Nenad Radić
PhD (Art History), Faculty of Philosophy, Belgrade
SOBE PORCELANA XVIII VEKA U SVETLU NOVE MUZEOLOGIJE, PRIMERI I PO(R)UKE
PORCELAIN ROOMS OF THE 18TH CENTURY IN THE LIGHT OF NEW MUSEOLOGY : EXAMPLES AND LESSONS
Journal 4/5/2008/2009 (Museum of Applied Art), pages 121-123
UDC:
738.1:069.02(436)”1993” ; 738.1:069.02(734)”2007”
Abstract (original language):
Tekst Sobe porcelana XVIII veka u svetlu nove muzeologije predstavlja dve muzejske postavke i njihove različite pristupe izlaganju delova muzejskih zbirki. Nastale 1993. godine u Muzeju primenjene umetnosti u Beču i 2007. godine u Umetničkom muzeju u Sijetlu, obe postavke "govore" jezikom nove muzeologije. NJihove razlike, međutim, ukazuju na razvoj svojstven epistemo-loškoj promeni koja je u toku. Izdvajanjem i kratkom analizom ovih primera jasno se uočava promena pri-stupa muzejskoj postavci koja sve više postaje potpuni umetnički doživljaj. Osnovna po(r)uka o sveobuhvatnom procesu muzealizacije i njegovom doprinosu očuvanju i oživljavanju prošlosti tako čini i okosnicu ovog prikaza.
Key words: (original language)
Muzeologija, muzej, primenjena umetnost, stalna postavka, porcelan, XVIII vek
Summary:
The ongoing development of museum activities in the last two decades produced astonishing breakthroughs as to the approach to cultural heritage. This inexorable transformation process of museum displays is best witnessed by two porcelain rooms, one in the Museum of Applied Art in Vienna and the other in the Art Museum in Seattle. The first mentioned was established at the beginning of 1990s and it marked the passage to the interior of heritage (white cube of Donald Judd as exterior in which the invisible becomes visible by means of the paradox of minimalism and of the end of the century). The second example comes from the end of the first decade of the 21st century (Porcelain Room in the Art Museum in Seattle as interior virtual space) and it demonstrates hyper-textuality of cybernetic museum in search of cultural identity. If the century we are living in represents the world as an information web then the requirements for changes in museum as well as for its offers would be quite obvious if it is to be transformed into a generative field of analog memory – that is to continually make the already inevitable digital transformation possible by remembering the past through comprehensive network of the process of musealisation.
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