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- Owman, Caroline, 1966-
(författare)
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det meränmänskliga museet : Konservatorns bevarandepraktik som flyktlinje i modernitetens museum
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis takes the conservator as a starting point to explore more-than-human aspects of the museum of modernity. Assuming that built-in obstacles impinge when museums today deal with environmental issues‚ it investigates new and alternative perspectives on the engagement with our immediate surroundings, in this case the museum objects. The objective of this study is to map museum processes hidden in the anthropocentric museum of modernity. The aim is to broaden the perspective on the museum to include what the museum structures of modernity have pushed aside: ongoing processes and becomings, and the myriad of energetic more-than-human agencies and temporalities constantly at work in a museum.The main empirical material consists of interviewes with conservators working in different departements and museums in Sweden. This material also includes my own experiences of working as a conservator and as an exhibition producer in various museums. There is a particular focus on the care of objects performed by conservators. The material also includes Swedish Government Official Reports (SOU) and one central text from the Ministry Publications Series (Ds). Furthermore, more-than-human agencies play an important role: enacted through the museum apparatus in shape of humidity and silverfish.Posthuman theory, environmental humanities and material feminism form the overarching theoretical framework as well as provide the analytical tools. Three main themes from these theoretical areas run throughout the entire thesis: anthropocentrism, more-than-human agency, dualistic thinking and dichotomies. All of which are applied to the empirical material. To conclude, museums have been part of modernity’s ambitions and ideals since they were established just over 100 years ago. This thesis shows how, in the structures of the museum, modernity’s ideas have persisted. Furthermore, these structures of thought appear and interfere, inter alia, in the conservator’s experiences of and thoughts about their work and professional identity. However, when working intimately with the museum objects more-than-human relational processes and other productive connections emerge, whereby the structures, derived from moderity’s thinking, are challenged in productive ways. This forms the line of flight that the title refers to; here perceived as a possibility for change, in a direction that could promote new ways for museums to tackle complex more-than-human issues, such as climate change and environmental matters.
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| 2. |
- Näsman, Olof, 1943-
(författare)
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Samhällsmuseum efterlyses : Svensk museiutveckling och museidebatt 1965–1990
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking.Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication.The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.
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