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376825480362_th7yop27_lBárbara Kruger


We can find contents and materials displayed in museums without the presence of objects, leaving them as a second element of the exhibitions. The XXI century museographer’s projects are the interpretation of reality in a didactic way to visitors. The historical fact, technician, scientist, even without artistic objects. This form of interpretation arises from the need to respond to a recurring event: local museums projects lacking original parts, or ESTN distributed by national and even international museums and not recovered for exhibicin in their places of origin. Also there are other reasons but the bottom line is the same, we have no objects to display. hese facilities are not museums, they are?, are another thing, is it? The names applied to these entities is a debate in itself that we will not respond aquhoy. ICOM has a title applied to conventional museum is to say that what does not fit that definition is not institutionalized museum is something else: Performing classrooms, visitor centers, local museums. I have said on other occasions, the states are multiplied, a denomination that can be approximated recently invented, from our point of view, is the concept of ecomuseum.

 havermans_1Frank Havermans /cultuurbewust.nl

Returning to the issue before us today, we talk about the exhibition without objects. This is compared to the representation exhibicin: not present parts, but the “reproduce” or simulated. What in an art museum will copy the original, this new typology has a value at the same level, sometimes even higher. Funny thing also is that in many of these exhibitions or even copy or facsmil shown, is what we call the technology as an object. Something that is somewhat disturbing. exhibition is the way the object, the system we use to communicate, the technology that makes it exist for visitor communicates.

terence_koh_vitrines_2Image: Terence Koh / Saatchi Gallery

Our work centraren know, analyze and “expose” the new collections are tecnolgicas parts that serve as the vehicle for the representation, their characteristics, needs, and, in short, all display requirements ranging from hardware to spaces, protection, security, lighting, etc.. Can we establish a typology of “objects”:

· Traditional pervivence: many of the representations that have been historically used in traditional museums will stay, but very advanced in their presence before the visitor, keeping the same properties and requirements: the use of graphics systems of all kinds, panels (we are not very supportive), transparencies, holograms, etctera. The objects may be the same but the expository speech changed radically. Traditional audiovisual media proyecciny sound, such as fixed images, slideshows, videos, remain unchanged.

· Technolgical systems: solutions that increase their popularity as a means of representation as it estproduciendo rapidsima a huge evolution in its possibilities applied to museographer. In the field of data transmission informaciny is unrivaled and proposed interaction with the visitor through games and neither do Diversin. Virtual Object: It is very especfico development of virtual simulation. We talked about the flat representation in 3D animation and motion programs that replace the old esthetic brackets that are no longer competitive. Virtual spaces in 3D simulation, whether monitored on screens, either using real space helmet equipped with sensors or with fidelity simulated rooms, but increasingly approximates the daily life of msa actual perception.

· Optical technology: optics attached to all these technologies begins offering incredible level options techniques and virtual representation possibilities. Well made are shocking. We discussed tactile screens tamaoy great little volume that allow visitors to directly intervene without any kind of prior knowledge or skill technique. To children love. We can also use crystals projection (include inside elctricas endings on plasma) that connected to a computer, become retroproyectados display images or videos, and recovering superponindoles transparency when interested .

· Optics Illusions: as in the theater, perceptual tricks are a great way to surprise the visitor. The optic allows virtually unlimited field museogrficas solutions.

· Spaces simulation: are actually a mixture of 1:1 scale models, simulations and special effects techniques. The descent into a mine simulation of an earthquake, a marine gale with wind, rain, thunder and relmpagos are some examples of what has been done and what still remains to be invented. The acceptance of visitors to these solutions is great as they have a “slight resemblance” with temticos and amusement parks. It is true that properly executed are a source of information that No other language can communicate so didactic effectiveness.

2362221417035_tvDksCO8_lImagen: http://www.thisiscolossal.com

All this implies solution to a wide group of problems, promoting a modern didactic new museography, attract society to knowledge and culture, but never manufactured for making “reproductions of reality” that permanently replace an irreplaceable truth. The truth sersiempre Truth, but nothing is meaningless or worthless.



La difícil supervivencia de los museos

Editorial TREA, Gijón (2003)