Saturday, 9 July 2016

Some (summer) Notes on Exhibition design OR Design and Exhibitions.

Picture above : A compilation of the following two images:  

On the left half, Ole Worm’s Cabinet of curiosities (Cabinet de curiosités): the frontispiece in the book of Musei Wormiani Historia. https://upload.wikimedia.org/wikipedia/commons/f/f5/Musei_Wormiani_Historia.jpg

On the right half: Interior, panoramic view of the Schaudepot, Vitra Design Museum, Weil am Rhein, Germany. 

With the opportunity of the recent discussion at the Vitra Design Museum on the 30th of June 2016, regarding the inauguration of the Schaudepot annex -a new building designed by the Basel -based architects Herzog & de Meuron, to host the museum’s  renown collection of various design objects and furniture -a fascinating, new agenda is emerged. 
Designmuseum 2.0 – The Rennaissance of Collections was realized with the contributions of Martin Roth, Director of the Victoria & Albert Museum in London and Christoph Thun-Hohenstein, Director of the Austrian Museum for Applied Arts in Vienna -both successful in attracting millions of visitors to their outstanding international collections. Together with the Director of the Vitra Design Museum, Mateo Kries, they discussed how their collections are helping them to reinvent the design museum for the twenty-first century.

Many developments in the sector were brought to light, starting with a key-term, mentioned a few times, since it was one of the inspirational points for Vitra’s new venture, the Schaudepot: museum & collections 100% openness to the visitor/user. The education -science -technology triathlon is there not as a separate entity, but it is implemented as part of the collections’ communication process. The ultra-dynamic network of co-operations and synergies that every large, design cultural institution is establishing -gets real through a holistic strategy of multi-implementation of institutions, factors and local services in the community (“global goes local/ local goes local”). 

We are talking about design, therefore also  aesthetics, making, production, commerce, economy and work. The need to understand how we will produce in the future is a part of the design museum narrative in the following years. In a digital society, curating is not ONE specific profession of a so-called specialist per se, but it will depend a lot on the future ability to illustrate the collections on a digital platform, suitable to fully communicate their significance to the public. A curator masters many disciplines or he/she can come from various disciplines as a background as long as he /she can fulfill that task. A design museum is not a trade fair as it is not an elitist niche, reserved to a selected part of the society or to the design field professionals. The elements of creativity, fun, euphoria are fundamental to the success and sustainability of the museum space -provided the collections’ high conservational and logistical costs, two areas that also rapidly evolve. The spirit of Renaissance spreads throughout the design museum so it becomes a joyful, interesting and useful experience. 

Check all futher details of the discussion, (produced and published in german) on:

“ Better than promoting  the Feast of Music (FR: Fête  de la Musique) and the Museum Nights, should n’t we ought to create one night without, lights, facades and signs- one night when the city( Paris) would be in a total black-out…just to remind its inhabitants once in a while, that the sky still exists upon their heads and that they can like Dante, escape Inferno?”…(La nuit des étoiles, Été, JOURNAL ATRABILAIRE, p.187, by Jean Clair, L’un et L’autre, Gallimard). 

Warm regards 

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