10.2307/20715471.
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Abstract Three groups of museum educators were invited to list theories that inform their practice at annual conventions of the National Art Education Association and at a workshop sponsored by the Museum Educators of Southern California. Most educators cited psychological theories of learning, beginning with Gardner’s theory of multiple intelligences and Csikszentmihalyi’s flow or psychology of optimal experience, stage theories of development beginning with Piaget, and constructivist theories of learning and meaning making beginning with Dewey, Vygotsky, and Falk and Dierking’s contextual model of free choice learning. There was little evidence of interest in critical pedagogy or in other critical theories that problematize our understanding of art, art history, or the nature and function of museums. Museum educators have adopted theories to which they have been exposed through their education and professional networking, which facilitate their practical work as educators, and which are easy to implement, such as the questions to guide novice viewers in Housen and Yenawine’s Visual Thinking Strategies. Educators do not cite theories which might address their professionalstatus within their museums or the position of their institutions within a global economy.
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Glicenstein, Jérôme. "Adhérer ou résister : la relation ambivalente des artistes aux musées." Muséologies 9, no. 2 (October 19, 2018): 53–67. http://dx.doi.org/10.7202/1052660ar.
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Increasingly, contemporary artists are receiving invitations from museums; and not simply to present works produced elsewhere, but to carry out projects on site designed specifically for the museum. In addition to commissions for conventional in situ installation projects, of the type Daniel Buren has conducted for nearly fifty years, numerous invitations call on artists to introduce a fresh perspective on collections, through presentations that diverge distinctly from typical museum practices. Different approaches can be observed—often revealing a very critical perspective on the museum institution—their common feature being that they are presented as an alternative to the practices of museum professionals, while resulting from a negotiation with them. The carte blanche thus represents a new form of conjoint practice— a duel expressivity—directly linking contemporary creation to its institutionalization, where the relationship between the parties concerned is neither completely visible nor completely equitable.
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Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (June 2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.
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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?
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Morse, Nuala. "Patterns of accountability: an organizational approach to community engagement in museums." Museum and Society 16, no. 2 (July 30, 2018): 171–86. http://dx.doi.org/10.29311/mas.v16i2.2805.
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This paper considers the divergent and often contradictory registers of ‘community engagement’ in contemporary UK museum practice. The paper draws on an organizational study of a large local authority museum service and focuses on how community engagement is constructed across a range of museum professionals who use it for different purposes and outcomes. I argue that different departments make sense of community engagement through four patterns of accountability, each with complimentary and divergent logics reflecting a wider range of museum functions, demands and pressures. The tensions that arise are discussed. In the final part, the notion of ‘relational accountability’ (Moncrieffe 2011) is introduced to re-settle these divergent logics in order to argue for community engagement work that is grounded in a relational practice. The paper contributes to further theoretical and practical engagement with the work of participation in museums by bringing forward an organizational view to highlight the ways in which museum practice is mediated within organizational frames.
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Grishina, Natalia V. "THE STRUCTURE OF THE STAFFING THE MUSEUM AS AN OBJECT OF INFORMATIZATION." RSUH/RGGU Bulletin. Series Information Science. Information Security. Mathematics, no. 3 (2021): 74–81. http://dx.doi.org/10.28995/2686-679x-2021-3-74-81.
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As a result of the use of information technologies in their work, museums have acquired qualitatively new opportunities for the registration of exhibits, the preservation of electronic copies of the documents and exhibits, as well as the mode of access to exhibits. Museums strive to become interesting, fashionable, interactive, educational. The modern museum can be fully called an object of informatization. In order to realize all modern possibilities, museums must be staffed with modern personnel. A modern museum worker is not just an art critic with relevant knowledge. A modern museum worker must confidently master the information technologies and use them in the practice. The article analyzes the dynamics of changes in the staff of museum workers over the past six years. It presents the diagram of the distribution of museum workers by the age groups and shows the distribution of museum workers according to their experience. There is an analysis in ratio of the number of men and women among museum workers. The paper analyzes some aspects of staffing the museum as an object of informatization.
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Cook, B. F. "The archaeologist and the art market: policies and practice." Antiquity 65, no. 248 (September 1991): 533–37. http://dx.doi.org/10.1017/s0003598x00080121.
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The Keeper of Greek and Roman Antiquities at the British Museum sets out his view of where responsible museums and researchers should find a balance in the difficult matter of unprovenanced antiquities that may be the spoils of recent looting.
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Han, Heesup, Wansoo Kim, and Sanghyeop Lee. "Drivers of museum visitors' willingness to practice green activities." Social Behavior and Personality: an international journal 46, no. 2 (February 2, 2018): 233–47. http://dx.doi.org/10.2224/sbp.6558.
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Our objectives were to propose and test a single framework for the relationships among environmental awareness and positive and negative anticipated feelings in building museum visitors' green behavioral intentions, and also to identify the role of environmental awareness as an independent variable or a moderator in these relationships. The proposed model and hypotheses were in general supported by data collected from a field survey completed by 270 visitors to museums in Seoul, South Korea. Results of structural equation modeling analysis indicated that anticipated feelings had a significant direct impact on visitors' behavioral intentions and mediated the influence of environmental awareness on intentions. Moreover, through a test for metric invariance, we established that it was more suitable to use environmental awareness as an independent variable rather than as a moderator variable. As museum visitors' ecofriendly behavior had rarely been explored previously in research, our findings provide meaningful insights for museum researchers and practitioners.
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Rex, Bethany. "Exploring Relations to Documents and Documentary Infrastructures: The Case of Museum Management After Austerity." Museum and Society 16, no. 2 (July 30, 2018): 187–200. http://dx.doi.org/10.29311/mas.v16i2.2781.
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Interaction with documents and documentary infrastructure is part of the day to day reality of museum work. However, their constitutive and mediatory role is rarely foregrounded in empirical studies of museums. In part, this is because a defined theoretical and methodological framework for such an investigation has yet to be developed. This article outlines what a conceptualisation of documents as more-than-text informed by actor-network theory offers to studies of museums, particularly the potential of this method for investigating how documentary infrastructures influence daily practice and inform notions of possible action amongst museum staff. The insight that institutional practices operate ‘on the field of possibilities’ is Foucault’s ([1982] 2000: 341). However, as I outline in this article, actor-network theory took up this insight and developed it, drawing out its methodological and analytical consequences. Empirical material exploring the influence of Arts Council England’s Accreditation Scheme on someone new to museum work, drawn from a study of community asset transfer, a process whereby people new to museum work become responsible for the operation and management of museums previously run by local authorities, is used to demonstrate the potential of this approach.
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Martin, Robert S. "Intersecting Missions, Converging Practice." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (March 1, 2007): 80–88. http://dx.doi.org/10.5860/rbm.8.1.281.
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I am especially pleased to have been asked to contribute to this issue of RBM, focusing as it does on the convergence of libraries, museums, and archives. This has been a major interest of mine for a long time, and almost all of my professional experience has been within institutions housing collections comprising not only rare books and other library materials, but also incorporating rich assemblages of institutional archives, historical and literary manuscripts, maps, prints, photographs, oral history resources, works of art, and artifacts. As Director of the Institute of Museum and Library Services (IMLS), I found myself in a . . .
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Specht, Inga, and Franziska Loreit. "Empirical Knowledge About Person-Led Guided Tours in Museums: A Scoping Review." Journal of Interpretation Research 26, no. 2 (November 2021): 96–130. http://dx.doi.org/10.1177/10925872211065653.
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Person-led guided tours play an important role in museums’ educational programs. With this scoping review, we take a critical look at existing knowledge based on empirically-based primary studies to shed light on the practices of person-led guided tours in museums, focusing on the tour leader and his/her work practice. Our review included 39 peer-reviewed papers from 1978 to 2018. Results indicate that the research landscape is scattered across different disciplines. We specified three main research topics (docent training, professionalism/expertise, tour performance) to which the reviewed papers could be assigned and made cross-references between studies. Consequently, the review reveals the very complex practice of person-led guided tours in museums. Our review closes with the discussion of implications for practice and further research, with the intention of advancing multidisciplinary empirical research on the guiding practice in museums and person-led museum guided tours.
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Kušeliauskaitė, Irma, and Aistis Žalnora. "The museum of the History of Medicine of Vilnius University." Papers on Anthropology 30, no. 1 (September 29, 2021): 53–61. http://dx.doi.org/10.12697/poa.2021.30.1.04.
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The museum of medicine of Vilnius university is one of the unique museums devoted to the issues of medicine in Lithuania. It was created out of the clinical practice by Vilnius university physicians. Early museum served as a curiosity cabinet as well as a teaching museum. After the closure of Vilnius university in the mid of 19th century the museum was destroyed by Tsar’s government. In the early 20th century museum was reestablished by the Polish government. The modern collections were added with craniological and osteological specimens as well as pathology exhibition. The contemporary museum was created in the last decade of 20th century. In the last period museum servers both academic and public interest. Museum includes interwar, soviet exhibits and collection of medical books.
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Durand, Carine Ayele. "Artistic Practice and (Museum) Ethnography." Curator: The Museum Journal 53, no. 4 (October 2010): 491–500. http://dx.doi.org/10.1111/j.2151-6952.2010.00049.x.
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Zhang, Jingqiu. "User Experience Perspectives on the Application of Interactivity Design Based on Sensor Networks in Digital Museum Product Display." Journal of Sensors 2022 (September 23, 2022): 1–12. http://dx.doi.org/10.1155/2022/8335044.
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This paper designs a model of interactivity design in digital museum product display, constructs a sensor network model, and tests the sensor network-based interactivity design in digital museum product display under the perspective of user experience. This paper makes a museum user experience model based on sensory, behavioral, cognitive, and emotional experiences; establishes a user experience design framework; conducts specific theoretical analysis and research from four aspects; uncovers specific factors affecting museum user experience; analyzes the impact of each experience factor on user system design and possible design entry points; and proposes corresponding user system design strategies to guide subsequent design practice sessions. This paper also completes the hardware circuit and PCB board design of the wireless sensing node based on the CC2430 chip as the core. Tomcat WEB server and J2EE-based Spring MVC Web development framework are used as the leading implementation technology to complete the functions of real-time data query, network parameter setting, and historical data storage. The ideographic practice of visual representation of the digital museum is discussed around its optical system. Knowledge-based model dominates the digital museum representation, and examining the complex constitutive processes and characteristics of images involves not only the production of discursive order but also the production of presentation contexts as well as virtual spaces, which construct a new visual presentation of digital museums. However, the virtual representation practice of digital museums still has paradoxes, the absence of the sense of experience and the flatness of the virtual space, in which the audience cannot have a visual experience under this presentation.
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Grinko, Ivan A. "Underground space and contemporary museum." Вестник антропологии (Herald of Anthropology) 47, no. 3 (September 5, 2019): 197–203. http://dx.doi.org/10.33876/2311-0546/2019-47-3/197-203.
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Recently, museum designers engaged in exploring dungeons, following archaeologists and diggers. Such interest in transformation of the underground space into a museum space has not yet been sufficiently analyzed, so the article considers a variety of examples from the modern practice of turning underground spaces into museums. In addition to sociocultural examples related to the special features of the urban space or the preservation of a unique landscape, I would like to draw special attention to the importance of archetypes associated with underground spaces when designing a modern museum exposition.