Abstract
The Museum of the Future, edited by Gerhard Bott, offers new perspectives on the museum. It was time to leave behind the notion of the museum as an ivory tower of science, as a place where items in collections were merely inventoried and studied in terms of their cultural and art historical value. It was time for something new. It was time for the museum to (re)establish its relationship to society and to take on the role of an educational institution. In her book La Fin des Musées, Catherine Grenier, codirector of Centre Pompidou, challenges the discourse pointing to the “end of the museum”. Similar to her predecessors in the 1970s, she argues the museum needs to be understood as a current institution, whose interests do not only revolve around itself but as one that actively engages with urgent questions concerning our world and society today. What would happen if the “museum of the future” were a para-museum? What would it be like? If we conceive of the para-museum as something that is simultaneously inside and outside and in a parasitic relationship to the museum, then a form of subversion may just cross our minds—one that robs the museum (of its power to endow meaning and definitions and its infrastructure). Insofar that the para-museum maintains its relation to the museum with its potential for change and its relation to social struggles that disrupt logics behind hegemonic claims to power, it remains simultaneously part of the museum and part of a different order, one that is perhaps yet to come.
Together, they form the association schnittpunkt. Exhibition theory and practice, an extra-institutional network for actors in the exhibition and museum field. They are also the joint directors of the graduate course in exhibition theory and practice at the University of Applied Arts Vienna/ecm—educating/curating/managing.
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Notes
- 1.
Paul Jesberg. “Das Museum der Zukunft—Aufgabe, Bau, Einrichtung, Betrieb.” Gerhard Bott (ed.) Das Museum der Zukunft, Du Mont: Cologne 1970, pp. 138–156, here p. 138.
- 2.
Hermann Auer. “Zur Einführung in den Begriff Museologie.” Museologie. Symposiumsbericht, Pustet, Cologne, 1973, pp. 10–13, here p. 10.
- 3.
Robert Smithson, “Cultural Confinement.” http://www.robertsmithson.com/essays/cultural.htm. Accessed 5 Feb 2016.
- 4.
Gerhard Bott, “Solange es Museen gibt, wandeln sie sich.” Ibid. (ed.) Das Museum der Zukunft, Du Mont: Cologne 1970, pp. 7–9, here p. 7.
- 5.
Ibid., p. 8.
- 6.
Jerzy Banach. “Aufgaben des Museums in der Zukunft” Gerhard Bott (ed.) Das Museum der Zukunft, Du Mont: Cologne 1970, pp. 10–17, here p. 10.
- 7.
William John Withrow. “Das Museum der Zukunft.” Gerhard Bott (ed.) Das Museum der Zukunft, Du Mont: Cologne 1970, pp. 306–308, here p. 307.
- 8.
Fritz Wotruba. “Das Museum der Zukunft.” Gerhard Bott (ed.) Das Museum der Zukunft, Du Mont: Cologne 1970, pp. 309–311, here p. 310.
- 9.
Wieland Schmidt. “Der Auftrag lautet Gegenwart. Gedanken zu einem erweiterten Museum.” Gerhard Bott (ed.) Das Museum der Zukunft, Du Mont: Cologne 1970,pp. 248 - 255, here p. 249.
- 10.
Ibid.
- 11.
Klaus Doderer. “Das Museum von Morgen.”Gerhard Bott (ed.) Das Museum der Zukunft, Du Mont: Cologne 1970, pp. 52-54, here p. 52ff.
- 12.
Ibid., p. 151.
- 13.
Ibid., p. 155.
- 14.
Cf. Henrietta Lidchi. “The Poetics and the Politics of Exhibiting Other Cultures,” in: Representation. Cultural Representation and Signifying Practices, Milton Keynes 1997, pp. 151–222.
- 15.
Cf. Roswitha Muttenthaler, Regina Wonisch. Gesten des Zeigens. Zur Repräsentation von Gender und Race in Ausstellungen. Bielefeld 2006.
- 16.
“Si le musée veut pénetrer l’espace intellectuel, où il occupe pour l’instant une place mineure, et y devenir un acteur de référence, il ne peut pas se tenir à l’écart des grandes préoccupationns de la société et du monde.” Catherine Grenier, La Fin des Musées, Paris 2013, p. 125.
- 17.
Ibid., p. 139.
- 18.
www.clusternetwork.eu/index.php?id=4. Accessed 5 Feb 2016.
- 19.
Andrea Phillips, “Remaking the Arts Centre.” Cluster Dialectionary, Utrecht 2014, p. 214.
- 20.
Cf. Pascal Gielen. “Institutional Imagination. Instituting Contemporary Art Minus the ‘Contemporary’.” Ibid. (ed.) Institutional Attitudes. Instituting Art in a Flat World. Amsterdam, 2013, p. 11–34.
- 21.
Hito Steyerl, Is the Museum a Battlefield, Istanbul Biennale 2013, http://vimeo.com/76011774. Accessed 5 Feb 2016.
- 22.
- 23.
Cf. Ilya Orlov, A Revolutionary Museum after Ideology, CuMMA papers nr. 14, https://cummastudies.files.wordpress.com/2015/06/cumma-papers-14.pdf. Accessed 5 Feb 2016.
- 24.
http://www.secession.at/exhibition/lisl-ponger. Accessed 5 Feb 2016.
- 25.
http://www.museetforglomska.se/Om-About. Accessed 5 Feb 2016.
- 26.
http://www.benandsebastian.com/?portfolio_item=museum-of-nothing. Accessed 5 Feb 2016.
- 27.
Ibid.
- 28.
Marcel Broodthaers im Interview mit Johannes Cladders 1972, in: Wilfried Dickhoff (ed.), Marcel Broodthaers. Interviews & Dialogue (Kunst Heute 12), Cologne 1994, p. 95.
- 29.
Stefano Harney and Fred Moten. The Undercommons. Fugitive Planning & Black Study, Wivenhoe/New York/Port Watson 2013.
- 30.
Ibid., p. 38.
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Griesser-Stermscheg, M. et al. (2018). The Museum of the Future. In: Bast, G., Carayannis, E., Campbell, D. (eds) The Future of Museums. Arts, Research, Innovation and Society. Springer, Cham. https://doi.org/10.1007/978-3-319-93955-1_11
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