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1

Biblia, toga, fisharmonia… Pamięć o ewangelikach na wystawach muzealnych Mazur

100%

Sacha M. I.

Przegląd Zachodni

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2017

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issue 3(364)

95-120

EN

The article deals with the contemporary museum landscape on the territory of historical Masuria. Assuming – first of all – that the historical pillars of Masurian identity before the Second World War comprised the Polish language and evangelical denomination, and – secondly – that museums are institutions whose purpose is to archive, select and present artifacts as well as construct narration about the cultural memory of a group, the author of the article poses the question of the current presence of evangelical themes at the exhibitions of selected Masurian museums. An exhibition is understood here as a message addressed to receivers, and therefore the author uses the method of semiotic analysis of the visual stratum of selected exhibitions. The choice of the exhibitions discussed in the article is limited to museums located at operating evangelical churches (Museum of the Reformation in Mikołajki) or in former sacral buildings abandoned by evangelicals after 1945 (exhibitions on the premises of the open-air ethnographical museum in Olsztynek).

2

Luźne refleksje o historii sztuki na obszarze muzealnictwa

100%

de Rosset T. F.

Przegląd Zachodniopomorski

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2018

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issue 2

27-36

EN

The history of arts in a museum does not create a theory, but responds to detailed questions. In that way it always remains in direct relations with the core of the structure of the ‘museological sense’. First of all, it accompanies all the stages of creating collections, which include a preliminary analysis to assess acquisitions and a later evaluation of those acquisitions to catalogue them. The questions evident for a museologist are the ones concerning attribution, dating, iconography, technique and technology, stylistic features. The conclusions resulting from such examinations are the basis for the museum expositions. It is the essential aspect of the history of arts in museums. The aims of education in the sphere of the history of arts for the needs of museology might be presented in a similar way. This discipline marks the intellectual, cultural and artistic framework for museums, but it has to be transformed into what is called expertness. Education in museology is twofold, as it is not only the formation of workers (shaping and enriching them), but also the educational activity of the museum directed outwards, towards the audience. The history of arts offers an operational model – first of all – of its own classification according to the chronological and stylistic rules together with a specific universalism, aspiration for a holistic approach. The museum is a place of arts, but from a historical point of view it is one of many places of arts, because throughout the history places of arts were caves, ancient temples, Christian churches, feudal castles, aristocratic palaces, urban tenement houses of the bourgeoisie, auction houses, stores, galleries, artists’ ateliers; and now – just museums, but also universities, whole towns as urbanistic layouts, factories, even individual buildings, conservation workshops, and last but not least the places where the contemporary creator works (a traditional atelier, an office, a computer room, a squat, or whatever else). Each one of them creates a separate – although entwined with others – area, which has its own history of arts and in a way is different from all the others.

PL

Historia sztuki w muzeum nie tworzy teorii, ale odpowiada na szczegółowe kwestie. W ten sposób w każdej sytuacji pozostaje w bezpośrednich relacjach z samym rdzeniem struktury „sensu muzealniczego”. Po pierwsze towarzyszy wszystkim etapom gromadzenia zbiorów, bo wiąże się z tym już wstępna analiza i ekspertyza dla dokonania nabytku oraz późniejsze jego opracowanie (inwentaryzacja i katalogowanie). Są to oczywiste dla muzealnika pytania o atrybucję, datowanie, ikonografię, technikę i technologię wykonania, cechy stylowe. Wnioski z tych badań stanowią następnie podstawę muzealnych ekspozycji. To najistotniejszy aspekt działania historii sztuki w muzealnictwie. Podobnie można też przedstawić cele edukacji w zakresie historii sztuki dla potrzeb muzealnictwa. Dyscyplina ta wytycza ramy intelektualne, kulturalne, artystyczne działalności muzealnej, ale potem musi przekształcić się w to coś, co nazwiemy znawstwem. Edukacja w muzealnictwie ma wszak dwa oblicza, bo to nie tylko formacja pracowników (jej kształtowanie i wzbogacanie), ale także działalność edukacyjna muzeum kierowana na zewnątrz – ku odbiorcy. Historia sztuki dostarcza modelu operacyjnego, przede wszystkim swojej własnej klasyfikacji wedle reguł chronologiczno-stylowych wraz ze swoistym uniwersalizmem, dążeniem do ujęcia całości. Muzeum jest miejscem sztuki, ale rzecz biorąc historycznie jest ono jednym z wielu miejsc sztuki, bo jest nim tak jak w różnych momentach dziejów były prehistoryczne groty, antyczne świątynie, chrześcijańskie kościoły, feudalne zamki, arystokratyczne pałace, mieszczańskie kamienice, domy aukcyjne, magazyny, galerie, atelier artystów; obecnie zaś – właśnie muzea, ale też uniwersytety, miasta w ogóle jako układy urbanistyczno-architektoniczne, fabryki, a nawet pojedyncze budynki, pracownie konserwatorskie i laboratoria je wspierające, no i wreszcie last but not least miejsce, gdzie pracuje współczesny twórca (tradycyjne atelier, biuro, sala informatyczna, squat, czy cokolwiek innego). Każde z nich tworzy osobny – chociaż przeplatający się z innymi – obszar, który ma własną historię sztuki i na swój sposób jest ona różna od innych.

3

O zapętleniu. Relacja muzeum – dziedzictwo kulturowe

88%

Czachowski H.

Rocznik Antropologii Historii

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2016

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issue 9, Dziedzictwo kulturowe

171–185

XX

The text discusses the mutual relations that occur between cultural heritage and a museum. The thing that seems obvious hides many problems and much controversy underneath. A lot depends on the assumed definitions of both terms which are constantly being reconstructed. In particular, the adoption of a new perspective on heritage delivers new aspects to the analysis of this relationship. The importance of heritage to contemporary man is especially emphasised, it is perceived and defined and in principle constantly redefined from scratch by new generations. The questions that occur asks whether the museum collections are in fact the objective and complete representation of a particular heritage or are they just a fragment of a past reality depending on many factors including the subjectivity of the custodians and curators who create them and the financial resources of the museum institutions. A similar question can be asked about the message of museum activities conveyed through exhibitions and educational activities. It is also important to be aware that the stored collections and their presentation depend on ideologies connected to the dominant culture. The next aspect is the use by various local or ethnical groups of the heritage gathered in this way as an important element which allows to determine their contemporary identity over again. Finally, there is a problem presented – which may seem paradoxical – whether in some cases the museum collectorship makes the cultural heritage poorer by taking elements from the contemporarily functioning culture and locking them away in the museum display areas and storerooms.

4

„Tym razem wybierz sam !” Dokumenty życia społecznego z okresu kampanii wyborczej do Sejmu i Senatu PRL 4 i 18 czerwca 1989 roku w zbiorach Domu „Gazety Olsztyńskiej” ODDZIAŁU MUZEUM WARMII I MAZUR W OLSZTYNIE

88%

Syrwid R.

Komunikaty Mazursko-Warmińskie

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2020

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issue 2(308)

283-292

EN

The June 1989 elections to Sejm and Senate were conducted as a result of the Round Table agreement between the PRL government and parts of the opposition, gathered around the Citizens’ Committee led by the Head of NSZZ “Solidarność”, Lech Wałęsa. The elections were an important step towards overthrowing the Communist system, regardless of serious concerns about their formula, sanctioned by an ordinance with a non-democratic division of mandates in the Sejm which was to guarantee majority to the ruling camp. In the House of ”Gazeta Olsztyńska”, Branch of the Museum of Warmia and Mazury in Olsztyn, it is possible to find nearly 1.5 thousand inventory units; this collection of materials gathers mostly items made by all-Poland structures, but also contains those of the regional NSZZ “Solidarność” circles in the years 1980–1989. The article discusses over three hundred records of social life during the election-related campaign and the parliamentary elections of 1989, distinguished from the overall volume of available sources. These are mainly posters, photographs, banners, stickers, flyers, along with forms, instructions, trade union bulletins and election guides. Particular attention is devoted to those manufactured by the “Solidarność” Citizens’ Committee of Warmia and Masuria.

5

Časopis Národního muzea v letech 1827-2012

88%

Woitschová K.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2013

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vol. 100

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issue 1

5-26

EN

The article deals with the circumstances of founding, subsequent development and the most important characteristics of the Časopis Národního muzea (founded 1827). It also describes and analyses the institutional and social-political context of the important milestones in the history of this periodical that belongs to the oldest scientific journals in Central Europe focused on history, linguistics and cultural history.

6

Etnografie ve studijních programech Slezské univerzity v Opavě

88%

Veselská J.

Národopisný věstník

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2008

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vol. 25_(67)

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issue 2

54-63

EN

The independent department of History and Museology of the Faculty of Arts and science of Silesian University in Opava was launched in academic year 1992-1993. However, the study of museology had already been implemented in 1990 at the department of Literary studies, Museology and Photography. Theoretical museology was based upon historical studies of material culture and the collection and protection of cultural and natural heritage. It was supplemented with topics from art history, ethnographical lectures and seminars became part of the syllabus; the first lecturer was PhDr. Jaroslav Štika, Csc. Mgr. Jiřina Veselská lectured between the years 1995-2008. She was replaced by PhDr. Věra Tomolová in 2008. Within the framework of their studies, students are requested to complete one ethnographical proseminar, two seminars and a compulsory course Introduction to Ethnography. They can also attend another optional course. Studies are focused on the clarification of terminology, history of discipline, methods of research, the documentation of traditional culture and the management, maintenance and presentation of ethnographical collections. The optional course, also attended by students enrolled on unrelated study programs, concentrates on the transformations of contemporary village life. High numbers of students that are attending particularly the optional courses show evidence of interest in the documentation of traditional culture and the preservation of material artefacts in museums. After passing ethnographical courses, many students have chosen ethnographical topics as subjects for their bachelor’s and master’s theses (e.g. documentation of the production of non-professional woodcarvers, traditional clothing deposited in museums, bibliographies, contemporary handicrafts, editions of sources, catalogues of collections). The list of these works concludes this essay.

7

Dorobek i perspektywy badań nad życiem i działalnością Stanisława Kostki Potockiego prowadzonych w Muzeum Pałacu Króla Jana III w Wilanowie. W dwusetną rocznicę śmierci

88%

Kwiatkowska A., Paprocka-Gajek J.

Studia Wilanowskie

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2021

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vol. XXVIII

21-39

EN

The museum established in the Wilanów residence by Stanisław Kostka Potocki was the first art museum in Poland. Today, on the bicentenary of the death of its founder, we reflect upon the activities and prospects for research on Potocki's legacy conducted with the participation of the Museum of King Jan III's Palace at Wilanów. In 2014, in cooperation with the Winckelmann Society, the Museum initiated the project “Johann Joachim Winckelmann i/und Stanisław Kostka Potocki. Nowe badania i dokumenty/Neue Forschungen und Dokumente”, aimed at studying the influence of Winckelmann's works on art collecting in Central Europe, including the activity of Stanisław Kostka Potocki. As part of the project, a German translation of Potocki's most important work, O sztuce u dawnych, czyli Winkelman Polski, has been published. The popularisation of Potocki's output is also carried out by way of organising numerous scientific conferences and publishing studies on his literary legacy (cf. O spuściźnie literackiej Stanisława Kostki Potockiego. Studia i szkice), political activity (M. Getka-Kenig, Stanisław Kostka Potocki. Studium magnackiej kariery w dobie upadku i “wskrzeszenia” Polski), the ways of developing his collection of works of art, as well as the stories of individual objects therein, such as the image of the Salvator Mundi by Leonardo da Vinci or the portrait of Stanisław Kostka Potocki by Jacques-Louis David. At the same time, research is being carried out on Potocki's collection itself, as well as on his manuscripts and letters. The results of this research are presented in the form of exhibitions organised by the Museum (“Leonardiana in Polish Collections”) and numerous articles published in Wilanów Studies. The profound change, currently underway, of the profile of both the permanent and temporary exhibitions in the interiors of the Wilanów Palace aims to emphasise the significance of the Enlightenment idea of collecting as practised by Stanisław Kostka Potocki. The section of the exhibition on the first floor of the palace, presenting the art collecting achievements of the third generation of the Potocki family in Wilanów, will be made available to the public in 2022.

8

Mitte ainult mängu asi

88%

Grauberg H.

Mäetagused

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2024

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vol. 89

77-92

EN

Doll Lottchen is an example of a museum object that has changed its nature and functions throughout its lifespan, so it can be described as a toy and as a comfort object, but also as a symbolic item of personal childhood and national identity, and a delicate museum object with restrictions in use. Doll Lottchen belonged to Anne, who was given it as a gift in 1947, during a film shooting in Saint Petersburg (then Leningrad) by the host of a local family, when she was four years old. She found the little smiling doll lovely and called her Lottchen. Anne believed that the doll was produced in Germany and was probably taken as a trophy by some Soviet soldier at the end of the Second World War, but the moulded mark shows that the doll was made in Okhta factory in Russia. Its origin is still unclear as Rheinische Gummi- und Celluloid fabrik in Germany indeed launched a similar doll called Mädi between 1930 and 1957. The Okhta factory used German moulds in the 1930s and 1940s. Sometimes detecting the history of the previous usage of a museum object needs effort and time; for Lottchen the material was collected within eight months of communication with the donator. As Lottchen was an affective object or sensitive object (Frykman and Frykman) there are various memories about it. Anne describes three dramatic episodes from her childhood, during which the doll was either temporarily lost or broken by a dog. At the age of ten the life story of Anne and the story of her favourite doll intersected. Accidentally Anne learned from a tipsy neighbour that she was actually a “German girl”. During two years, when she kept this shocking information a secret and made a new costume for the doll, her doll Lottchen acquired a new meaning. When Anne became 12, it was revealed that she had been rescued by her Estonian stepmother from Königsberg in 1946. By then the city had been destroyed by the allies and occupied by the Soviet forces; thousands of civilians had died of diseases and starvation. Anne was three and a half, her biological family had lost the father and two other children, and little Roswitha Anne Browarzyck (her actual name) was very fragile, with her feet swollen from hunger. Miraculously escaped to Estonia with her future stepmother, she had to hide her East-Prussian origin and was not allowed to speak German. So she quickly forgot her real identity. When finally donating the doll to the museum, Anne sent her off with the following words of farewell: “May you, dear Lottchen, have many good friends and excitement on every day at the toy museum! Maybe I’ll come to see you sometime! Hugs, your Rose (that’s how I was called at home).” As toy museums tend to be places of childhood nostalgy and the Tartu Toy Museum is no exception, there are some dilemmas about dealing with this kind of objects. As they are made of hazardous and fragile celluloid, the best way to preserve them is to keep them in controlled conditions in the repository. Today doll Lottchen is kept this way. However, as a modern museum would like to exhibit its items and share its collections with visitors, there are ethical questions of how to organise it. It is argued whether the happy-faced doll could be displayed in a showcase together with other celluloid dolls without any explanations, to follow the toy museum’s current policy to keep any war themes or sensitive topics of children’s life as silent as possible. Or should toy museums take a more active part in highlighting uneasy topics and white spots in history? Today the world is dangerous and the ongoing war in Ukraine raises questions about war, forcing parents to find ways to answer them. By means of historical stories about toys and children to whom they belonged, museums could contribute to this task. It seems that the best way could be to conduct visitor´s research among children and adults both through surveys and observations. In this way it could be possible to find out what is preferred and whether and how to deal with difficult topics through temporary exhibitions, events or museum education.

9

The Collection of Egyptian Mummies of the University of Warsaw and their Role in the ‘Prehistory’ of Polish Egyptology

88%

Ejsmond W., Ożarek-Szilke M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2022

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issue 35

7-37

EN

The University of Warsaw has a collection of ancient Egyptian objects, including four human mummies (200334 MNW, 236805/3 MNW, 236806 MNW, along with the mummy remains under two numbers KMS St. 0089 and KMS St. 0096 from the coffin 236804 MNW). They were donated by various persons in the nineteenth century. This paper establishes their dating, history, provenances, and research history in the context of the university’s antiquities collection, interests in ancient Egypt, and the development of Egyptology in Poland, especially in Warsaw. Previous studies on the subject were problematic owing to the limited and dispersed nature of sources and the fact that some of them were ambiguous and sometimes contradictory. Since then, more information has become available, especially computed tomography and X-ray scans of the mummies made by the Warsaw Mummy Project in cooperation with the National Museum in Warsaw. This has allowed further elaboration on the history of the collection and to re-establish identities of some of the deceased.

10

Folk culture specialists?

88%

Brzezińska A. W.

Nauka

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2009

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issue 3

PL

Every discipline has its own special terms regarded to be the “difficult” ones. Very often these are part of the achievements of many generations of scholars, in the same time being components of colloquial language. Such an example for ethnology would be „folk culture”. The term is popularly understood as idealized pictures of Polish camp’s social life. For specialists, though, the term is very wide-ranging, multidimensional and set in a specific historical context. Still there is a ground for agrement and creation between academic research and popular understanding that involves activities taken by employees of cultural institutions. In their struggle to respond to a public demand, they face a dilemma of how folk culture should be widespread. On one hand, they see the presented topics to be appealing, they also recognize the possibilities lying in its educational values (craft’s demonstrations and workshops). On the other hand, they are aware of its artificialness and of their setting up meanings yet outdated. These dilemmas may as well be associated to the way ethnologists are educated in the field of regional cultures, where they are trained for potential ‘specialists’ of folk culture.

11

W sprawie początków muzealnictwa polskiego: muzea starożytności

88%

de Rosset T. F.

Czasopismo Zakładu Narodowego im. Ossolińskich

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2023

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vol. 34

59-79

EN

Not without reason, the cradle of the Polish museology is the establishment of a museum in Puławy by Izabela Czartoryska, née Flemming. Earliest museum institutions also include Muzeum Lubomirskich w Zakładzie Narodowym im. Ossolińskich we Lwowie [The Lubomirski Museum at the National Ossoliński Institute in Lvov], where the term ‘museum’ was for the first time used to denote a place for collecting objects and rendering them available for public as exposition (which, due to housing problems, proved initially difficult). Nonetheless, the mid 19th c. marks the first and real outset of museology that abounds in fruitful consequences for the Polish culture, which was also connected with establishing museums of antiquities in each provinces of the country (under partition). The paper predominantly refers to Muzeum Starożytności Towarzystwa Naukowego Krakowskiego [The Museum of Antiquities of the Kraków Scientific Society] (1850), Muzeum Starożytności hr. Eustachego Tyszkiewicza w Wilnie [The Museum of Antiquity in Vilnius founded by Eustachy Tyszkiewicz] (1855), and Muzeum Starożytności Polskich i Słowiańskich Poznańskiego Towarzystwa Przyjaciół Nauk [Museum of Polish and Slavic Antiquities of the Poznań Society for the Advancement of Arts and Sciences] (1857). The group is complemented by two Warsaw museums, namely Muzeum Konstantego Świdzińskiego [Museum of Konstanty Świdziński], the then well-known antiquity scholar, included into and presented in Krasiński Library (1860) and Muzeum Starożytności Szkoły Głównej Warszawskiej [Museum of Antiquity of the Main School of Warsaw] (later Cesarski Uniwersytet Warszawski) [Imperial University of Warsaw] founded by Hipolit Skimbrowicz (1869), as well as Muzeum Towarzystwa Naukowego w Toruniu [Museum of the Society of Arts and Sciences in Toruń] (1875).

12

Pejzaż muzealniczy Austro-Węgier

88%

Rampley M., Mojsak Ł.

Czasopismo Zakładu Narodowego im. Ossolińskich

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2023

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vol. 34

13-57

EN

The museum world was consequently multilayered, with older forms of collecting and display coexisting with emergent practices, purposes, and values often in conflict with one another. This is addressed in the article, which provides an overview of the museological landscape in the Habsburg domains, the origins of the most significant collections, and the evolution of museums during the nineteenth century.

13

Studia muzeologiczne na Uniwersytecie Rzeszowskim – próba odpowiedzi na zapotrzebowanie muzeów XXI wieku

88%

Trybała-Zawiślak K.

Materiały i Sprawozdania Rzeszowskiego Ośrodka Archeologicznego

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2017

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vol. 38

315-324

EN

The article presents the main goals and assumptions involving the initiative to create a course of museum studies at the University of Rzeszów and its curriculum has been also briefly described. It was pointed out that museum studies with a specialization focused on museum education and obtaining a master’s degree in this field are, so far, the only ones in Poland. Moreover, the most important scientific, organizational and didactic achievements have been described, as well as the possibilities for further development of this field of study.

14

Colonizing Knowledge: New Museology as Museology of News

88%

Krstović N.

Prace Etnograficzne

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2020

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vol. 48

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issue 2

125-139

EN

The paper examines the impact and influence of the Peter Vergo’s book The New Museology and the ways it colonized the knowledge already existing outside United Kingdom. It discusses the concepts that existed before the 1989 book following the development of La Nouvelle Museologie and ecomuseums, ideas spread at conferences, symposiums and round tables, diverse declarations and resolutions. Also, beyond the New there is the narrative of museology itself and its past in the centers outside the “traditional” centers of colonial powers. The paper follows the early development of ideas in East Europe and Poland and the practical solutions recently developed in the country in a relation to British publication.

15

Wspólnota śmiechu muzealników (Szkic do dalszych studiów)

88%

Soćko-Mucha A.

Prace Etnograficzne

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2020

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vol. 48

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issue 3

253-269

EN

The subject of the article is the occupational humor of museum employees and the laughter community connected to it. The author shows which aspects of work in a museum trigger off comical effect according to the employees themselves. The research material comes from the author’s personal experiences as well as the interviews with other staff members and Facebook fanpage Muzealnicy. The author tries to answer the question concerning the cultural and social functions of the laughter community of museum employees. The theoretical framework of this analysis is provided by K. Żygulski’s concept of the “laughter community”.

16

Collections d’ethnographie et musées d’archéologie: entre désaveux muséologiques et jalons de l’histoire des sciences de l’Homme

88%

Chevalier A.

Organon

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2020

|

vol. 52

75-100

EN

The fact that ethnographical collections, often ancient, are preserved in archaeological museums nowadays might not be obvious. The material culture of living societies is not, indeed, the priority of archaeologists, who are mainly interested in societies of the past. However, a museological and historical approach makes it possible to study these collections and highlight their differential management according to institutions and epistemological developments in the human sciences, since the middle of the 19th century.

17

Social responsibility in educational projects of the National Maritime Museum in Gdansk

88%

Domżał R.

Muzealnictwo

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2022

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vol. 63

134-143

EN

Social responsibility in museums is not an entirely new domain. For many years now activities locating museums among the institutions contributing to creating better social reality have been observed. This new paradigm overcomes the stereotypical perception of cultural institutions as organizations taking care only of tangible and intangible testimony to the past of mankind, at the same time imposing on them the responsibility versus society and the community. The National Maritime Museum (NMM) in Gdansk tries to face these challenges not only by implementing educational and conservation projects, but also by supporting the development of the very Museum and its branches, at the same time directing its activities towards engaging in important social issues, such as eradicating accessibility barriers to heritage facilities, care for the environment, and sustainable development. Among the most recent accomplishments described in the paper let us mention the projects implemented during the COVID-19 pandemic, such as the new visiting format presented on the ‘Dar Pomorza’ Museum Ship. On 11 May 2021, NMM shared with the public the so-called Interactive Spherical Video integrated with modern Oculus goggles, introducing the spectator into interactive augmented reality allowing to become acquainted with the sailing ship from a new perspective, accessible to visitors with impaired mobility. A similar solution, though amidst a different landscape, was proposed in the lobby of the Museum’s main building on Ołowianka Island in Gdansk. Without getting aboard the ‘Sołdek’ Museum Ship, we can peep into its cargo hold and engine room. Furthermore, the paper describes many interesting educational or advertising undertakings which attempt at facing contemporary social challenges.

18

FUNDACJA ERNSTA BARLACHA W GÜSTROW

88%

Volker P.

Muzealnictwo

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2015

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issue 56

133-148

PL

It is rather unusual that as many as four German museums within the remit of three independent institutions are devoted to one artist – Ernst Barlach (1870–1938), a representative of modernist art, sculptor, graphic artist and writer, whose life and work significantly influenced 20th-century art history. His life and works have been commemorated in four places, two of which are museums in Wedel (the artist’s birthplace) and in Ratzenburg (where he spent his youth), managed by the Ernst Barlach Association in Hamburg. Meanwhile, the Ernst Barlach House in Hamburg preserves the collection once created by the manufacturer Hermann F. Reemtsma (1892–1961), which is exhibited in a museum in Jenisch Park (Hamburg– Nienstedten) designed by the architect Werner Kallmorgen (1902–1979). The Ernst Barlach Foundation stores the artist’s legacy, the world’s most comprehensive set of his works from the years 1888–1938, in Güstrow in Mecklenburg–Western Pomerania. The creation of the Foundation immortalised the artist’s history and creative development. He died in Rostock in September 1938 and Nikolaus Barlach (1906–2001), his son and only heir, inherited not only the artist’s estate but also his legacy. The son preserved the collection with the help of experts on Barlach’s work. He managed to keep it undamaged even during the Nazi period. After 1945, he delegated the task of preserving his father’s legacy to Friedrich Schult (1889–1978), a drawing teacher from Güstrow, whose major achievement was publishing the first catalogues of Barlach’s works between 1958 and 1971. However, in the East Germany formed in 1949, Barlach’s works were widely controversial. Once both German states had been united in 1990, the political order changed and after some negotiations, the whole legacy preserved in Güstrow together with the house–workshop was sold by the heirs to trustees from the Foundation of Culture of Federal States in 1993, who recommended at the same time that the goods form part of a foundation for the public benefit. The Federal Republic of Germany, the Foundation of Culture and the federal state of Mecklenburg-Western Pomerania were deeply involved in this purchase. The Foundation deals with Barlach’s life and work, but its main field of activity are museum works: storing, collecting, preserving, researching and promoting the artist’s output. It also functions as a research centre for Barlach’s work, arranges international cooperation in its projects with other museums and institutions, organises exhibitions and issues various publications.

19

THE SIBERIAN COLLECTION OF THE ETHNOGRAPHIC MUSEUM IN CRACOW IN THE LIGHT OF FIELDWORK AND ANTHROPOLOGICAL REINTERPRETATIONS

88%

Zych M.

Muzealnictwo

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2020

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issue 61

172-180

EN

The paper presents the results of the academic museum Project called Anthropological reinterpretation of the Siberian collections from the Ethnographic Museum in Cracow that came from Polish 19th-century explorers of Siberia financed by the National Programme for the Development of Humanities (2016–2019). Four major topics of investigation among the collections’ source communities have been presented: Benedykt Dybowski’s collection from Kamchatka, Konstanty Podhorski’s collection from Chukotka, Nenets’ clothing donated by Izydor Sobański, and two cult figurines which reached the Cracow Museum from Jan Żurakowski. The presentation reveals the assumptions of the in-field museology: the method combining the anthropological perspective with museology elements. Furthermore, the digital repository www.etnomuzeum.eu/syberia is discussed; it is the one that makes the collections and research results available online. The paper may prove of interest to professionals curating collections, culture researchers, historians, cultural anthropologists, art historian, conservation services, museology theoreticians.

20

Muzeum Ofiar Wielkiego Głodu w Kijowie. „Trudna” ekspozycja muzealna

88%

Mosiej-Zambrano K.

Studia Polsko-Ukraińskie

|

2020

|

vol. 7

79-89

PL

The article analyses the permanent exhibit of the National Holodomor-Genocide Museum in Kiev. A particular emphasis is placed on the way the difficult and martyrological content is presented. The article describes the exhibition, its positive aspects and interesting solutions as well as the elements that, according to the author, adversely affect the visitors. The ways to convey essential, emotional, and tragic content in the museum were analysed. Exhibition solutions, such as the distribution of showcases, exhibits, signatures, and multimedia elements, were emphasised. Moreover, the exhibition analysis also draws attention to the elements of message availability and tries to indicate its reception. For the purposes of this article, the literature dedicated to the phenomenon of tanatouristics, the so-called difficult subjects, was also used. Thanks to this measure, the introduction of the article tries to bring these phenomena closer to its readers. The article is also based on the personal experience and knowledge of the author, an employee of an emerging martyrological museum in Poland – Sybir Memorial Museum – art historian, and museum enthusiast.

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