Ar muziejus tampa šiuolaikinės kultūros simboliu?
| Author | Affiliation | |
|---|---|---|
LT | ||
Jankevičiūtė, Giedrė | Vilniaus dailės akademija | LT |
| Date |
|---|
2018 |
Šiais metais Vilniuje atidaryti net du privatūs muziejai – MO muziejus ir Meno pažinimo centras „ Tartle“. Tai žaidėjai, kurių reikėjo Lietuvos muziejų laukui sukrėsti ir atgaivinti, – mano menotyrininkė Giedrė Jankevičiūtė, kurią kalbina kolegė Linara Dovydaitytė. Jųdviejų pokalbyje – svarstymai apie pakitusią Lietuvos kultūros lauko situaciją, privačius kolekcininkus ir valstybinio muziejaus kuratorius, apie kolekcijų skirtumus ir neišvengiamą sąryšį bei įtampą, kuri gimdo papildomą pastangą ir aukštesnę, naują kokybę. Galiausiai keliamas klausimas, ar meno muziejus iš tiesų gali tinkamai įgyvendinti „dalyvaujamojo muziejaus“ viziją.
This year Vilnius has seen openings of not one but two private museums, the MO Museum and the Lithuanian Art Center “ Tartle”. These are the players that were needed to shake up and revive the field of Lithuanian museums, according to art critic Giedrė Jankevičiūtė, interviewed by her colleague Linara Dovydaitytė. In the interview, they discuss the changed situation of the Lithuanian cultural field, private collectors and state museum’s curators, the differences in collections and the inevitable relationship and tension that gives rise to additional effort and new, better quality. Finally, the question arises as to whether an art museum can actually implement the vision of a “participatory museum”. What challenges do state-owned museums living in a constant state of shortage face due to private-sector’s collecting activities? Without the exhibits of private collections today it would probably not be possible to thoroughly present the processes that took place in our art at the end of the 20th century and at the beginning of the 21st. The state has missed an important stage of its own history. On the other hand, neither one of these three collections nor any other private collection could surpass what has been accumulated in state museums, that preserve the national gold fund of art. Another issue is that museums are not sufficiently publicizing their accumu - lated wealth, they keep it locked in their repositories. Private collectors are more agile and active than major museums. Another challenge is noticed when talking about the content of private collections. Private collectors are satisfied with what was not included in museum collections and circulates on the market. The MO Museum’s orientation towards the visitor’s training and education – whether it be children or families, or just curious people of all ages – definitely impresses me. However, this is just one of the many functions of the museum, the pinnacle, so to speak.[...]