 Subjects -> MUSEUMS AND ART GALLERIES (Total: 56 journals)
|
|
|
- Foreword
Authors: Ulrike Spring, Janicke S. Kaasa
Pages: 6 - 8
PubDate: 2024-07-08
DOI: 10.5617/nm.11589
Issue No: Vol. 36, No. 1 (2024)
- Of Goavddis and Runic calendars
Authors: Erika De Vivo
Pages: 9 - 27
Abstract: Sámi artefacts are today exhibited in numerous European museums. Since the Renaissance, members of the educated elites were fascinated by the North and acquired Sámi items for their private cabinets of curiosities. Over the centuries most of these collections were dispersed. In a few cases though, some of the items once in these modern collections re-emerged from the past, to be displayed in contemporary museums. This is the case for a few Sámi artefacts currently part of Italian and Vatican collections: a goavddis and a Sámi runic calendar. The paper retraces the stories and histories of these objects, addressing colonial practices and ideologies connected with the acquisition of Indigenous artefacts in Modern Europe. In doing so, this contribution highlights how the presence of these coveted commodities in early museums bore witness to entangled colonial histories.
PubDate: 2024-07-08
DOI: 10.5617/nm.11590
Issue No: Vol. 36, No. 1 (2024)
- Whales as a Nordic speciality
Authors: Alexandre Simon-Ekeland, Lene Liebe Delsett
Pages: 28 - 43
Abstract: Whales are not specifically Nordic animals, but Nordic whales have been central in European natural history collections since the second half of the nineteenth century; this article analyses how this came to be. Several factors came into play: the interest in whales among many researchers and curators working in natural history museums, the development of modern whaling from the 1860s, and the development of networks of exchange and sale of scientific specimens. We study these three factors through the traces they have left in the museums’ catalogues, in archives, and in the collections themselves and argue that, individually, these factors would not have had such a big impact. It is their combination in this period that has given Nordic whales such a central place in natural history collections.
PubDate: 2024-07-08
DOI: 10.5617/nm.11591
Issue No: Vol. 36, No. 1 (2024)
- Tourism, Im/mobility and the University Collections in Norway,
1870–1914
Authors: Ulrike Spring
Pages: 44 - 63
Abstract: This article explores the cultural collections at Det Kongelige Frederiks Universitet in Christiania (now Oslo) from the perspective of German-language tourists between the 1870s and 1914. It takes for its starting point the early history of tourism and museum collections as a story of the entanglement of the mobile and the immobile, of movement and stoppage. It argues that examining this entanglement provides insight into the complex processes of nation-building, which are formed in an interplay between tourist ascriptions and national self-images. Moreover, the museum objects’ spatial relations – the location and context in which they were exhibited – had a decisive impact on their perception and interpretation. Using guidebooks and travelogues as primary sources, the article discusses four of the most popular collections: the Viking ships, stave church portals, Sámi artefacts and objects brought back from the Gjøa expedition, in particular artefacts made by the Netsilingmiut/Nattilik.
PubDate: 2024-07-08
DOI: 10.5617/nm.11592
Issue No: Vol. 36, No. 1 (2024)
- “The Corner Case Contains an Arctic Scene”
Authors: Ryan Nutting
Pages: 64 - 86
Abstract: Following examples such as The Arctic and the British Imagination by David and Imagining the Arctic by Lewis-Jones this work focuses on the changing interpretations of the idea of the Arctic as it follows the interpretation of a taxidermied polar bear over approximately sixty years in three different exhibitions. Beginning in the 1880s this polar bear represented the resources available in the Arctic at international exhibitions. When the polar bear entered the Horniman Free Museum (London) in 1890 the interpretation changed to represent the wildlife of the Arctic in an “Arctic Scene”. Finally, in the twentieth century, the polar bear’s interpretation changed again to stress the evolutionary differences between large mammals, specifically those of the Arctic. Although the museum sold the polar bear in 1948, the analysis of this object in these institutions presents a model for understanding the construction and colonial interpretations of the Arctic in the late nineteenth and early twentieth centuries.
PubDate: 2024-07-08
DOI: 10.5617/nm.11593
Issue No: Vol. 36, No. 1 (2024)
- Collecting the Andrée expedition
Authors: Janicke S. Kaasa
Pages: 87 - 101
Abstract: The article investigates the circulation of objects from the Salomon A. Andrée expedition (1897), examining the reproduction and recontextualization of written records in four Swedish works: Med Örnen mot polen (1930), Per Olof Sundman’s documentary novel Ingenjör Andrées luftfärd (1967), and his compilation Ingen fruktan, inget hopp (1968), and Bea Uusma’s Expeditionen (2013). The article approaches these writings through the prism of collecting, exhibiting, and curating, as part of the extended archive of the Andrée expedition, and argues for an understanding of books as important in circulating objects to a reading audience in ways that shape the expedition’s afterlife.
PubDate: 2024-07-08
DOI: 10.5617/nm.11598
Issue No: Vol. 36, No. 1 (2024)
- The artists’ colony of Ekensund
Authors: Hendrik Heft
Pages: 102 - 113
Abstract: The Museumsberg Flensburg, a museum for art and culture at the northern border of Germany, collects especially objects of fine art made around the Flensburg Fjord. The landscape at this part of the Baltic Sea is characterized by sandy beaches, forests which grow directly at the brink of the water and smooth rising hills. The specific profile of the region became popular among landscape painters in the late nineteenth century. They founded an artists’ colony and their paintings created and spread the image of this place. Today, visitors can experience this image, which is a suggestion of maritime lifestyle and the mixture of German and Danish culture, in the picture gallery at the Museumsberg. Even tourist agencies still use photos, films and other media to advertise the fjord as an idyllic paradise for outdoor activities. Telling the history of landscape painting at the Flensburg Fjord and how these artworks became an integral part of a museum collection reveals how the image of this region was born 150 years ago and developed until today.
PubDate: 2024-07-08
DOI: 10.5617/nm.11594
Issue No: Vol. 36, No. 1 (2024)
- Presentation of a new editor: Inkeri Hakamies
Authors: Inkeri Hakamies
Pages: 114 - 115
Abstract: Presentation of Inkeri Hakamies
PubDate: 2024-07-08
DOI: 10.5617/nm.11595
Issue No: Vol. 36, No. 1 (2024)
- What might a posthuman museum education look like'
Authors: Lise Camilla Ruud
Pages: 116 - 135
Abstract: In the article, a posthuman approach is used to analyze situations that occurred during an art learning program at a Norwegian museum, organized by The Cultural Schoolbag (Den kulturelle skolesekken). The concepts of collaboration and attentionality are employed as implications of a posthuman museum education are discussed. Museum education is analyzed as broad collaborations where human and non-human actors are interconnected. The analysis argues that ethical and instrumental considerations can work together in museum education, and that posthuman education may encompass all types of museum objects.
PubDate: 2024-07-08
DOI: 10.5617/nm.11597
Issue No: Vol. 36, No. 1 (2024)
- Participation as co-creation in partnership between museum and school
Authors: Gunhild Rikstad, Mari-Ana Jones
Pages: 136 - 151
Abstract: “Can we make a TikTok about Grainnbergan' Or build it in Lego' Or make a puppet show'” asked excited students after visiting Grainnbergan, an abandoned homestead in Inderøy municipality in Norway. Employees from Museene Arven and students from the local school tested out participation and co-creation in a shared exploration of the historical site, with exciting results. Participation has been highlighted and mandated in schools and museums in recent years. Both, however, report misunderstandings and challenges (Jones 2022; Lynch 2011). More knowledge is needed about participation and co-creation in practice, and this article presents a retrospective analysis of the Grainnberganproject which provides some answers. Findings suggest that museums and schools have much to learn from each other and the students. There are important practical and structural aspects to consider, there is a need for shared understandings and the development of necessary competencies to work in co-creative partnerships.
PubDate: 2024-07-08
DOI: 10.5617/nm.11599
Issue No: Vol. 36, No. 1 (2024)
- Tasting local history
Authors: Stinne Gunder Strøm Krogager, Louise Ejgod Hansen, Hans-Peter Degn, Rasmus Thorup Kildegaard, Anne-Lotte Sjørup Mathiesen, Vibeke Knöchel Christensen
Pages: 152 - 169
Abstract: This article discusses how museums can disseminate the cultural history of food by cooking, tasting, and sharing meals. The article builds on vast data from a food culture project (SPIS Ma/eD) conducted in Lolland-Falster, the southeastern part of Denmark, between 2020 and 2023. The analysis centres on three key findings: the social aspect of sharing experiences and meals, the dialogical dissemination of cultural food history, and sensory engagement through cooking and tasting. The article concludes that cooking and dining together with other museum visitors enriches the museum experience and transforms it into a highly sensory and social event that links history to the present everyday life of the participants. The SPIS Ma/eD project also demonstrates the value of integrating food culture into the communication and dissemination practices of museums. This integrated approach to the local community, educational institutions, and innovative events has created a model that may inspire other museums.
PubDate: 2024-07-08
DOI: 10.5617/nm.11600
Issue No: Vol. 36, No. 1 (2024)
- The Last Starfighter
Authors: Jim Gledhill
Pages: 170 - 185
Abstract: Museum objects have the potential to act as powerful symbols of national identity and modernity. This article examines the three lives of Starfighter 637, a Norwegian military aircraft that flew in the Arctic during the Cold War before becoming an exhibit at the Norsk Luftfartsmuseum and finally being restored to fly again by a group of aviation enthusiasts. The case study of the Starfighter considers the role of socialisation in generating a military object’s meanings and value as cultural heritage, but also how museums can convey the kinetic experience of flying.
PubDate: 2024-07-08
DOI: 10.5617/nm.11596
Issue No: Vol. 36, No. 1 (2024)
|
Open Access journal
