Museum Studies

"Representations", N. 129, Winter 2015.

The essay analyzes the project of maintaining the body of V. I. Lenin in the Mausoleum in Moscow for the past ninety years, focusing on the unique biological science that developed around this project, and the unexpected political role this body has performed.

This special issue addresses the possible connections and mutual benefits of examining together two analytic concepts – memory and periphery. These concepts receive much attention in various scholarly discussions, yet they have done so rather independently from each other. The potential applications and utilities of combining memory and periphery and the epistemic insights they provide for various disciplins are presented in the different contributions to this issue.

Reshaping Museum Spaces: Architecture, Design, Exhibitions is a book edited by Suzanne MacLeod, emerged out of a conference held at the University of Leicester in April 2004. The book is composed of seventeen chapters, written by different authors, which are divided in four sections that would like to lead to one idea: how come museums had such a radical reshaping in the recent years. Each author explains, with some examples, his own opinion about what are the most evident reasons of these changes, both on the architectural (inside and outside), social and cultural aspects. The authors keep questioning what kind of types the new museum spaces are required, and highlighting a range of possibilities for creative museum design.

The authors reflect about the complexity, significance and malleability of museum space, which is always open to change. In the recent years, while museums became consciously «recognized as drivers for social and economic regeneration, the architecture of the museum has developed from its traditional forms into often-spectacular one-off statements and architectural visions».
Unfortunately, the most highlighted example of this phenomenon, the Guggenheim Museum in Bilbao designed by Frank O. Gehry, that succeededto transform a provincial city in Spain into a touristic destination, isn’t explained enough but only mentioned as the «Bilbao Effect» (known as the power of iconic architecture to place a city on the cultural map). Also other iconic museum architectures such as Berlin’s Jewish Museum or Rosenthal Center for Contemporary Art in Cincinnati are absent.

In parallel, Suzanne MacLeod and the other authors try to analyze the reciprocal relationship between construed and curated space, or in other words, between museum building, exhibition and exposed objects. The difference of approaches about the book’s topics result as a mix of descriptions; in certain cases the description is structured by the author’s opinion on a specific topic (architecture or exhibition) lead by some examples. In other cases the authors choose to give only a detailed description of one/two museums and their exhibition, in order to touch both arguments (architecture and exhibition) which results more complicated to understand.
I think that an interesting result of this book stays on the comparison between the different opinions on the same topics, and in this way I try to compose this summary. I followed the book four sections, trying, from one hand, to bring all author’s viewpoints, and from the other hand to have a logical connection between the different parts, considering also my own position and adding some comments from other books.

Abstract
This chapter examines the performative and embodied nature of the museum visit and in doing so mounts a challenge to the dominance of the idea that the museum visit is, or should be, about learning. Rather, the argument advanced is that visitors use museums in a wide range of ways and that the learning paradigm restricts the ability of researchers and museum professionals to recognize this diversity.  Understanding the visit as an embodied performance reveals the means by which visitors emotionally engage with museum exhibitions and thus identifies the ways in which visitors undertake their own ‘heritage making’ and the production and reinforcement of their own meanings and cultural and political values. Interviews with visitors to museums and other sites of heritage in England, Australia and the USA are used to illustrate and support the argument.

RESUMEN:
La psicología analítica es la obra de Carl Gustav Jung y sus seguidores. También conocida como psicología de los complejos, el término aparece oficialmente en 1913 para designar una ampliación del psicoanálisis, razón por la cual se la tiene tanto por una escuela de psicoanálisis como por una tendencia de la psicología profunda, según la expresión de Bleuler para caracterizar a toda psicología que parta de la hipótesis de la existencia de una psique inconsciente.
Carl Gustav Jung (1875-1961) era un joven psiquiatra ya reconocido por la profesión cuando asumió la defensa de la obra de Freud, tanto en los foros psiquiátricos como en su propia obra, iniciada en 1902. Su estrecha colaboración desde 1907 se rompería en 1913 a instancias de Freud, para quien los desarrollos Junguianos del psicoanálisis no resultaban acordes con su propia teoría. Atrás quedarán los años en los que Jung fue el presidente de la Asociación Psicoanalítica Internacional desde su fundación en 1910 hasta el inicio de la primera Guerra Mundial. Una época en la que se constituye y alcanza una dimensión internacional (Europa y Estados Unidos) el movimiento psicoanalítico nacido en Viena alrededor de Freud a partir de 1900.
Entre el inmenso legado de Carl Jung, aquel que ha pasado a la historia por sus teorías y métodos revolucionarios en el mundo de la psicología, hay un tema que sobresale y ha sido su herencia más duradera: La Teoría de los Arquetipos.
Jung busca e investiga a los arquetipos en las doctrinas de las tribus primitivas, en las doctrinas secretas esotéricas, en las religiones, en los mitos y leyendas, en los símbolos del Tarot, en las imágenes de la Alquimia y muy especialmente en los sueños, en los que se apoya para la psicoterapia.
Hay que empezar por decir que Jung pensaba que no venimos al mundo como una tabula rasa, no venimos ‘en blanco’ como planteaba Freud, el ser humano según Jung, ya nace con información y ciertas creencias: “no existe una sola idea o concepción esencial que no posea antecedentes históricos”. Estos antecedentes históricos llegan a nosotros inconscientemente, y otros los vamos aprendiendo por medio de mitos, leyendas y la experiencia.
Es fácil identificar diferentes tipos de patrones de conducta en los mitos y leyendas de las culturas antiguas, todas tienden a tener un mismo héroe y trama, tienden, básicamente, a repetirse. Esta continua repetición de historias con los mismos personajes y el mismo guión es lo que llamamos Arquetipos.
Dr. ADOLFO VÁSQUEZ ROCCA

Augmented Reality (AR) dikenal sebagai teknologi interaktif yang mampu memproyeksikan objek maya ke dalam objek nyata secara real time. Perkembangan teknologi AR dewasa ini telah memberikan banyak kontribusi ke dalam berbagai bidang. Salah satu implementasi AR di bidang edukasi dan hiburan yaitu pemanfaatan AR dalam museum. Aplikasi AR yang diujicobakan dalam penelitian ini terdiri dari dua jenis, yaitu AR Desktop dan AR Mobile. Pengujian dilakukan dengan melakukan studi aplikasi dan studi pengguna. Pengunjung diminta untuk menggunakan beberapa aplikasi AR yang disediakan. Kemudian reaksi pengunjung diamati untuk menentukan kebutuhan pengguna. Beberapa pertimbangan dihasilkan dari penelitian ini. Metode pelacakan objek dengan jumlah marker yang terlalu banyak dinilai mengganggu tampilan ruang pamer museum. Aplikasi AR Desktop lebih tepat digunakan untuk menampilkan konten informasi secara detail. Sedangkan aplikasi AR Mobile mempunyai keunggulan karena sifatnya yang mudah berpindah. Penelitian ini juga membahas studi lain mengenai jenis konten, pengaruh pencahayaan, dan kesan pengunjung saat menggunakan aplikasi AR.

https://www.routledge.com/Emotion-Affective-Practices-and-the-Past-in-the-Present/Smith-Wetherell-Campbell/p/book/9781138579293

Emotion, Affective Practices, and the Past in the Present is a response to debates in the humanities and social sciences about the use of emotion. This timely and unique book explores the ways emotion is embroiled and used in contemporary engagements with the past, particularly in contexts such as heritage sites, museums, commemorations, political rhetoric and ideology, debates over issues of social memory, and touristic uses of heritage sites.

Including contributions from academics and practitioners in a range of countries, the book reviews significant and conflicting academic debates on the nature and expression of affect and emotion. As a whole, the book makes an argument for a pragmatic understanding of affect and, in doing so, outlines Wetherell’s concept of affective practice, a concept utilised in most of the chapters in this book. Since debates about affect and emotion can often be confusing and abstract, the book aims to clarify these debates and, through the use of case studies, draw out their implications for theory and practice within heritage and museum studies.

Emotion, Affective Practices, and the Past in the Present should be essential reading for students, academics, and professionals in the fields of heritage and museum studies. The book will also be of interest to those in other disciplines, such as social psychology, education, archaeology, tourism studies, cultural studies, media studies, anthropology, sociology, and history.

This paper is written on the basis of a poster presentation at the InSEA European Regional Conference in Limesos, Cyprus, in June 2012. It presents a preliminary theoretical approach to arts education’s use in the cultural heritage process analyses. The art education approach is used to study dimensions of cultural heritage and the questions of democracy in the cultural heritage process. The paper is written on the basis of doctoral research on the protection, rescue, evacuation, and aftercare of immovable and movable objects as well as documentary heritage collections in accident and disaster situations. In conclusion, the paper presents the preliminary vision that an art education approach produces both valuable new viewpoints on the concept of cultural heritage and serves as a future development tool that may be used to develop cultural heritage education so that acts of vandalism and sabotage that may damage or destroy cultural heritage could be prevented.

Chapter 5, Experiencing the Art Museum: Methods for Public Engagement:

Methods for interactive, socially engaged art museum experiences are explored. They examine the utility of developing larger, institutional philosophies to specific techniques via case studies at the U.C.L.A. Hammer Museum, the Oakland Museum of California, and the Walker Art Center. Employed by a spectrum of practitioners such as artists, designers, and museum professionals, these approaches created new avenues for interaction. Specifically, artists entering into visitor services to drive institutional evolution, techniques for engaging atypical visitors, and approaches for engaging with “the crowd” with ephemeral art movements.

Tesis presentada para obtener el Grado de Maestra en Museología por la Universidad Ricardo Palma.

La tesis incluye un diagnóstico del Museo de Sitio Huaca Pucllana en el año 2013, así como una aproximación a la problemática metodológica para la interpretación de datos arqueológicos desde un museo de sitio. Propone un guión museográfico basado en la relación entre el pasado y el presente de Lima Metropolitana, siendo una propuesta que busca dialogar con la realidad de los visitantes.

In offering museum active, multi-sensorial experiences, digitally responsive exhibits are an important part of museums’ strategy for attracting visitors. Such exhibits are popular, but museums lack understanding of visitors’ immediate emotional and physical experience of them. Museums’ approach to exhibition evaluation favours the methods of interview and questionnaire, which are not well suited to gathering feedback on the complex mix of audio, kinesthetic and visual experience encountered in digital environments. In addressing a lack of knowledge in the museum studies literature concerning how to investigate visitor experience in such environments, this study draws on the fields of human-computer interaction and user-centred design. The design discipline has a strong interest in people’s needs, preferences and experience in respect of designed artifacts, with interaction design being dedicated to the minimization of problems and frustrations in the user-product relationship. Recently, this interest has moved beyond usability to the diverse experiential dimensions of designed artifacts, especially in respect of enjoyment and embodied experience.

The thesis argues that user-centred design principles can provide museums with new approaches to exhibition evaluation in respect of digitally-responsive exhibits. Design is doubly implicated here, exhibition and new media design being principal sources of audience experience in such exhibitions. The thesis presents theoretical argument to establish the situation of audience members in digital exhibits. It then argues for the value of interactive, design-driven tools and non-linguistic approaches in gathering audience feedback on such exhibits. To indicate how user-centred evaluation methods might work, the thesis includes a prototype evaluation tool that suggests how rich data on usability factors and visitor experience might be collected. Principles of user-centred design are well established; the thesis makes an original contribution in linking of principles of user-centred design to museum studies to provide a more complete sense of how museums might better understand visitor experience. Equally novel is the embodiment of the knowledge and understanding gained through the research in the form of a designed artifact, a prototype exhibition evaluation tool that allows the findings of the research to be demonstrated to a broad community of interested parties.

Özet Son yıllarda gelişen ileri teknolojilerin etkisi ile Türkiye'deki müzecilik anlayışı bu gelişime paralel olarak değişim göstermiştir. Dijital teknolojilerin devreye girmesi müze koleksiyonlarının yapısını değiştirmiştir. Geleneksel anlamdaki nesne koleksiyonlarından farklı olarak bilgiye/imgelere dayanan ve kolay ulaşılabilinen etkileşimli sanal müzeler kurulmaya başlanmıştır. Çoklu medya aygıtları kullanılarak izleyiciye ulaştırılan sergiler sanal müzecilikte için yeni bir yol açmıştır. Yeni tekniklerin kullanılması ile kültürel miras ve sanat sergileri farklı formatlarda sunulmaktadır. Günümüzde müzelerin sahip olduğu koleksiyonlar tüm dünyanın ortak mirası olduğu kabul edilmektedir. Bu nedenle pek çok önde gelen müze uluslararası ziyaretçilerine sanal müze ve sanal sergiler yoluyla ulaşır. Ziyaretçilerin gezebileceği fiziksel mekân ihtiyacı, dijital ortama aktarılmış koleksiyonlar ve sanal müze ortamı sayesinde karşılanır. Bu sayede müzeler ziyaretçileri ile kesintisiz bir iletişim sağlayarak bilgi akışı sağlar. Bu çalışmanın temel amacı yapılan düzenlemeler ve yeniliklerle aynı zamanda birer eğitim kurumu haline gelen sanal müzelerin uluslararası kültürel işbirliklerinde her geçen yıl artan rolünü incelemektir. Modern müzecilik anlayışına bağlı olarak gelişen sanal müzeler, "Sınırlar Ötesi Müzecilik", "24 Saat Açık Müze" ve "Her Kuşaktan Sanatçıya Açık" sloganlarıyla tanıtılmaktadır. Kavramsal çerçeve içerisinde çalışmada sorulacak ana sorular şunlar olacaktır: Sınırsız arşiv ve sergi mekânına sahip olan sanal müzelerin dijital dünyanın sunduğu ayrıcalıkları kullanmaları yeni iletişim modelini nasıl etkiler? Sanal müzeler post-modern anlamda müzeciliği dönüştürebilirler mi? Sanal müze ortamında temsil ve sergilemenin kavramsal boyutu düşünüldüğünde müze ziyaretçilerine kültürel bilgi aktarımının nasıl yapıldığı bu kapsamda ele alınacaktır. Abstract Nowadays, paralel with the development of Turkish museums, utilizing digital technologies in the museum space is widely recognized. Digital technology has changed the structure of the museum collections. Instead of preserving traditional object collections in the museums, the virtual museums preserve knowledge and images as well as digitalized objects in the unbounded museum space. Using new technology multimedia devices in order to reach audiences open up a new path in virtual museums.

Le funzioni del museo. Arte, musei, pubblico nella contemporaneità, a cura di | edited by Stefano Chiodi, atti del convegno internazionale | conference proceedings (Roma, MAXXI Museo nazionale delle arti del XXI secolo, 3-4 aprile 2009), Le Lettere, Firenze 2009

Queste considerazioni e appunti introduttivi al tema della prevenzione dei rischi e della gestione della sicurezza nei musei è la rielaborazione di lezioni tenute in corsi di formazione per professionisti museali e in ambito universitario e di interventi a convegni e seminari in cui ho cercato di condensare sia gli insegnamenti tratti tanto dalla pratica quanto dalle letture che questa mi sollecitava a compiere per migliorarla. Scritta ormai molti anni fa ad uso di colleghi e allievi e circolata in forma dattiloscritta in forma di testo in progress, deve molto ai consigli e ai suggerimenti dei primi e alle domande e osservazioni dei secondi, da quando ho tenuto la prima lezione sulla sicurezza all’ISTUD di Pallanza nel 1998 nell’ambito di un corso coordinato da Giovanni Pinna, a quando, l’anno successivo ho partecipato con una relazione su questo tema al Convegno dell’ANMLI a Piacenza chiamato da Anna Maria Visser, a quando ho infine ripropostoquest’ultima nel Corso di museologia tenuto a Biella nell’ambitoDiploma universitario di Operatore dei Beni Culturali della Facoltà di Lettere dell’Università degli Studi di Torino a partire dall’anno accademico 2000-2001. Di fondamentale importanza è stata anche la partecipazione al Gruppo tecnico di lavoro per la definizione degli standard (D.M. 25.07.2000) che ha portato alla redazione dell’ Atto di indirizzo sui criteri tecnico-scientifici e sugli standard di funzionamento e sviluppo dei musei  (D.lgs. n.112/98 art. 150 comma 6) approvato con DM 10 maggio 2001, il cui V Ambito dedicato alla sicurezza si avvalse delle competenze del generale Roberto Conforti, Comandante del Comando Carabinieri Tutela Patrimonio Artistico e dell’ingegner Mauro Marchini del Servizio Tecnico per la Sicurezza del Patrimonio Culturale Nazionale del Ministero. Dal 2001 in poi il testo è stato più volte rimodulato, ampliato, integrato, anche in funzione del contesto e della funzione cui era destinato, senza tuttavia perdere il carattere di prontuario, di introduzione a un tema da approfondire sul piano teorico ricorrendo alla letteratura tecnica citata e da articolare sul piano pratico in procedure e regole scritte da redigere in base alla situazione in cui si opera. Sia i riferimenti normativi sia quelli bibliografici risalgono a qualche anno fa, avendo preferito  – nella situazione attuale – di privilegiare il rinvio alle risorse presenti in rete e dunque ai siti specializzati che offrono oggi una visione costantemente aggiornata dello stato dell’arte in materia di sicurezza.
Sono molte le molte persone che desidero ringraziare per il contributo dato alla redazione di questo testo, primi fra tutti i miei colleghi dei Musei civici torinesi, e in particolare Davide Battiston e Carla Caroppo con cui ho condiviso per molti anni la gestione quotidiana della sicurezza con le sue molte e svariate emergenze, nessuna delle quali fortunatamente così grave, i cui insegnamenti si ritrovano, pur senza essere citati, alla radice di molte delle considerazioni presenti in queste pagine

Museums have increasingly been promoting their postcolonial status through inclusionist programs in exhibitions, shared curatorship, and use of collections. Where there are indigenous stakeholders, we have seen an unprecedented improvement in the empowerment of source communities in the management, use, and presentation of their patrimony in museums. Since James Clifford's 1997 essay, the phrase “contact zone” is now more or less synonymous with these inclusionist, collaborative programs. This paper, while being openly supportive of such collaborations in museums, is nevertheless critical of the use of the contact zone concept. Returning to Clifford's essay, as well as those of Pratt and others, this paper questions why museum scholars perpetuate only a partial portrait of the contact zone, despite clear warnings about its inherent asymmetry. The goal of this paper is not to undermine the ethically engaged work that has been done, but to expose the dark underbelly of the contact zone and, hence, the anatomy of the museum that seems to be persistently neocolonial.

In 1967, philosopher Richard Rorty edited a volume with the programmatic title The Linguistic Turn. Since then, the social and cultural sciences have gone through several ›turns‹, e. g. the ›interpretative‹, ›iconic/pictorial‹, or the ›spatial turn‹. Such ›turns‹ stimulate new research perspectives and questions, as well as shifts in theory and method. In recent years, the ›material turn‹ is gaining prominence in the humanities and social sciences. The principle of ›thinking through things‹ and the claim that objects possess agency are especially provoking. This chapter explores the stimulating effects of the ›material turn‹ in the field of museum studies. Firstly, it recalls the early history of disciplines such as archaeology, cultural anthropology, folklore studies, and art history, which are essentially based on their involvement with material culture and on the establishment of the museum as a bourgeois institution. Secondly, it outlines the developments of the ›material turn‹ and its theoretical ambitions over the last decades. Thirdly, it discusses the theoretical and practical consequences of such a new perspective for University archives and collections, as well as for the public presentation of academic knowledge conveyed by objects and things.

This is a revised issue of REL Issue No. 1

The tomb of the manicurists Niankhkhnum and Khnumhotep, Fifth Dynasty, Old Kingdom Egypt, is regarded as exceptional either in its size and architecture or most noticeably in its lively portraits of intimacy between the two owners. The portraits confused the Egyptologists as being unprecedented in the Egyptian tombs. They looked for clues either in iconography or texts and came by three explanations; either they are twins, or conjoined twins, or they are in a homosexual relation. The last speculation has been passed to press and since then the issue of discovering homosexuality in ancient Egypt did not cease of popping up in books, journals, media and web-sites. This paper investigates the hidden symbolization rather than the visual interpretation. The intimate relationship shall be ascertained in view of the pictorial narrations of Predynastic Egypt. The spirituality of the scenes shall be judged by the ancient Egyptian conception of the soul. Question: Are they two or one? This question has never been raised in Egyptology and shall be answered for within the sphere of god Khnum.

This article investigates the story of Aleister Crowley’s reception of The Book of the Law in Cairo, Egypt, in 1904, focusing on the question of why it occurred in Egypt. The article contends that Crowley created this foundation narrative, which involved specifically incorporating an Egyptian antiquity from a museum, the “Stèle of Revealing,’” in Egypt because he was working within a conceptual structure that privileged Egypt as a source of Hermetic authority. The article explores Crowley’s synthesis of the romantic and scholarly constructions of Egypt, inherited from the Hermetic Order of the Golden Dawn, as well as the uses that two prominent members of the Order made of Egyptological collections within museums. The article concludes that these provided Crowley with both a conceptual structure within which to legitimise his reformation of Golden Dawn ritual and cosmology, and a model of how to do so.

The Lontsky Street prison museum in Lviv was opened to the public in 2009 and is one of the fruits of the nationalist historical politics of the presidency of Viktor Iushchenko (2005-10). Its full title is The National Museum-Memorial  of the Victims of the Occupying Regimes “Prison on Lontsky Street.” It is devoted to the history of the repressions conducted here by the Soviet authorities (1939-41, 1944-91) and by the German authorities (1941-44). The presentation is extremely one-sided. Its chief focus is on the bloody events of June 1941, when the NKVD massacred thousands of political prisoners in Lviv’s three main prisons. It passes over in silence the bloody pogrom that transpired at these same three sites on 1 July 1941, in which the chief perpetrators were militiamen of the Organization of Ukrainian Nationalists (OUN). Members of OUN do figure prominently in the exhibition halls, but only as victims of both the Nazi and communist regimes.

This book explore current trends in European contemporary museums. Analysing their ongoing evolution triggered by this “age of migrations” and with specific attention to their architecture and exhibition design, the volume  collects the preliminary observations ensuing from this survey, complemented by the some paradigmatic examples, and further enriched by interviews and contributions from scholars, curators and museum practitioners.

With contributions by Florence Baläen, Michela Bassanelli, Luca Basso Peressut, Joachim Baur, Lorraine Bluche, Marco Borsotti, Mariella Brenna, Anna Chiara Cimoli, Lars De Jaegher, Maria Camilla De Palma, Hugues De Varine, Maria De Waele, Nélia Dias, Simone Eick, Fabienne Galangau Quérat, Sarah Gamaire, Jan Gerchow, Marc-Olivier Gonset, Klas Grinell, Laurence Isnard, Marie-Paule Jungblut, Galitt Kenan, Francesca Lanz, José María Lanzarote Guiral, Vito Lattanzi, Jack Lohman, Carolina Martinelli, Frauke Miera, Elena Montanari, Chantal Mouffe, Judith Pargamin, Giovanni Pinna, Camilla Pagani, Clelia Pozzi, Paolo Rosa, Anna Seiderer.

Volume 1 includes: Introduction, Chapter 1: National History Museums, Chapter 2: Natural History Museums, Chapter 3: Ethnographic and World Culture(s) Museums"

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The aim of this article is to develop a different approach to the study of the material world, one that takes seriously the seemingly banal fact that things are constantly falling out of place. Taking this fact seriously, the article argues, requires us to think about the material world not in terms of ‘objects’, but ecologically, that is, in terms of the processes and conditions under which certain ‘things’ come to be differentiated and identified as particular kinds of ‘objects’ endowed with particular forms of meaning, value and power. The article demonstrates the purchase of this ecological approach through the example of the Mona Lisa. It does so by exploring the rather extraordinary processes of containment and maintenance that are required to keep the Mona Lisa legible as an art object over time.

"This paper proposes three new (and tentatively, another two) identifications of sundials in Middle Eastern mosaics of the 5th – 8th century. The author discusses a vignette from the Holy Martyrs’ Church at Tayibat al-Imâm, central Syria, a mosaic panel from the tomb of Georgia and Theodosia in Jerusalem, two
vignettes of Sebastis and Kastron Mefaa from the St. Stephan’s Church at Umm al-Rasas, and a vignette of Jerusalem from the St. George’s Church at Madaba. These mosaics date, respectively, to 442, to the reign of Justinian (527 –565), and to the Byzantine Umayyad era (718). According to the author, these are probably the latest representations of sundials known to date from the Late Antiquity. Until this study, only six representations of sundials on mosaics from the Roman period were known. This paper adds three new items and two hypothetical ones from Byzantine times. It also offers an interpretation of the function of the famous column in Jerusalem, shown on the map of Madaba and the mega-vignette of the Holy City.
Key words: Sundials, Sonnenhuhren, Meridiane, Cadrans solaires, Relojes de sol."

1. Le XIXe siècle : le "temps des musées"
2. Structuration du système marchand-critique et essor du collectionnisme au XIXe siècle.
3. Collectionner les objets "de soi" et "des autres" (1878-1938) : entre ethnographie et enjeux identitaires.
4. Les collectionneurs aujourd'hui : des formes d'engagement diversifiées
5. L'enrichissement des collections publiques aujourd'hui : un phénomène à plusieurs échelles
6. Les défis actuels des musées