Museology (Study of Collections)

U okvirima standardizovane etnografske muzejske delatnosti I prećutno prihvaćenih muzeoloških stavova u Etnografskom muzeju, izložbena kontekstualizacija kulturnih svedočanstava iz domena narodne culture privređivanja, tačnije, muzejskih predmeta, do sada je je u osnovi obavljana kao predočavanje kocepta hronološkog i tehnološkog napretka ili područnih specifika prirodnog okruženja: brdsko-planinski, ravničarski, rečni slivovi i drugo, a potom i svrhu ilustracije osnovnih tema iz drugih domena narodne kulture. Tokom poslednje decenije do danas, međutim, predstavljanje i tumačenje uloge i značaja kulture privređivanja krenulo je (i) drugačijim tokom. O takvom stavu rečito govore izložbeni projekti „To smo mi ‒ narodna zanimanja u Srbiji“, „S obramicom niz put“, kao i planirani pod radnim naslovom „Narodno privređivanje – druga polovina 20. veka. Razmatranja u ovom radu slede moju ličnu, profesionalnu alternaciju u svojstvu rukovaoca zbirki iz istraživačkog polja Kulture privređivanja u Etnografskom muzeju, koja je nastala kao logičan nastavak prva dva projekta, a kao svojevrstan uvod u budući. U pitanju su izložbeno nerealizovani, no konceptualno i antropološko-muzeološki razrađeni pristup i kontekstualizacija narodne kulture privređivanja (u muzejskom okruženju). Razmatranjalj su postavljena hibridno, u etnografsko-muzejskom I antropološko-muzeološkom ključu, a sa istim ciljem, da predstave svojevrsnu studiju slučaja o tome na koji način približiti nove i stare uglove i poglede na etnografsko kulturno nasleđe u istraživačkom polju Kulture privređivanja.

En los tiempos que corren, extraños, impetuosos y precipitados,
no es habitual toparse con publicaciones cocinadas a fuego lento,
realizadas con absoluto mimo y cuidado, en las que se elige con
detenimiento cada uno de sus ingredientes. La producción industrial, por otro lado, lo inunda todo, haciendo que pequeñas joyas
pasen prácticamente desapercibidas en mitad de la tormenta. Estas
suelen ser garantes de perspectivas diferentes y, en ocasiones, sesudas, incluso sobre espacios que, a priori, creemos sobradamente
conocidos y dominados. Museografía comparada (2023) es una de
esas obras de innegable calidad, digna de halago y mención por su
profundo sentido crítico e ingente capacidad reflexiva.

This paper provides insights into the early history of the Osijek Art Gallery,
known today as the Museum of Fine Arts in Osijek, which was founded as the first specialized art institution in Osijek. Based on archival and other sources, it highlights the crucial role of Antun Bauer in the gallery’s conceptualization, establishment, and development. 

Secondo appuntamento del seminario Stili e percorsi collezionistici. Per uno studio dei disegni del
Guercino e dei suoi collaboratori, che si svolge alle Scuderie del Quirinale nell’ambito della mostra
Guercino. L’era Ludovisi a Roma. L’iniziativa intende offrire a dottorandi, specialisti e appassionati,
l'opportunità di conoscere più a fondo la tecnica, lo stile e le vicende collezionistiche di alcuni tra i
più importanti nuclei di disegni del Guercino e dei suoi collaboratori. Nell’occasione sarà possibile
studiare da vicino i disegni del maestro esposti in mostra. L’incontro, che vedrà la partecipazione di
studiosi italiani e internazionali, rappresenta il secondo step di un progetto di più ampio respiro
sullo studio della grafica del Guercino.
SECONDA PARTE
Interverranno:
Giacomo Alberto Calogero (Alma Mater Studiorum, Università di Bologna);
Francesco Gatta (indipendent);
Barbara Ghelfi (Alma Mater Studiorum, Università di Bologna);
Enrico Ghetti (Alma Mater Studiorum, Università di Bologna);
Giulia Iseppi (Alma Mater Studiorum, Università di Bologna);
John J. Marciari (Charles W. Engelhard Curator, Morgan Library & Museum in New York);
Raffaella Morselli (Sapienza, Università di Roma);
Pasquale Stenta (Alma Mater Studiorum, Università di Bologna);
David M. Stone (Università del Delaware);
Caterina Volpi (Sapienza, Università di Roma).

El trabajo colectivo gira en torno al tema de Museología y Educación. Es un labor de la Asociacion de Maestros de Puerto Rico donde participaron 12 autores y su editora.

The collective work revolves around the theme of Museology and Education. It is a work of the Association of Teachers of Puerto Rico where 12 authors and their editor participated.

O "povo" nas ruas e as festas abolicionistas: cultura política e a abolição do Ceará nas ruas da Corte. Lusirene Celestino França Ferreira * RESUMO: Este artigo pretende analisar o impacto das festas abolicionistas que ocorreram nas ruas do Rio em comemoração a abolição da escravatura no Ceará (1884). Nossa pesquisa parte da análise dos periódicos que circulavam na Corte Imperial, tendo como objetivo perceber os desdobramentos das notícias sobre esse evento histórico relacionando a imprensa com as culturas políticas dos atores sociais envolvidos neste processo histórico. Indicamos como perspectivas teóricas para este trabalho a renovada historiografia da escravidão no Brasil e os estudos de história cultural que privilegiam as práticas culturais, as tensões sociais e os agentes sociais. Assim, procuramos apreender as ações dos diversos grupos sociais que participaram deste processo histórico e contribuíram para transformar o cenário da abolição. Palavras chave: imprensa, repercussão; abolição do Ceará.

La constitution initiale de ce qui va devenir le Musée des Antiquités Égyptiennes de Turin est dû au roi Vittorio Amedeo qui, en 1723, décida d'instituer un premier noyau du musée ayant comme siège le palais de l'Université de Turin 1. Dans cette collection, qui dépendait de l'Université même, avait convergé toute une série d'objets que les rois de la maison de Savoie avaient rassemblés, parce qu'ils désiraient créer une wunderkammer, un cabinet des curiosités qui contenait, parmi d'autres objets, quelques pièces d'art égyptien et « égyptisant ». La noblesse européenne, entre le XVI e et le XVIII e siècle, avait l'habitude de collectionner des objets qui pouvaient étonner par leur singularité et étrangeté. Avec cette décision, le roi avait réussi à transformer une série hétérogène d'oeuvres dans une première collection, à laquelle il ajouta la création d'une Bibliothèque Universitaire, en couronnant de cette façon son programme d'enrichissement culturel. Le choix de créer une collection d'art, en réalité, avait pour origine un événement survenu de cinquante ans plus tôt. A la suite d'un incendie, qui avait eu lieu en 1666 2 , le porche des marbres du château ducal n'était plus que ruines. On décida alors, quelque temps après, de sauver les dalles funéraires (les pierres tombales) qui étaient restées ensevelies sous les décombres pendant des décennies, en les mettant dans ce qui allait devenir le premier noyau du Musée, auquel on ajoutera des objets d'art appartenant à la Maison de Savoie et des pièces prises dans le site archéologique de Monteu da Po où il y avait, à l'époque romaine, un temple dédié à la déesse Isis. Ce premier ensemble de pièces fut installé, en partie, dans une salle au rez-dechaussée du nouveau palais de l'Université, à Turin, rue du Po et en partie dans la cour à arcades du même palais. La collection contenait des pièces très différentes. Parmi ces objets, il y avait une partie de la collection Gonzaga, achetée par Carlo Emanuele I er autour de 1630. En réalité, la collection Gonzaga était un ensemble plutôt important d'oeuvres d'art, commencé au XVI e siècle par Isabella d'Este, qui désirait créer un petit cabinet personnel d'objets dont la richesse fit grand bruit en Europe 3 .

radiocarbon a unor probe de lemn și derivaţi din lemn, ca urmare a unor tratamente termice. Un punct de vedere arheometric asupra unor eşantioane de la Mǎguricea Branului .... 725 Csaba SZABÓ, Miruna LIBIȚĂ-PARTICĂ, Ioan MUNTEAN, Mithras exhibited.

Taxes, Tariffs, and the Creation of Isabella Stewart Gardner's Fenway Court A case could be made for the Isabella Stewart Gardner Museum as the definitive American "personal art collection museum," to borrow art historian Anne Higonnet's term. 1 This formulation aptly captures the blended identity of Gardner's creation, which opened to the public as a museum in 1903 yet featured an intimate, quasidomestic atmosphere (frontispiece, fig. 1). In this way, it differs markedly from its near-contemporary neighbor, the Museum of Fine Arts (hereafter MFA), which relocated from downtown Boston to the Fenway in 1909. Still largely unchanged since Gardner's death in 1924, her collection and its home are now a cultural landmark. Gardner's colorful life and legendary exploits are also well-documented in numerous biographies. 2 What has gone overlooked is that her institutional vision had to overcome various hurdles, specifically taxes and tariffs, which threatened its realization. To avoid local taxes and customs duties on imported art, she made creative use of the law granting tax exemptions to educational organizations and she resorted to deceptive practices, including smuggling. When those efforts were revealed, the ensuing controversies likewise shaped her already divided reputation; some saw her as a determined free spirit while others decried her abuse of wealth's privileges. Gardner's clashes with the authorities also disclose the prices she paid, literal and psychic, to fashion her singular institution. Though Gardner never recorded her aesthetic intentions, Fenway Court, as her house-museum was known in her lifetime, with its idiosyncratic blend of paintings, sculptures, furniture, and assorted decorative arts housed in an environment animated by the life forces and domestic pleasures of plants, music, conversation, food, and contingencies of natural light, offered a strong contrast to the established museums of her day, including the MFA (where her husband John [Jack] Lowell Gardner was a trustee and treasurer before his death in 1898). While destined as a memorial to herself and gift to the cit of Boston, during her life Fenway Court doubled as a semi-public museum and pe~onal residence where she entertained friends and a steady stream of distinguished uests. This essay argues that scrutiny of her handling of tariffs and taxes shines new fight on Isabella Stewart Gardner's ambitions and appreh.ensions, motiv~s and machi-. The museum often reiterates her declared commitment to creating a museum nauons.. ,,. for "the education and enjoyment of the public forever, a commitment she honored through her bequest; while she was alive, however, the situation was more complicated than the museum's celebration of her plan acknowledges. 3

Il pensiero apparentemente colto, del modello ready-made, generato dai motori di ricerca online, non può sostituire la conoscenza vera con una più apparente conoscenza di superficie, lo dimostrano i risultati raggiunti in molte scuole a proposito della preparazione media degli alunni maturi. È necessario recuperare i livelli dei saperi passati, restituirli alle nuove generazioni. Il pensiero critico non cresce nel collodiano “campo dei miracoli” ma si coltiva in famiglia e in classe, si alimenta con lo studio metodico e con la lettura di testi eterogenei. Consiste in un approccio ai fenomeni libero da pregiudizi; si applica al mondo intorno a noi e si articola partendo dal giudizio nutrito per noi stessi. È la capacità di mettere in discussione anche le nostre certezze: le verità non sono più assolute ma con una data limite di consumazione. In quest’ordine di idee il pensiero critico assume connotazioni nuove, ci permette di interpretare l’universo senza pregiudizi. Nel caso specifico di questo volume l’ambito d’indagine è stato quello dell’arte, un mondo complesso, dove le barriere all’ingresso sono molteplici. Un vero e proprio multiverso fatto di artisti, galleristi, critici, mercanti, collezionisti, editori, musei e gruppi di potere non sempre mossi da intenti comuni. Spingere le giovani generazioni alla costruzione di un proprio pensiero critico è dunque l’obiettivo di questo volume, la via da percorrere è quella dell’apprendimento permanente: una via lunga, fatta di sacrifici, e seppure impervia ricca di inattese ed entusiasmanti novità.

The book is available on:
'https://www.artmultiservizi.it/prodotto/arte-e-pensiero-critico-diario-di-un
-connoisseur/'

'https://www.artetrentina.it/prodotto/arte-e-pensiero-critico-diario-di-un-co
nnoisseur/'

Front cover image:
Gaetano Martinez, Caino, 1922, gesso, 94x183x73 cm, su concessione del Museo Pietro Cavoti – Galatina.

Back cover image:
La croisée des chemins, 2020, acrilico su tela, 130×81 cm è di Dirk Verdoorn, Peintre Officiel de la Marine française.

Il contributo prende in esame una recente realtà museale palermitana, il trecentesco monastero domenicano di S. Caterina d’Alessandria di Palermo, che ha terminato la sua funzione naturale nel 2014 ed è stato aperto al pubblico dopo fondamentali restauri delle strutture.
Si illustra il progetto museologico complessivo del convento che non riguarda solamente gli aspetti storico-artistici, pur davvero rilevanti dal XIV al XIX secolo, ma anche il rimettere in movimento l’organismo monumentale sul filo della continuità con la tradizione.
La musealizzazione secondo i criteri di una casa museo, nel corso di un cantiere di restauro permanente, si accompagna, infatti, alla riattivazione dell’antica dolceria, alla creazione di una Mensa di Solidarietà e di una Casa per sacerdoti.
L’idea è quella di far respirare ai visitatori l’atmosfera dell’antico convento restituendo nuovamente vitalità agli spazi.
Tra le iniziative del 2019 è qui descritta la mostra curata da Lina Bellanca, Maria Concetta Di Natale, Sergio Intorre e Maria Reginella, in sinergia tra Soprintendenza ai BB.CC.AA. e Università degli Studi di Palermo, volta a rendere manifesta la grandiosa bellezza delle suppellettili sacre del monastero di S. Caterina e di molti altri conventi siciliani (per la maggior parte conservate in depositi), con opere straordinarie dal XVI al XIX secolo.

Desde hace tiempo se reflexiona acerca de los lenguajes de la arquitectura y del diseño en la formación académica -el dibujo y las
técnicas gráficas- y del estatuto actual de la mirada -entre las pantallas y la experiencia corporal-. Las investigaciones en desarrollo abordan las distintas prácticas didácticas que habilitan la apropiación significativa de esos lenguajes como herramientas disciplinares y el extrañamiento como estrategia cognitiva. En este contexto, se reconoce la importancia de la experiencia corporal en la escena didáctica. Es una
posición intencionada lo que posibilita la diferenciación entre el sentir y el conocer; entre la percepción sensorial y racional de las formas; los procesos intelectivos de reconocimiento y registro del medio.
Posicionarse, por lo tanto, es ordenar lo percibido, es una actividad esencialmente práctica. Sin embargo diferentes autores como Benjamin (1999), Virilio (2005), Han (2015) se expresan acerca de una crisis de la experiencia. Por otra parte, para Litwin (2008) abordar la discusión alrededor de un mismo objeto de estudio posibilita expresar la diversidad de miradas, reconocer la complejidad de los hechos y respetar las diferencias. Hay nociones que en la cotidianidad resultan indiscutibles, se da por sentado su significado, sin embargo cuando se las busca estudiar y apropiar para usos determinados se vuelven inciertas, ya no se distinguen con claridad y dejan permear otras construcciones significativas y con ellas nuevas relaciones. Entonces, el acto operativo de coleccionar, socializar y defender la posición singular asumida en relación con la propia definición de las categorías se dirige a reacomodar el mundo de manera que sea legible, pero también tangible, íntimo. Desde esta perspectiva, el propósito de la ponencia es analizar y compartir las ejercitaciones de coleccionismo, realizadas en el contexto de la Asignatura Optativa Guía de Posicionamientos Singulares (GPS) FADU-UNL, como prácticas en las que se construyen ciertas categorías y se involucra el cuerpo del coleccionista. Específicamente se abordarán las experiencias de una propuesta didáctica centrada en experimentar las cualidades del espacio y conformar dos colecciones a partir del par categorial efímero-permanente. Con esto se buscan acercamientos a la materialidad de la ciudad para, justificando las dimensiones que intervienen, clasificarla. Las preguntas que surgen de la investigación en relación a las prácticas docentes que se intentan responder en la asignatura apuntan a encontrar estrategias disruptivas y provocadoras en torno al saber, el ignorar, el acierto y el error.

Projeto individual de investigação de Pós-Doutoramento (Faculdade de Belas-Artes da Universidade de Lisboa), analisa a capacidade de internacionalização dos museus portugueses em democracia e faz o levantamento de todas as exposições realizadas no estrangeiro para as quais foram cedidos bens de museus portugueses (1974-2020) -

Questo nuovo fotogiornale istantaneo racconta una visita in Sicilia effettuata dall'autore alla fine di settembre 2024 per partecipare a una conferenza scientifica internazionale sulla neutrosofia - MeCoNet 2024, Mediterranean Conference on Neutrosophic Theory. La conferenza si è tenuta a Messina, ma, come ogni volta, l'autore ha colto il pretesto per osservare, annotare e fotografare l'ambiente circostante, riassumendo in modo spedito dati storici, scientifici o naturali relativi ai luoghi visitati, trasmettendo pensieri e sensazioni istantanee e non censurate.

Dicionário Quem é Quem na Museologia Portuguesa ALARCÃO, Adília nho cívico e a crença na educação como veículo fundamental das transformações sociais. Deve ter sido por isso que, entre 2006 e 2007, extravasando o domínio dos Museus e da Arqueologia, e em colaboração do Conselho da Cidade de Coimbra e do Instituto Pedro Nunes, concebeu e coordenou os cursos "Cidadania Activa: experiências e políticas"; e "Gestão Urbana e Qualidade de Vida".

The establishment of the Rishon LeZion Museum in 1979 marked the beginning of the collection it holds. Initially the collection was intended to document the history of the first forty years of the Moshava (agriculture settlement) of Rishon LeZion. However, this designation was later changed. The current collection encompasses over 5,000 items that document the material culture in Rishon LeZion and Israel in general, and they include house artifacts, work tools, garments, agricultural and husbandry objects, Judaica, medical instruments, military items and more.
This study examines the accumulation and development of the museum collection from its starting point, and is focused on collecting and collection management methods, as well as the changes in those methods throughout the years. Furthermore, the study examines how internal factors (museum managers), and external factors (municipal governance and professional bodies), have impacted the museum’s collection characteristics and content. As part of this examination the study also explores the extent of alignment between the development of the museum, its vision and goals on the one hand, and the development of the museum's collection and the features of its management, and on the other hand.
The study is comprised of three chapters. The first chapter describes the establishment of the Rishon LeZion Museum and its archive, as well as the shifts and changes in its activity throughout the years. The chapter also describes the various exhibitions showcased in the museum over the years. The second chapter discusses the  collecting policy and collecting methods implemented along the years, as well as the involvement of management in such policy decisions. Collecting methods are examined vis-à-vis the methods used by other museums both in Israel and around the world, starting from the end of the nineteenth century onward. The last chapter presents an analysis of collection management procedures, while using professional terminology of collection management. This is done with special attention to the life cycle of a museum object.  It is impossible to dive deep into each of the collection management procedures. Therefore, this chapter will concentrate on three pivotal procedures that are fundamental to the museum’s operations.
The study is based on various sources that it located in the museum's collections and archive, as well as interviews with museum's staff and, Donors, professionals from other museums, as well as various publications. In order to study collecting and collection management methods in the Rishon LeZion Museum, I examined professional literature which was then incorporated into the study as well. The use of literature was not intended for comparison purposes between this particular museum and others, but rather to assist in evaluating the activity conducted in the museum and answer research questions.
This study findings indicate that the management methods used at the Rishon LeZion Museum collection were decided upon intuitively and on the go. In the years that passed since its establishment, the museum staff worked according to local standards and not according to professional methods and standards that are well known in the field of museum collection management. That had a great effect on the quality of collecting process and the collection management. Additionally, the shift from a centralized management system to a decentralized one, did not affect the collecting methods or the collection management.
Throughout the years the museum implemented two main collecting methods: controlled collecting, by subjects, and uncontrolled collecting that caused accumulation. Under both methods there was both active and passive collection process. The active process was done by turning to the community, organizations, and institutions and in search of items for specific exhibitions. The passive process was encompassed of collecting items from donors who reached out on their own initiative. Initially collecting was conducted according to specific needs of exhibitions. However, over time, the number of uncontrolled items that were accumulated outnumbered those that were collected under controlled method. This led to a significant expansion of the museum collection, and consequently, a major part of the items was stored in the museum's warehouse.
The tension between professional and qualitative collecting to accumulative collecting which is not qualitative is also evident in the policy held by the museum in various issues relating to the management methods of the collection: not only was the collection based on local and intuitive methods, but those methods stood fixed and never developed professionally. This ultimately led to the divergence of the collection.
The collection policy and management practices adhered to methods that ultimately proved unsuccessful. The relationship between the development of the collection and its management, and the museum’s overall development, has been tenuous. Over the years, there has been a lack of planning or systematic analysis of this crucial relationship. This study findings indicate that a museum that is interested in professional development is required to aspire toward a fruitful interaction between its vision and goals and of the collecting policy. Further research that will be dedicated to the development of other collections and their management, and the relationship between their formation and their museum's objective and goals, will help to enrich the findings of this study, and in turn will contribute to it becoming an organized theory in museum management.

The exhibition and catalog were realized with the funds of the Ministry of Culture and Information of the Republic of Serbia С ОБРАМИЦОМ НИЗ ПУТ Препознатљива по напорима да природно окружење прилагоди сопственим потребама и уједно остане саобразна њему, традиционална култура, а поготово народна култура привређивања, умногоме је била заснована на успешним и споредним покушајима потпунe искористљивости природних и људских ресурса. Привредне алатке и помагала прелазили су исти пут од једноставног, понекад случајем уоченог, начина употребе, па све до најприлагођенијих, данас би се рекло ергономских облика, на основу којих је био обезбеђен најбољи однос уложеног рада према постигнутим резултатима. Међу привредним алаткама свој употребни, естетски, комуникациони, симболички и уопште културни простор нашли су и наизглед ефемерни, једноставно обликовани, у основи лучно закривљени комади дрвета с урезима или издигнућима на оба краја, који су у памћењу народне културе до нас стигли под називима обрамице, обравице, обранице, обрамњаче, обрамке, кобшке, кобилке, и другим. Далеки пут обрамица, уколико широком опсервацијом сагледамо чињеницу како су на почетку нашег цивилизацијског пута једноставне алатке осмишљаване посматрањем природног окружења, пратимо од праисторије до данас. Као, уосталом, и друге једноставне привредне алатке, настале су већ у првим људским заједницама, па, изузев њих, у групи првобитних, интуитивним промишљањем насталих алатки, можемо препознати српове, настале вештом културном употребом животињских вилица у сечи различитих биљних влакана, потом врхове копаља и стрела у циљу опонашања оштрих зуба за убадање, а напослетку и вишенаменске првобитне батине или јед-Марко Стојановић С обрамицом низ пут

Resumo: Neste artigo, discute-se os conceitos de atitude historiadora propostos na Base Nacional Comum Curricular (BNCC); letramento em História, baseado nas proposições de consciência histórica de Jorn-Rüsen e trabalhadas por Isabel Barca e Peter Lee; leitura de mundo por meio dos objetos e do patrimônio cultural, na perspectiva defendida por Régis Ramos; e a ação pedagógica, alicerçada na Teoria dos Andai-mes. Fez-se um breve levantamento sobre os "Não Lugares" e, por fim, foram apresentados os resultados da leitura de um grupo de arquitetos sobre os artifícios presentes nos Shopping Centers e lojas comerciais para induzir comportamentos de frequentadores, para aquisição excessiva de bens e serviços. Defende-se a tese de que essa possibilidade de leitura de um exemplar típico de não lugar, a partir da ótica de profis-sionais do ramo da arquitetura, pode ampliar o repertório de técnicas e procedimentos dos professores de História para sua própria leitura de mundo. Além di...

HISTORICAL ATTITUDE IN THE READING OF NON-PLACES Resumo: Neste artigo, discute-se os conceitos de atitude historiadora propostos na Base Nacional Comum Curricular (BNCC); letramento em Historia, baseado nas proposicoes de consciencia historica de Jorn Rusen e trabalhadas por Isabel Barca e Peter Lee; leitura de mundo por meio dos objetos e do patrimonio cultural, na perspectiva defendida por Regis Ramos; e a acao pedagogica, alicercada na Teoria dos Andaimes. Fez-se um breve levantamento sobre os “Nao Lugares” e, por fim, foram apresentados os resultados da leitura de um grupo de arquitetos sobre os artificios presentes nos Shopping Centers e lojas comerciais para induzir comportamentos de frequentadores, para aquisicao excessiva de bens e servicos. Defende-se a tese de que essa possibilidade de leitura de um exemplar tipico de nao lugar, a partir da otica de profissionais do ramo da arquitetura, pode ampliar o repertorio de tecnicas e procedimentos dos professores de Historia para ...

Current ways of thinking and living in the western world, and the value judgements and actions that are borne out of modern humanism, capital growth, and extraction - in which museums are complicit - are contributing to the devastating consequences of global warming and related more-than-human disasters. Such circumstances require a rethinking of the museum, curatorial practices, and the anthropocentric conception of strong agency founded on epistemological subject-object models and the mindsets that emerge from these relational figurations. It is increasingly apparent that all things are interconnected, and human agency is just one among many others in complex and often unruly processes. While history, science and technology museums, and their engagement with non-human worlds, have always been ecological as an empirical reality, the human-centred frameworks and forms of human agency that institutions deploy
tend to be non-cognizant of this reality.

This article is a synopsis of the arguments presented in my recent monograph, Museum Practices and the Posthumanities: Curating for Planetary Habitability. This book project seeks to inspire museological scholars to conduct research and for museum professionals to curate all manner of activities from a different ecological reference point. It acknowledges that for this to occur, novel and plural more-than-human curatorial visions, methods, conceptual frameworks, policies, and museologies are required that signal an enmeshed and more-than-human approach to the make-up and composition of the world to promote a planet good enough for all things to live and thrive in radical coexistence. The book also offers theoretical grounding for museum activism in the face of climate and planetary crises while at the same time undoing the crisis of modern humanism

Os processos que culminaram na independência de antigas colônias europeias afetaram disciplinas que, direta ou indiretamente, legitimaram o poder colonial. O movimento da Nova Museologia provocou ações que aproximaram o museu da comunidade, possibilitando a inserção dos grupos relacionados às coleções salvaguardadas dentro das instituições. Em contrapartida, a própria disciplina antropológica se reformulou, fornecendo ferramentas para a construção de um novo olhar sobre o acervo etnográfico. Nesse sentido, os museus têm elaborado projetos em parceria com
os povos relacionados às suas coleções e produzido novas relações com os objetos etnográficos. Na esteira dessas importantes experiências que fazem dos museus um lugar para discussões culturais e políticas que atravessam grupos diversos, proponho
narrar a experiência da exposição Dja Guata Porã: Rio de Janeiro Indígena, inaugurada em maio de 2017 no Museu de Arte do Rio (MAR), localizado na cidade do Rio de Janeiro.

Em 2018 foi realizada a exposição Maraka’nà Ra Pé, na Aldeia Maraka’nà, uma retomada indígena pluriétnica na cidade do Rio de Janeiro. O artigo apresenta o processo de elaboração da exposição, do qual participei, e discute a trama contextual da exposição, lançando mão das noções de espaço-dispositivo (Coletivo Contrafilé apud Zanatta, 2018) e deriva de sentido para abordá-la ética, estética e politicamente.

Počátky sbírky památek z války roku 1866 v královéhradeckém muzeu (1880-1913) *) Počátky moderního muzejnictví představují jeden ze společenských, kulturních i ekonomických fenoménů 19. století, které se nejen v prostředí českých zemí úzce pojilo jak se soudobou módní vlnou romantismu a následně historismu, tak i s rozvojem občanské společnosti a šířící se participací na spolkovém životě. 1) Po vzoru prvních muzeí ve Štýrském Hradci (1802), v Opavě (1814), Brně (1817) a Praze (1818) se tato vlna, kulminující během poslední třetiny 19. století, rozšila i do regionů. 2) V této době vzniklo nové městské muzeum také v Hradci Králové. 3) Podnětem k jeho ustavení se stala výstava starožitností a památností, řečeno dobovým slovníkem, z roku 1879, pořádaná v objektu královéhradecké reálky. 4) Čtyřdenní výstava, obeslaná jak městem Hradec Králové a dalšími obcemi, tak řadou soukromých osob, přitáhla zájem údajně 30 000 osob. 5) Tiskem publikovaný katalog obsáhl celých 32 stran textu. 6) O úspěchu akce vypovídá i skutečnost, že o dva týdny později se podobný výstavní počin uskutečnil z podnětu jednoty Jarboj také v nedaleké Jaroměři, kam se přesunula i jistá část exponátů, prezentovaných předtím v Hradci. 7) Po tomto úspěchu se ještě v říjnu roku 1879 obrátil výstavní komitét v čele s Ladislavem Chmelenským na představitele města Hradce Králové s ideou, aby bylo zřízeno městské muzeum. 8) V květnu roku 1880 věc projednalo městské zastupitelstvo v čele se starostou Karlem Collinem, v jehož řadách záměr hájil především náměstek starosty Ladislav Jan Pospíšil. 9) Vedle něj pak továrník Studie a články 68 *) Text je výstupem Interního výzkumného záměru Muzea východních Čech v Hradci Králové č. 202408. Při práci na studii byla využita databáze Bibliografie dějin Českých zemí [online], kterou poskytuje výzkumná infrastruktura LINDAT/CLARIAH−CZ (LM2023062). 1) Šíři problematiky poměrně ilustrativně shrnuje ZEMANOVÁ, Marcela-ZEMAN, Václav (eds.

Verder lezen Ulrike Müller, Hélène Verreyke en Tine D'haeyere, 'Between art historical representation and didactic functionality: The cast collection of the Royal Academy of Fine Arts of Antwerp', in Artium Quaestiones 34 (2023), 221-252. Carolien Van der Star, 'De Academie als museum? De erfgoedcollecties van de academie en de zorg ervoor', in Johan Pas e.a. (red.

Siamo lieti di annunciare le prossime Giornate Gregoriane, che si terranno presso il Museo Archeologico di Agrigento il 13 Dicembre e presso ilMuseoArcheologicodiPalermoil14dicembre2024.
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The museum, like the university, is a form of knowledge technology empowered by the European enlightenment and Western epistemology. This technology prioritises and enables a knowledge system based on observation, objectification, measurement, quantification and classification.

7. Canadian Ecomuseums and Climate Change: Assessing the Potential Glenn c. sutter 8. Climate actions of the Ecomuseu Ilha Grande (Brazil) for the Sustainable Development Goals GelsoM rozentino de AlMeidA 9. Climate action and Ecomuseum practices in Africa: the Ngorongoro Conservation Area Experience cHiArA rAzzAno 10. Community Crafts and Cultures in Costa Rica: community resilience in response to climate change KAren broWn, JAMie AllAn broWn, AltHeA dAvies, MAríA lAurA villAlobos, ronAld MArtínez villArreAl 11. The Cateran Ecomuseum's 'Museum of Rapid Transition' clAre cooPer 12. The importance of ecomuseums and local knowledge for a sustainable future: the La Ponte-Ecomuseu project ÓscAr nAvAJAs corrAl And Jesús Fernández Fernández 13. Ekomuzeum "Dziedziny Dunajca", Poland: steps to environmental sustainability bArbArA KAzior 14. Museums Planning for Cultural impacts. The case study of Parabiago ecomuseum (Italy) rAul dAl sAnto And douGlAs Worts 15. The "Ecomuseo Martesana" and the climate challenge edo briccHetti Notes on Contributors

Indice "Questo pittore […] ha il cervello stravolto". Introduzione alla mostra 9 Il Seppellimento di santa Lucia di Caravaggio: la fortuna delle copie e i particolari perduti 13 Vicende giovanili di Mario Minniti e qualche ipotesi sulla sua attività del periodo romano 27 Caravaggio e i napoletani: un ramo secco 37 Caravaggio e la Sicilia: i Florio, Stefano Tuccio, Giordano Bruno, Shakespeare ed altri fatti 41 Catalogo delle opere Caravaggio. Malta, la Sicilia: isole di fuga 49 Verso il Barocco 109 Bibliografia 147

Juan de Figueroa, architetto d'argento e d'oro, nelle corti di Felipe V e di Fernando VI M T C Y, UNIVERSIDAD COMPLUTENSE DE MADRID I gioielli della Duchessa di Cesarò. Nuovi inediti frammenti dall'inventario del 1740 E D'A,

Since its creation, in 2008, Europeana has decisively fostered the digitisation and dissemination of cultural heritage from European archives, libraries, galleries and museums. Although visual arts and architecture have a central presence in Europeana Collections, more often than not, the information about museum buildings and exhibition spaces tends to be scarce or difficult to find.
Considering that architecture is intrinsically associated with the social and cultural role of museums as memory institutions, this paper aims to discuss the underrepresentation of museum spaces in Europeana Collections, highlighting the importance of a more substantial investment in the digitisation and uploading of existing materials (e.g. photographs and drawings), as well as in the production of born-digital items related to museum buildings (e.g. videos and 3D models). Furthermore, the authors suggest that Europeana should introduce new search functionalities, themes and online exhibitions to increase the visibility of museum architecture.

The article was created as part of research on wartime losses of the Leon Wyczółkowski District Museum in Bydgoszcz. It describes the history of the African collection belonging to the Historical Society of the Noteć Oblast, which from 1923 belonged to the City Museum. In 1944, the collection, along with other collections of the Museum, was taken to Dębowo for protection. According to people involved in the return of the objects to Bydgoszcz, the manor house was burned down and the exhibits hidden there were destroyed. The collection was considered a wartime loss. However, it turned out that this was false information, and the collection was transferred in 1950 to the Folk Cultures Museum in Warsaw. The text analyzes documents describing the history of the collection, compares preserved inventories and lists, and attempts to trace the post-war fate of the collection.

Ning Liu, arquitecta, cofundadora de la empresa Building for Climate. Laurent Ricard, jefe del departamento de edificios y seguridad, centro de conservación del Museo del Louvre en Liévin-Francia. Sesión moderada por Ann Bourgès, secretaria de ICOMOS Francia y Hélène Vassal, miembro de ICTOP.

Hélène Vassal: We decided to open this series with a session about sustainable architecture and built heritage. What could be more natural than talking about buildings, the natural envelope which, yet limited, protects our precious collections? Environmental requirements now force us to think differently about our relations to conservation, in contexts that sometimes raise debates. This evening, I hope we will lay the foundations for this discussion. We will attempt to identify sources of inspiration through examples that, thanks to their systemic approach, highlight the most appropriate tools and strategies. The art of architecture remains, by definition, the art of compromise and adaptation, the art of "embracing complexity", to quote architect Nicola Delon.

La presente propuesta analiza el rol de las mujeres como sujetos activos en las redes de articulación social, política y económica de la Antigüedad tardía hispana a partir del análisis de las notitia cibariae. La presencia de mujeres en las piezas es un elemento diferencial y destacado dentro del conjunto de evidencias epigráficas de la península de época tardoantigua: en los listados aparecen mujeres individualizadas con su antropónimo personal junto al resto de nombres y cantidades. A partir de las notitiae han sido planteadas, por un lado, diversas interpretaciones respecto a las actividades económicas gravadas en las pizarras y el papel de la mujer en la praxis cotidiana del marco rural en la Antigüedad tardía. Por otro lado, las categorías recogidas permiten aproximarse a las concepciones de género, clase e incluso etnicidad en la Hispania de los siglos VI a VII.