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EN
Museums can no longer pretend to be mere containers of art or other cultural treasures; their fascinating legacy for posterity is definitely not just the respective collection, but also its idiosyncratic articulation and ulterior resignification. This essay surveys sifting trends in the re-staging of modern museographies; but instead of using New York’s MoMA as the obvious paradigm, pride of place is given here to the Muzeum Sztuki in Łódź (Poland). Its original Neoplastic Hall survived only from June 1948 until October 1950; but it was reconstructed ten years later, prefiguring other museographical remakes of avant-garde art displays. Thereafter, it also became, in many ways, a typical example characterising postmodern museological trends. All in all, it could perhaps be discussed nowadays in the light of critical museology as a referential case in the history of heritagised museographies.
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EN
A Polish artist Jozef Robakowski founded the Exchange Gallery in Lodz, Poland in 1978. It was a gallery in name only. Its true function was to unofficially serve as an archive and a meeting place for artists. The materials in the archive were of equal value; they were an expression of independent communication, mutual respect and shared opposition towards the communist regime. In 2003, Robakowski began to prepare a donation of the archive of the Exchange Gallery to the Muzeum Sztuki (Art Museum) in Lodz.
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