Simultaneous Satellite Exhibitions

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A Supplementary Plaorm for Exhibing

Collecons of Tradional Art Museums

imultaneous Satellite

Exhibitions


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MFA in Exhibion Planning & Design

Department of Museum StudiesThe University of the ArtsMay 2013

A thesis submied to The University of the Arts in paral fulllment of the requirmentsfor the degree of Masters of Fine Arts in Museum Exhibion, Planning & Design


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Kimberly AndrewsCommiee Chair

Execuve Director of Shofuso Japanese House and Garden

Polly McKenna-Cress,Associate Professor , Chair, Museum Studies Program Director

University of the Arts

Nancy HellerProfessor, Faculty of Fine Art

University of the Arts

Jane Clark ChermayePresident at Jane Clark Chermaye & Associates

J. William Fulbright Foreign Scholarship Board


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Acknowledgments

I would like to thank my commiee members for great insights and thoughts, whofollowed my thesis development to help me shape and reshape my ideas, and consider

all the necessary issues. I am thankful for my wring tutor who paently helped mecomminucate my thoughts cleary on paper.

My classmates provided a great emoonal support during the two semesters of thesiswork, which varied from feeling really good about the work to total frustraon. Theyalways helped me to keep up the good work, movated me and gave thoughulcomments about the thesis ideas.

I want to thank my Philadelphia friends for helping me to take necessary breaks fromconstant work on my thesis, to think about dierent things and get back to workrefreshed. And my family who supported me all the way from St. Petersburg by tryingnot to ask too many quesons about my thesis unl the day of the defense.I am graul for all the support and good moments that I have experienced during workon my thesis.


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This thesis proposes Simultaneous Satellite Exhibions (SSE), explores threecase studies and suggests consideraons for creang SSE.

SSE is a supplemental plaorm for expansion of digized museum colleconsof tradional art museums. SSE suggests creang access to collecon resourcesfor the populaons that are geographically remote from large museums and thatlack cultural enrichment.

Satellite exhibions aim to encourage cultural development in remotelocaons and raise interest in using museum collecons as an informaveresource. SSE uses non-tradional art museum approaches to display andprovides relevant and meaningful interpretaon to contemporary audeinces.

Simultaneous features will allow visitors to explore the exhibit across thelocaons with other visitors, their friends or family. Their communicaonwill bring more personal and memorable experiences to their visit and theopportunity to share points of view across the cultures. SSE is an eecve wayto deliver collecons of several museums at the same me to remote locaons,advocate usage of museum collecons as informave resource and encouragecultural development of underserved areas.

Abstract


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I. Introducon Nomenclature Thesis statement

Introducon

II. Supplementary Plaorm for Tradional Art Museums

A. Visitor experiences in tradional art museums in Russia & the US

B. Visible Storage: Exhibited Versus Stored Collecons C. Naonal and Internaonal Relaons and Museum Goals D. Satellite Exhibions: Creang Access for Underserved Locaons

III. Case studies

A. Temporary Satellite Exhibions - Fesal model

B. Pop-Up Exhibions:

IV. Conclusion

Further Research

CONTENT

1. Temporality

2. Mulple Locaons

3. Environment

4. Social Aspect

5. Interpretaon

1. The Detroit Instute of Arts, Project Inside Out

2. The Russian Museum, St. Petersburg The Masterpieces

in the StreetsC. Satellite Exhibions: The Guggenheim and BMW Group

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2021

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3538424445

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V. Project Simultaneous Satellite Exhibions

Descripon, Goals + Expected Outcomes

Project

VI. Appendix

Survey Execuve Summary Survey Data, the U.S. Survey Data, Russia

Bibliography

Image Sources

1. Parcipang museums

2. Selecng Satellite Locaons for Exhibions

3. Developing Collaborave Interpretaon

4. Satellite Exhibions

5. Creang Cross Cultural Exchange of IntellectualAccess to Collecons

6. Selecng Exhibion Topics

Further Research

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Introduction

I


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Meaningful experience explanaon of the artwork in a historical context; an intriguing andchallenging atmosphere

Satellite locaon in a pop-up space outside museum

Pop-up exhibion locaon appears for the duraon of one month in the geographicallyremote and culturally underserved locaons in a temporary built pavilion

Simultaneous Satellite Exhibions exhibions that take place at the same me in variousremote from the parcipang museum locaons

Tradional Art Museum encyclopedic museum in a former palace; where the colleconis displayed on the walls/ along the walls and interpreted through labels, audio and tourguides.

Visible Storage open access to stored museum collecons

Fesval model- social, temporary and internaonal features

Applicaon project of this thesis

Underserved areas geographically distant locaons from large cies that lack cultural

development

Parcipang museums several museums that provide digital resources of their colleconsand parcipate in creang satellite exhibions

Collaboraon collecve parcipang museums exhibion development

Nomenclature


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This thesis posits that there is a needto expand the reach of collecons oftradional art museums to populaons inculturally underserved and geographicallydistant from large museums locaons.Expansion of the collecons beyond themuseums physical space aims to providerelevant to contemporary audiences waysof display, deliver cultural enrichment

to underserved areas and encouragecultural development of those areas.

Thesis Statement

This thesis proposes a model ofsimultaneous satellite exhibions fordisplay museum collecons. Thesesimultaneous satellite locaons are aneecve way to expand resources ofcollecons of several museums at a me,encourage alternave interpretaon ofcollecons and reach out to underserved

popuaons. Satellite locaons arefunconing simultaneously naonally andinternaonally providing the visitors withthe opportunity to communicate acrossthe borders of one satellite.

Thesis Applicaon

The project provides access to colleconsof tradional art museums and their

dynamic interpretaon to primarily18 to 44 year olds populaons ofgeographically remote and culturallyunderserved areas. The internaonal,mul-locaonal nature of the project willallow visitors to be in touch with much ofthe world through exposure to a variety

of collecons, cultures and conneconswith visitors in other locaons. Suchan experience is also aimed to makeaudiences look at art museums from adierent perspecve.

Audience Impact

This project aims to create anopportunity to exhibit and interpretdigized versions of museum colleconsin a new way, and will create a dialogueamong collecons of various museums.Such an approach aims to developstronger collaboraon among museum

instuons, in terms of sharing theirresources and interpretave approaches.SSE will help museums to reach outto wider audiences and engage theminto using museums collecons as aninformave resource.

Museum Impact


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This thesis explores how museum

collecons can be delivered to thepopulaons in locaons situated far fromlarge museums and stay relevant to thecontemporary audiences through theirinterpretaon outside the framework oftradional museum.

Based on the surveys in chapter III,it was found that many visitors likemuseums but for several reasons theyare inmidated by the environement. Itis either crowds, lack of the backgroundstory and interpretaon or too manyobjects in one secon and throught themuseum. Many visitors of St. Petersburg

would like to see collecons in a dierentenvironement that ingintes theirpercepon as well as see more travelingexhibits. Populaons of the areas furtherfrom museums lack cultural enrichementand need to travel to museums.

The introducon considers creaon ofmeaningful and relevant interpretaonfor modern visitors while the summaryof the surveys (pp. 23, 110) gives visitorsinsights about their museum experienceand cormaon for the need to createcontemporary, relevant to modern visitor

Introduction exhibion environements.

The problem of making the modern

visitor experience in a tradional artmuseum more relevant has existedfor a long me in the U.S. and acrossthe globe. Russia is beginning itsconsideraon of these needs, buthave not yet integrated many theoriesor applied in pracces. This problemhas not been completely solved, and

probably will not be, because society isconstantly changing, but there are waysto create more meaningful and intriguingexperiences with the collecons oftradional art museums. To addressthe new expectaons of audiences,cultural instuons started to expand

museum experiences beyond their wallsto bring the art closer to the publicsdaily life. This thesis examines this trendand suggests a project of simultaneoussatellite exhibions for display ofpermanent and stored museumcollecons to allow for alternaveinterpretaon in new non-museum

spaces.

First, any visitor experience created bymuseum professionals, whether insidethe museum or outside, should bemeaningful to the community. So whatis a meaningful experience and how do


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museums create one for their visitors?

Meaningful experiences vary greatly

for each individual. The Dallas Museumof Art conducted interviews to nd outwhat a meaningful experience means toits audiences. Based on the conductedresearch visitors of the Dallas Museumof Art were divided into four categories:Tentave Observers,

Curious Parcipants,

Discerning Independents, and

Commied Enthusiasts.

The rst two categories of visitors preferto perceive art through addionalkinec art forms music, dance, theatreperformance. The museum experience

is meaningful to Tentave Observers ifthey can connect personally. TentaveObservers menoned that museumsneed to provide some sort of historicalcontext.

Curious Parcipants like to discuss whatthey are looking at with friends. For

this category of visitors, a meaningfulexperience is created by developing anunderstanding of the history behind thepainngs, and being able to emoonallyconnect with art and environments.Curious Parcipants also nd it essenalto have background informaon before

the visit to the museum.

Discerning Independents and Commied

Enthusiasts prefer to view art on theirown. Meaningul experience for thesevisitor groups must include emoonalimpact, immersion into the physicalgallery environment, and a clearinterpreve narrave. The responsesof the Discerning Independents andCommied Enthusiasts can be traced

back to two contexts: environmentaland personal (background informaon,interpretaon). It is important for thesevisitors to connect to the intellectualcontext of the artwork and atmosphereto absorb this informaon.

Overall it is important to establishpersonal connecons by providinghistorical context or social factor for thevisitors to develop an understanding;to create thoughul exhibionenvironments to impact othersemoonally. These needs are consideredin this thesis and suggest to be

addressed when creang an exhibionand evaluated aer. One of the essenalframeworks for visitor experiences isdesign of museum spaces.


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As Charloe Klonk states in her bookSpaces of Experience: . . . what we maytake for granted has not always been the

case: that the history of showing art isas rich and varied as only the exteriors

of museum buildings are now. Klonkas most other art historians discusseshow the gallery space and the layoutof displays inuence visitors behaviorand impact their relaonship with anexhibion.

In the Royal Academy of London in 1787,the walls were lled to the ceiling withpainngs in a tradional salon-styleof exhibion. Painngs were crowdedtogether, as the visitors were. Visitorsalso gathered in groups next to the

clusters of painngs; they were echoingthe symmetrical hanging of the pictures

on the wall, while in others they ll an

irregular space, again like the painngs

on the wall.(Klonk, 15).

The founding of naonal galleriesthroughout Europe y years later brings

a sense of individuality: artworks werehung individually in a liner format and onthe level of visitors eyes. Their behaviorin such space becomes more private; infact, Klonk states that individuality wasencouraged in the nineteenth centuryandviewers were addressed as cizens

of ideal liberal naon-states, responsible

individuals who shared a common set of

moral and ethical values.

In the beginning of the twenethcentury, El Lisitzky and Alexander Dornersuggested changing individualisc modestowards collecve viewing experience.In the nineteenth century visitors werele to develop their own visitor viewingexperiences of art. The New York City

Museum of Modern Art (MoMA) statedthat educaonal aspects presenteddidaccally and in historical progressionwill develop visitors aesthec taste. Itis interesng, however, that Germanfesval Documenta in 1955 shiedtowards creang visually immersive

experiences spaces of sensaons(Klonk, 17). Today, art museums providea wide variety of dierent viewingenvironments, but museum professionalssll seek to create the spaces morerelevant to collecons interpretaonsand personal visitor connecon to them.

In a contemporary aempt to expandviewer experience, some museums todayare literally extending their impact on thepublic beyond their walls. The concept ofmuseum under the sky is menonedin the reserach New tendencies ofthe development of museum eld by


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there is no knowledge of what the arst

is aempng to say in terms of me,

place, or social meaning the resulng

impression is confused and is likely to bepainful as pleasurable. Visitors interest

and aenon is determined not by

objects inherent appeal but its relevance

to their own framework of knowledge

and experience. (From Knowledge to

Narrave. Educators and the Changing

Museum. The Smithsonian Instuon,

1997).

Museums such as MoMA (New York,USA), the Denver Art Museum (Colorado,USA), the Detroit Instute of Arts(Michigan, USA), the Pushkin Museumof Art (Moscow, Russia), the Russian

Museum (St. Petersburg, Russia) andothers constantly pursuing the creaonof interpretaonal projects that aremeaningful to their audiences and thatexpose the content of their colleconsoutside the museum.

Museum professionals seek to improve

the interpretaon in their museumsby conducng visitor evaluaons,studying the outcomes of exhibits, andnding new ways of interpreng thecollecons of their museums. Outsideof St. Petersburgs and Moscows

museums, which lead the way in Russiain developing new ways of presenngart, this type of research and evaluaon

is weak in other Russian cies.


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Supplementary platform

for the collectionsof traditional art museums II


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II. Supplementary platform for the

collections of traditional art museums

The majority of tradional art museumsin St. Petersburg can be dened asencyclopedic art museums, which alsohave the characteriscs of historic houses,because the art collecons are housed inforemr palaces, creang a hybrid modelof the tradional encyclopedic art display

and the interpretaon of historic house.Most of the St. Petersburg collecons arestored and exhibited in such seng. Theart collecons may be perceived as an artexhibit within the historic house exhibit.

The abundance of decorave elements ofthe interiors and exhibited collecons in

those museums allow lile room for non-tradional, non-linear display and limitedvariety of interpretave approaches.

Klonk, in her chapter The Museum andthe New Media, noted that in the rstEuropean museums of the nineteenth

century, artworks were separatedaccording to their me period andcountry of origin in, a linear way, totrace the linear progression paerns ofdevelopment from the Renaissance topresent day. This tendency is used in St.Petersburgs Hermitage Museum and

the Russian Museum as well as in manyother large tradional museums. Thesecollecons are grouped by countryand era; however, there is no direct orindirect thread connecng the objectswithin each secon and there is lilenarrave explanaon to guide the visitorthrough the puzzles of these colleconsand their environments or to providethem with a broader context. Suchmuseums cannot easily change theirdisplays, due to conservaon aesthecsviews, which are especially strong in themuseum eld in St. Petersburg. Creanginterpretaon sources in addion to

labels, audio and tour guides is notsimple in the museum space that, as dothe artworks, moves visitor s aenonto the rich and overwhelming historicalinteriors.

A survey of current cizens of St.Petersburg was conducted to nd outwhether they are sased with thecurrent system of display or would like tosee some change.


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The surveys to examine the visitorexperience in tradional art museumswere taken in the U.S. and St. Petersburg,Russia with a sample of 100 people.

The individuals were asked about theirlikes and dislikes in the visit to thetradional art museum. An interesng

detail was that almost all the surveyedindividuals in St. Petersburg loved goingto the museum, because they likedthe architecture of museums - formerpalaces, the feel of the epoch andconnecon with the past mes. At thesame me, they menoned variety

of negave factors in their museumexperience.

One of the most menoned adversefactors were prices for audio tours andphotography, and oen monotoniousand boringspace. Interpretaon of thecollecons was another factor that the

individuals were unsased with. Theymostly used labels to get informaon,especially when audio and guided tourswere paid. One survey parcipantstated that he: easily get red fromamount of informaon. Reading labels

with really small and volumonous text is

dicult, aer ve minutes I forget what

I read about. Maximum I remember 1-2

objects.Another visitor menoned that:

I need lots of paence to read longlabels, if not read them, then there is no

understanding of what is going on.

In addion to this stunning but senvironment, the surveyed individualsmenoned lack of communicaon: notenough social engagement with other

visitors, interesng exhibions are rare.

Also a respondents from the U.S. onthe queson about eecve ways oflearning menoned that: other visitorsmight be very helpful and engaging.

These collected reponses prove theneed for the proposed SSE that providesthe opportunity to socialize with other

visitors in the satellites and oersdynamic viewing experience.

On the queson what can possiblyaract your visit to an exhibion themost replies were: temporary exhibits,famous artworks, stored collecons,contemporary approaches. That reects

lack of foreign temporary exhibionsin St. Petersburg, lagre closed storedcollecons, which just recently started tobecome available, and conservave wayof displaying the collecons. I like goingto the museums. However, if the museum

is 200 years old and all the exhibions

A. Visitor experience in a tradional

art museums in Russia & the U.S.


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there feel like they are ancient, then it is

boring. Oen small museums in removed

towns are terribly boring and didacc.

Nothing new, and all the rest have oldapproach we have seen many mes.This

is another proof for expanding colleconsin the areas where museums do not oervariety of engaging exhibions for itscommunity.

The results of the survey in the U.S.showed that museum visitors wouldlike to be more engaged in the storybehind the artworks and arfacts. Themajority of the Americans menonedlack of storyline behind the pieces,saying that they missed a thrilling story,passion in the narrave, a context for

understanding, and intriguing facts.There were also several commentsabout the density of the arfacts in themuseum. People menoned that thereare too many pieces in the space, whichsomemes cause crowds, especiallynext to the most famous artworks, anddisable them from viewing it in theirown pace and in calm environment. Theparcipants in St. Petersburg gave verysimilar answers; they also menoned thelack of thrilling storylines.

Traveling Van Gogh Aliveexhibit


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museum display. Applying such approachin the tradional art museum, specicallya former palace, is not simple because of

the conservaon issues, and aesthecsof the interiors that museums keep.Room for contemporary interpretaonand approaches of display, as well as theopportunity to be installed in museumlocaons at a distance are the reasons forSSE to be outside the museums.

Another interesng comment in theU.S. survey was that the arfacts arenot rotated enough, and the displayis very predictable. That can relate notonly to the actual display of objects,but also to the overall two-dimenisonaldisplay and linear layout. RochesterInstute of Technology did research onthe eecve learning environments andfound out that large images eecvely

draw ones aenon and smulatethinking process. Australian companyGrande Exhibionsuses large digitalrepresentaons of the famous artworks,creang an environment dierent froma tradional art museum. This approachalso breaks the two-dimensiality of the


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B. Visible Storage: Exhibited

Versus Stored Collecons

Stored collecons in most cases takearound 90% of the whole museumscollecon and are rarely on view. Thisthesis encourages museums to usedigized stored collecons for SSE toexpand museum resources and theinformaon and stories that the objectscarry.

The results of the surveys showedthat visitors would like to get moreinformaon about the context of objects,the stories that the artworks are partof, in order to create meaning andconnecons to the visitors knowedge

and experience. Providing the contextfor the artworks is similar to the researchthat the Dallas Museum of Art whenevaluang their visitors and dividingthem into four groups (Introducon,p.4). Museum professionals work ondierent interpretaons to reach diverseaudiences and connect visitors to art

in dierent ways. However, lookingbeyond the interpretaon, what elsecan foster a dierent framework forcreang connecons between visitorsand art? Expansion of permanent andstored collecons outside the museumcan create open access to collecons in

new environments less familiar than amuseum seng, and foster new ways ofinterpretaon.

New collecon pieces from thestorages may ignite the publics interestas something nally revealed that theyhave never seen before.

Most museums display only between 2%and 4% of their permanent collecons

at one me, as stated in the New YorkTimes arcle The Good Stu in theBack Room from March 12, 2009.The Metropolitan Museum of Artin New York, for example, owns twomillion objects and displays only tens ofthousands at a me. At the Museum of

Fine Arts in Boston, 18,000 objects areon display at one me, of 450,000 ininventory. But now, one unancipatedeect of the economic downturn hasbeen to movate museums to displaymore pieces from their collecons, saysGeraldine Fabrikant in the New YorkTimes arcle. The data collected by the

BBC in 2010 shows what percentageof collecons Brish museums keep instorage:


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The arcle that menoned the BBCreport 90% of collecons storedposed a queson: how can we make

museums stored collecons to provideopen access and be used as resourcesof informaon? Some museums todayopen their storage spaces to the public.Such museums include the Hermitagein St. Petersburg, the PhiladelphiaMuseum of Art, the San Angelo

Museum of Fine Art in Texas. The HenryLuce Foundaon has underwrien openstorage galleries at four museums:the New York Historical Society, theMetropolitan Museum of Art, theBrooklyn Museum and the SmithsonianAmerican Art Museum in Washington,D.C. The museums exhibit parts of their

collecons in new open storage spaces,also relying their expansion on showingtheir collecons to audiences throughrotang exhibits and loaning objects toother instuons.

Open storage, Hermitage MuseumBrish Museum 99%Tate 15%

Naonal Marime Museum 93%Science Museum 95%

Naonal History Museum 95%

Naonal Museum of Scotland 90%

Naonal Gallery 20%

Implied War Museum 95%

Victoria & Albert 81%


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The Hermitage in St. Petersburg also

has a massive collecon much of whichis in storage, and Michail Piotrovsky,the director of the Hermitage Museum,answered several quesons about themuseums plans for the objects that arenot on view (according to the newspaperIndependent from March 6, 2013). He

said that the museum exhibits 10% of

their collecon at the moment and plans

to expand it up to 20%. The museum isincorporang new galleries to exhibitsome parts of the stored collecons;however, as Piotrovsky menons, storageis the place where the pieces live, notthe galleries, where tons of people walkby, implying that the storage spaces are

the real, vital collecons environment

Open storage, Philadelphia Museum of Art


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and the space where professionals andartworks create a special atmosphere.Those storage spaces can tell very

dierent, less didacc and more naturalstories that the ones that are createdfor the galleries. How to imply and use itwhen exhibing the stored collecons?This thesis applicaon will take this intoconsideraon and suggest soluons.

When loaning objects to museums, the

Hermitage, like any other museum, hasto follow the rules of transportaon andalso keep its reputaon while loaningits world- famous art pieces. In theSoviet era the Hermitage exhibited lessfamous artworks even in the small towns;however, today the museum lends onlyfamous artworks, when all the condionsof transportaon, loans and insuranceare followed. Based on Piotrovskyscomments, it is clear that the museumexhibits world-famous art pieces, whilethe other 90% of the collecon alsorepresent a historical collage of thethinking process, social relaonships

and image of the era. This high volumeof informaon is not yet available to thepublic, which is unfortunate since it couldgreatly broaden perspecves on historyof art.

Piotrovsky also thinks that the goal ofthe Hermitage in the twenty-rst centuryshould be directed towards exhibing

collecons in the Hermitages permanentlocaons in London, Las Vegas andAmsterdam, because this is easier thannding new locaons that will sasfy theconservaon and other requirements.However, these permanent Hermitagesites are located in large cies withdeveloped cultural infrastructures.

Expanding museum colleconsinternaonally in a more ecient wayis one step, but also extending it tounderserved, rural areas is somethinga museum with such reputaon shouldtake into consideraon.


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C. Naonal and Internaonal Relaons

and Museum Goals

Since SSE suggests connecng collecons

or reuning those that were separated,naonal and internaonal relaons arealso important. Some museums mulplytheir locaons to dierent countries,some use loans; overall, museums pursuethe goal of expanding their colleconsand resources. Along with that, theysomemes are looking for new ways ofinterpretaon, while also aiming to raisethe museums reputaons.

Supplemental SSE plaorm is suggestedto expand museum collecons alongwith interpretaons as informaveresources that will be available not only

to the populaons of the cies with largemuseums, but also in locaons distantfrom them to foster cultural developmentand increase access to large museumcollecons.

Chrisne Sylvester (Art/Museums.Internaonal Relaons Where We LeastExpect It, 56) comments on the situaonof the Guggenheims expansion asparallel to the polics of contemporaryinternaonal relaons. She also says that:Guggenheim museums can generateconsiderable enthusiasm and aecon

abroad, as well as cynicism, and it is saidthat the museums can contribute tolocal economic development and give

a cosmopolitan boost to an area. Suchrelaons, museums internal structuresand goals should be examined in-depthwhen choosing parcipang museumsand locaons for satellites.

SSE follows the goal of creang accessto museum collecons in areas that

do not have it and supporng thedevelopment of contemporary waysof interpretaon. SSE does not aim topromote the instuons themselves, butthe informaon museums can provide forlearning and pleasure and the ways it canbe engaging and memorable.

It is important to consider naonal andinternaonal relaonships betweenvarious organizaons that supportcultural development and may helpmuseums reach their goals. Forexample, Chrisne Sylvester explainsthe appearance of the Guggenheim

Museum in Bilbao, Spain. She says thatboth the Guggenheim in New York andin Venice were looking to expand theirgallery spaces, use the Venice colleconbeer and incorporate internaonaloperaons. It does not take a rocketscienst to determine that we are living


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in a world that is becoming increasinglyinternaonal and transional. There aremore and more projects that benetfrom audiences in dierent locaons.(Thomas Krens 1999, 17).

However, the Guggenheims goal wasto grow museums nances, collecon,and reputaon through internaonalexpansion(Chrisne Sylvester 2009,121), while this thesis primarily looks

at promong museum collecons as aresource for informaon and enjoymentin cies and underserved areas of Russia.And even though the Guggenheim aimedto promote itself as an instuon, itposively inuenced the city of Bilbaorevitalizing areas.


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D. Satellite Exhibions: Creang

Access for Underserved Locaons

Underserved locaons are the ones

that are remote from the cies withlarge museums or that lack culturalenrichment. Populaons of thoselocaons need to travel to exploremuseum collecons; regional museumsare usually didacc and boring as statedin the survey answers. It is important

for SSE to deliver museum resources

to mulple underserved locaons toencourage personal cultural enrichmentand arsc development of the area.

Sylvester writes that Bilbao was theunexpected and improbable candidateas a locaon for a new art museum


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and that Thomas Krens, the directorof the Guggenheim Museum, was lessinterested in it. Bilbao was a provincialEuropean city in the disputed Basqueregion of Spain with minor standing inart, a rundown and depressed city, whichhad produced steel in the middle of thetweneth century. However, the decisionto build the museum in Bilbao wassupported by the Basque government,which had already started to invest into

the infrastructure of the city. Hence,this thesis applicaon seems likely tohave more success in the cies in whichinfrastructure is being changed from,former rundown and manufacturinglocaons to places of blooming cultureand ideas of the twenty-rst centurygeneraon.

How can one be sure that establishingnew museums in underserved areas willbe protable, successful and will bringin old and new local audiences? Thesatellites will not only spark curiosity bybringing culture to remote areas, but will

also test the quality of interest of thelocal populaon. If, aer an introduconto the arts through satellite locaons,peoples interest increases, the areamight consider collaborang with culturalorganizaons to keep promong cultureand access to it or invest in re-thinking

the structure and approaches of localmuseums.

There are many examples of such cies,which rebuild themselves through theimpact of the arts on their infrastructure.One of them is the depressed Englishseaside town of Folkestone; it aspiresto rebuild itself around an arts themeand is acvely recruing arsts to live,work, and display their art in the town

(Baggini, 2004). Many cies are lookingto develop their infrastructure throughincorporang the arts and bringingpublics aenon to it. Consideringall of the above, the launch cies forthe project must be chosen carefully.Sylvester menons that locaonsshould be ready to think about cultural-enterpreneual strategy for regeneraon.


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Case

Studies III


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This chapter examines the art fesval

features and the projects that museumscreate outside their walls that areimportant to consider when creang SSE.

The fesvals features: internaonality,temporality, social aspect, environment,and interpretaon, are examined to tracehow they aect the public and develop

infrastructure of a city. The analyzedprojects outside museum are theInside|Outby the Detroit Instute of Arts(DIA) andMasterpieces of the RussianMuseum in the Streets by the RussianMuseum and outside curator Alexandervon Busch. These projects are examinedto understand how internal structure isinuenced by the external needs of themuseum and understand the currentpracce of providing easy access tomuseum collecons for the public.

Exploring and taking into consideraonboth museums that create outside

projects to be more relevant to theircommunies and features of temporaryBiennale fesvals to create an eecveapplicaon and consideraons formuseum eld in Russia and to potenallyexpand its naonal and internaonalcollaboraon. The naonal and

internaonal exchange of museum

collecons proposed by this thesisaims to foster the connecon orreunion of previously separatedcollecons to inspire new stories thatwill arouse altered perspecves andinterpretaons.

III. Case Studies

This thesis suggests a supplementaryplaorm that will intersect with new

and exisng networks and collecons, to

provide alternave to the tradional art

museum interpretaon and experience.

The applicaon is not meant to interfere

with the experiences that visitors already

have in the art museums; it is meant to

be supplementary and temporary, to

appear, fade away and allow room for

more and more new stories.


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1. Temporality

Fesvals that are enjoyed by many

people are temporary and themac.Each fesval is dedicated to a certaintopic, celebraon, anniversary orother event. People are oen excitedabout the fesvals because they onlylast for a certain amount of me andpsychologically prepare one for a lilecelebraon - it is an event, there is

preparaon for it and when it is nallyprepared, it is ready to be used andexplored. This temporary change ofenvironment or addion of somethingnew to a daily roune bring to thepopulaon acvies that do not requireaendance or special preparaon and

can be enjoyed without extra planning.

The permanent collecons of tradionalart museums have usually been ondisplay in the same framework for a longme; parts of their collecons are storedand rarely appear on view. Travelingexhibions are shown in dierent

environmental and cultural sengs,which local visitors of the museumusually do not experience unless theytravel to see that exhibit. Moreover,traveling exhibits usually just relocate theartworks into a dierent museum, andthe interpretaon remains similar. The

audience has lile opportunity to see acollecon in a notably dierent seng.The dierent way of exhibing thecollecon might draw visitors aenonto elements or themes they have nevernoced before.

This thesis looks at permanentcollecons from a perspecve similarto which Domela describes in his audiointerview: They (biennales) are sort of

at an angle to collecons, because theydo not preserve. The greatest possibilitythat biennales have is that they cancapture some of that familiarity,something that passes. There is aperformance element in biennales.Not only in terms of performance art,but also in terms of commissioningsomething which exists for the duraonof the show and then disappears. Thatexperience, it can live in the mindsof people without having to recourseto the object that has generated thatexperience.

The permanent collecons attradional art museums are consideredhistorical, and much of the informaonabout them might relate to generalknowledge: for instance, eras and maindecorave elements that dominatedin a certain era. The relevant historical


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Ownership

Thomas L. Freudenheim makes aninteresng point talking about theaspect of ownership in relaon topermanent collecons. He says thatthe permanent collecons are alwaysavailable but never fully grasped.Temporality opens the opportunity toexpose and expand certain themes andmoves of permanent collecons ona deeper level in a non-tradional artmuseum approach, and explore thehistorical collecons from dierentangles and perspecves of the twenty-rst century. The opportunity to see

art in a wholly dierent environmentchallenges everything one feels abouta museum visit. It also challenges theterminology with which we are familiar:museum versus gallery and whetherthey are meaningful disncons, saysFreudenheim. Tradional art museumsexhibit their collecons most of theme in similar way and dictate theenvironment in which they are perceived.An opportunity to showcase permanent

collecons in a dierent environmentand interpretaon may challenge createdpre-concepons and birth new ways oflooking at familiar.

Not using the original artworks frommuseums collecons gives museumprofessionals the opportunity to createa variety of dierent interpretaonalapproaches and themes, which mighthave been impossible to create withinthe instuons framework or if the artpieces had to be transported into a singlelocaon. It provides independence fromthe problems connected with loans and

transportaon. One of the examplesof a permanent museum display withno original artworks containing onlyreproducons and supporng thecontent media is at the Vermeer Museumin Del. The visitor did not have theopportunity to look at any authenc

backgrounds are something that schoolcurricula usually include. The generalinformaon or preconcepons aboutthe collecon pieces are already well-established, and adding the element oftemporality to permanent colleconsthrough the biennale model can enliventhe stories from the past for a moment,e them together through mul-cultural threads of content, and makethem more relevant to the system/ of

percepon or habits of the twenty-rstcentury visitor.


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works of art or explore their techniquesclosely, but was provided with an insightinto Vermeers painng approaches andtechniques, both through the lens of hislife and the historical and social aspectsof the seventeenth century.

Another example is the Gallery Oneof the Cleveland Museum of Artwhere all the content is digitallybased. Digitalizaon allowed museum

professionals to provide moreinformaon and let visitors use thecollecon as they prefer to. They canadd artworks to create own collecon,and share it with other visitors thisapproach ts into and is similar to thepaern of todays use of technology tomake appointments, shop, share createddocuments, music, and video.Another factor is the problem ofownership aer World War II. Colleconswere spread to dierent places from theiroriginal locaons. Today, museums followthe laws of geng the objects of theircollecons back from where they were

found aer World War II, but somemesthese procedures are very dicult andme - consuming. While instuonssele the details of geng colleconpieces back to where they belong,these pieces can digitally reunite a wideaudience.


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This thesis suggests a supplementary

plaorm that will intersect with new

and exisng networks and collecons, to

provide an open-accessed alternave to

the tradional art museum interpretaon

and experience. The applicaon

is not meant to interfere with the

experiences that visitors already have

in the art museums; it is meant to be

supplementary and temporary, to appear,fade away and allow room for more and

more new stories.

Mulple locaons support SSEsgoal of simultaneous exhibions toopen new opportunies for the visitorsand provide communicaon with the

visitors in other locaons. In the surveys,individuals menoned lack of socialacvies. SSE suggests geng in touchwith visitors from other places to gettheir insights on the exhibion topic.For example, locaons in Russia and theNetherlands can be connected to explore

the marine landscapes of the 17thcentury when the Dutch inuence wasstrong in Russian Empire. Simultaneousconnecon also gives friends and family,living in dierent places, the opportunityto explore leisure acvies together.

Paul Domela noces: They (thebiennales) do not need huge sta,they do not need huge infrastructure.So you can set them up in placeswhere there is no contemporary artinfrastructure, where there is a desire toseek communicaon with the rest of theworld. You can change, be experimental,and biennales have the responsibilityto seek that experiment connuously,this is the beauty of the format. The

important aspect of this thesis is toimpact the audience through suggesngand encouraging them to seek out andconnect with the rest of the world.There is an urge to connect in big cies;small remote cies lack exposure to thecurrent trends in arts and a diversity ofcultural backgrounds. Mulple locaons

will help small and removed towns todevelop, oer more cultural exposureand make their populaons feel morein touch with the world. This gives theopportunity to connect the visitors indierent locaons and, by connecng,help them understand how their life

experiences t into the context of bothwhat they and visitors of other locaonsare experiencing. In remote locaons, theappearance of an alternave to a regionalmuseum may aract the aenon of thepopulaon.

2. Mulple Locaons


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The study Mapping InterpretaonPracces in Contemporary Art thatEngage Scotland conducted exploresthe obstacles in visitors museumexperiences. One of the obstacles wasspace: Geographical and physicalaccessibility were noted as spaalbarriers. So too was the layout of thespace and the general percepon ofarts as uncomfortable, where peopleare unsure how to behave. Earlier in

this research the authors menonedthat art galleries are not evenly spreadthroughout the country, and are notgeographically accessible for thepopulaons of towns with lile culturallife. The layout of the exhibion space isalso important. Even though this researchwas conducted in regard to contemporary

art, based on the surveys created for thisthesis, visitors have a very similar feelingof discomfort in the galleries of dierenttradional art museums. To improve thespaal issue, the authors of MappingInterpretaon Pracces in ContemporaryArt suggested further research on how to

make relevant connecons beyond thegallery walls and push the boundariesof the gallery space. Addionally, theysuggest developing partnerships amongcultural organizaons and communiesto advance their interpretaonalapproaches.

The impact of an internaonal plaormsuch as the biennial model can increaseinterest in global culture and help thegrowth of it in areas that are generallyless exposed to this. Talking aboutRussia and its contemporary art, theBiennale Foundaon states that therehas been increase in the art scene inRussia aer the establishment of theMoscow Biennale in 2005. The onlinemagazine Russian Mind describes it in

this way: Since the rst biennale startedin 2005, evoluon has been monitoredand the inclusion of other Russian cieshas been pivotal in Backsteins (JosephBackstein, the Director of the Instuteof Contemporary Art in Moscow)agenda: It is not an exaggeraon tosay that since the 1st Moscow Biennalein 2005, Russian societys interest incontemporary art and its culture hasgrown, and this culture now constutesa signicant part of Russian societysvalue system. The growth of interestis related not only to the area ofcontemporary art, but also to a large

internaonal event that captures arstsfrom various countries and createsopposed to the Russian tradional artmuseum environment.


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Manifesta - the European biennaleof contemporary art explorespsychological and geographical territoryof Europe, referring both to border-

lines and concepts.(manifesta.org). Thefesval is looking to expand and interlockthe map of contemporary art, not onlythroughout Europe but also expand it tothe neighbor territories: Asia, the easternMediterranean and north Africa. Eventhe biennales focus on contemporary

art, the model is also applicable to thehistorical collecons of art museums.In a decentralizing world, networkswithin regions or connents have greatsignicance and potenal. (manifesta.org). The round-table discussion onIntra-connental Collaboraon in

Tokyo on the occasion of the ArstResidencies Internaonal Conferenceon October 26-28, 2012 addressed thepotenal and importance of projects

which develop intra-connental dialogueand stress the need for sharing a senseof values. (manifesta.org). UnlikeManifesta, which connects Europeansociees, this thesis applicaon considersworld-wide museum networking,which unites cultural currents that

can broaden visitors worldviews andchallenge cultural assumpons. RanjitHoskote nds value in the biennial asa place for collaboraon among arstsand professionals, and states that thebiennial model has the ability to amplifyfeedback and acvate the search forengines for new possibilies.


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SSEsuggests dierent locaon to createa non-museum environment and to

expand the percepon of the tradionalmuseums image.

Freudenheim sees the design of space asthe opportunity to see art in a whollydierent environment that challengeseverything one feels about a museum

3. Environment

visit. While he talks about museums,there is a lile chance to realize this

in St. Petersburg, where the museumshave historical interiors and conservaveapproaches to interpretaon and design.Of course, there are excepons, but theyhappen when tradional art museumshost the internaonal fesvals.

J t lik f l l t hi h d t thi k b t th


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Just like fesvals always createdierent environment, New Angles ofInterpretaonby the Denver Art Museumshared the outcomes of exhibing in

its new Hamilton building with atypicalmuseum architecture. Apparently, theusual space had a posive impact onthe visitors. The unusual geometry ofthe architecture provided us with farmore unexpected opportunies to thinkcreavely than obstacles to overcome,

says Dan Kohl, the museums directorof design. The gallery designs were allposively inuenced by the architecture,

which encouraged us to think about thevisitor experience within a totally newspaal construct. The architecture setsup a visitor interacon where exploraon

- discovery...what a perfect environmentfor an art museum! The architectureof the building contains of sharp mul-angled shapes. Such conguraondictated asymmetrical and unusualdesign of the museum interiors. Thisenvironment reconstructs the tradional

art museum framework of the galleries,dictates new display approaches andprovides visitors with new percepon ofthe art museum and its exhibions.


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5 Interpretaon its relevance to their own framework of


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5. Interpretaon

Interpretaon is another key factor ofSSE, because it is looking to provide non-

label based explanaons of the exhibitedartworks. The survey of many individualsdid not prove the label informaonto be the best way to learn from.However, they all learned mostly fromlabels, because it was the only choiceto understand the contexts - audio and

guide tours were paid and many visitorscould not aord it in addion to thegeneral admission.

Based on the outcomes of the conductedsurveys, the ways to encouragenew and relevant interpretaons tocontemporary audiences should be

created. To someone outside the worldof art cricism, there must seem anelement of almost mysc faith in thisbelief in the power of great painngs tocommunicate abstract ideas of beautyto the uninformed spectator... Whenbackground is lacking - where there

is no knowledge of what the arst isaempng to say in terms of me,place, or social meaning - the resulngimpression is confused and is likely to bepainful as well as pleasurable. Visitorsinterest and aenon is determinednot by an objects inherent appeal but

its relevance to their own framework ofknowledge and experience. It was but asmall step from visitor-centered languageto visitor-centered content, and label

writers experimented accordingly. (T.R.Adam, From Knowledge to Narrave.Educators and the Changing Museum,63). The author states that objectsand exhibit spark fantasies of somevisitors, then the museum experiencebecomes a me machine allowing one

to experience other cultures and eras.Such involvement establishes personalconnecon, exploraon of self-identyand engagement into introspecon.When interpretaon within theenvironment creates such experiencefor a visitor, that is interpretaon thatcreated a meaningful connecon (T.R.

Adam, 63).

Establishing guidelines for successfuland meaningful interpretaon of artis not easy; the authors of the bookInterpretaon and the Art Museum.Between the Familiar and the

Unfamiliar suggest reconsideraon ofart interpretaon in order to make itrelevant to contemporary audiences.The reexaminaon and reimaginaonwill entail a radical crique of thediscursive coordinates that have framedthe museums understanding of its

interpreve responsibilies to the public seeing and perceiving visually


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interpreve responsibilies to the public.This crique must unravel the hold that apedagogy of display has had on museuminterpretaon; it must queson the

ongoing use of schooling and educaonaltheory as the primary rubric throughwhich interpretaon is conceived andconstructed. (Cheryl Meszaros, withTwyla Gibson, Jennifer Carter, 63)

The Denver Art Museum (DAM)

approached the interpretaon froma dierent perspecve consideringvisitors engagement and tendencies ofexploring. In its Interpreve Project, DAMidened four key factors for meaningfulinterpretaon. They determined thatvisitors seek human connecon toartworks, broader context, emoonal

response, and enjoy listening to expertspersonal opinions, which do not interferewith their own perspecves. Basedon this research the museums stasuggested a theory for object-orientedlearning, focusing on four aspects:

seeing and perceiving visually

reacngassociaons, thoughts,

memories, feelings

thinkinga raonal thought process

that considers the object in cultural

context making judgments

These factors should be consideredwhen developing the story, and thelayout for the story in satellite locaons.The interpreve opons should never

feel overwhelming or distracng to thepoint where they preclude a visitorsability to simply enjoy a work of art.

Adnrew J. Pekarik in the arcle MovingBeyond Outcomes of Curator 53/1 fromJanuary 2010 also considers visitors

factors and suggests creang exhibitsbased on how visitors learn and engagewith space. He sees the museum as aeld for independent human growththat is alive and intriguing, hyper-reality trackless realm to play in.(Adrew J. Pekarik, 110).


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1. What drove your intenon to go to the exhibion place and artworks For


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y g

the Venice Biennale?

Well... One month before going toVenice I had a chance to visit biennale

in Moscow. That was quite interesngand it was a new experience, butMoscow is denitely not a big center ofcontemporary art. It had some foreignarsts represented, but they were just afew. I saw Venice as a place to see worldart trends, it is like a chance to see more

or less the whole picture of todays art inone place and to get that feeling that youknow whats going on.

2. What else besides the artworks and

installaons drew your aenon and

why?

Were there any intriguing exhibit spaces?Please describe what and why.The concepon of dierent pavilionsfor each country is already excing. It isa nice feeling of moving not from oneroom to another but from building tobuilding, you have me to get ready to

perceive something absolutely dierent.It is all about changing of sizes, colorsand interiors, so I cant choose one inparcular. It was quite dicult to seethe border between actual interior of

the exhibion place and artworks. Forexample one room with photo projectfrom some third world country wasdivided in several secons with somecorners of acute angles, and walls werecovered with wallpaper, which lookedquite well and was creang some specialmood. But I do not know if it was a partof project or just a part of interior.

3. Was there something unexpected orsurprising to you?

The works of Tian presented there.

4. Could you just talk about the exhibit

pavilions not the art itself?

Please describe how people behavedthere and what caught your aenon togo visit them.In Frances pavilion I saw a girl sing inthe corner and reading a book, peoplewere really relaxed, there was no feelingthat art and spaces are oppressive.Combinaon of dierent spaces and

rooms: dark and light, small and big, newand beaten down.


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B. 1. Pop-Up Exhibions:


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The Detroit Instute of Arts project

Inside | Out

As menoned earlier, one of the currentpracces that some art museumsuse to impact publics daily life andaract them to visit the art museumis to bring reproducons of artworksoutside museums into the city. Thisthesis explores this current pracce to

understand the impact it has on thepublic, how it benets the museum andhow it can be expanded.

Museums such as the Detroit Instute ofArts (DIA), the Russian Museum and theMuseum of London started to use this

method in order to integrate art into thecommunitys everyday life, and to evokea love for the work in order to establishstronger relaonships between museumand the community. The program beganwhen DIA Director Graham Beal visitedLondon in 2007, and he was inspired byworks of art hanging around the city.

The opportunity came three years laterfor the DIA to display their own worksof art in dierent communies. (Insidegoes out: art instute creates open airgalleries outdoor city walls. Times-Herald.May 5, 2013). The DIA project Inside

Out brings reproducons of artworksoutside the museum to connect with thecommunity and provide people with anopportunity to enjoy the artworks on adaily basis.

In this case to factors are important

for this thesis research: to trace howthe internal goals of the museum meetexternal and how the context inuencesthe percepon of artworks. KathrynDimond, the Director of Community

Relaons at the Detroit Instute of

Art, gave an insight into the Inside

Out project and explained its birth andimpact on Denver community.

Since SSE is a project that aims toconnect communies to colleconsoutside the museum framework,Inside|Outand Masterpieces in theStreets were important to consider.Similar in reaching the public, but slightlydierent in the mission, intenon forcreaon of both projects is examined inthese two case studies.


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Inside | Out

Interview via email with Kathryn Dimond,th Di t f C it R l


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1. In some way a similar project, whichexcluded programming around the

reproducons, but oered cell phone

tours, was created by collaboraon

of the Museum of Russian Art in St.

Petersburg with an independent curator

Alexander von Busch. The reproducons

were hung on the walls of the buildings

around the museum area. Soon aer

they became a part of gra art.

Unfortunately, there is no open-access

to the outcomes of the project, but the

curator said that museum evaluaon

showed posive project outcome

and increased the Russian Museum

visitaon. The goal of that project wasto bring art to cizens everyday life for

enjoyment and to promote great art of

the past.

Did Inside Out connect non-museum

goers with the artworks in a meaningful

way and raise their interest in vising

the collecon at the Instute (if there is

a report about the project outcome that

you could refer to)?

The goal of the project, inially, was to

share the collecon with the communityon the celebraon of the DIAs 125thanniversary. At that me, there was noprogramming involved at all. The imageswere hung in various locaons (40)around the community. Each work hada label that was very lightly interpreted.

The second year (2011) we made a keychange to the project. We installedthe objects within walkable areas andclusteredbetween 5-8 works in each community.This enabled both the community, andthe DIA to develop programming aroundthe installaons, which then led to

further engagement with the community.Another key component is that theseare temporary installaons of only 3months. Enough me for communitymembers to get to know them, nd themand connect...but not long enough forthem to be lost in the mix or to becomecommon. We would rather go back to acommunity the following year, than leavethem up too long.

the Director of Community RelaonsDetroit Instute of Art


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There has been anecdotal evidence that

people who have seen Inside|Out in theircommunity have come to the DIA. Wehost a community free day which nowwill be a Community weekend, andmany of the parcipants coming on thosedays have stated it was their rst visit orat least rst visit in a long me. We havenot been able to measure a signicant

upck in aendance as a result of I|O.

One very important point aboutInside|Out this past year... I|O was akey piece of our overall communityoutreach strategy leading up to thesuccessful millage campaign that we ran

last summer (August 2012). The millagewas passed in all three counes inwhich the majority of our visitors reside.Much of the success was aributed tohaving the DIA in over 50 communiesover the two summers leading up tothe vote. Residents were able to see,touch and feel the value of the DIA to

their communies, which translated intosupport for the millage.

2. The programming around the

reproducons sounded very interesng(the bicycle and midnight tours). Was

it one of the goals to create dierent

context for viewing the masterpieces?

Not necessarily. Aer having just theimages in the communies in theprevious year, we determined that bygrouping them in a gallery-like seng,

we were able to oer some innovaveprograms to help connect people withthe installaon. It was an extension ofour visitor centered mission statement:Create experiences to help peoplemake personal connecons with art.Essenally, we were looking for the

opportunity to extend our missionstatement beyond the walls of themuseum. We could not be more excitedabout the fact that communies havefound that this helps them meet theircommunity engagement and economicdevelopment goals as well.

3. In this project or its further

development is community considered

4. Did the instuon change or

reconsider its mission/ internal goals


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development, is community considered

to parcipate in interpretaon or

everything is curated by departments of

the Instute?The way the program has been setup currently, the interpretaonand curatorial responsibility for theinstallaons fall to the DIA. As we moveforward, we connually reassess theenvironment, community needs and

impact and ancipate more communityengagement in the project in the future.

reconsider its mission/ internal goals

that inuenced this external project

Inside Out?

No, in fact, it is the other way around. AsI menoned previously, the DIAs visitorcentered mission is to create experiencesthat help people make personalconnecons with art (and our collecon).We used that same approach to takeour art beyond the walls and into the

community. Our Community Relaonsstrategy is to connue to seek and createopportunies to build on this visitor/community centered approach.

Inside|Out

It is interesng that the project startedto fulll the museums mission by


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to fulll the museum s mission byplacing the artworks outside themuseum for its 125th anniversary. And

the next year it was approached in amore thoughul way: the reproduconswere grouped in certain locaons tobe accessible to several communiesof the DIA, and programming aroundthose pieces was created.

Inside|Out

2. The Russian Museum projectThe Masterpieces in the Streets


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The Masterpieces in the Streets

project took place throughout the wholecity; reproducons of the most famousartworks were placed on buildings, onboulevards and squares. Cizens could

see familiar, and not familiar, worksof art from collecons of the main artmuseum. The project aimed to enlivenboth of the cies with art, and to be aninformave resource for historical eventsand memory about them.

A similar project Art-Tour: TheMasterpieces in the Streets launched inSt. Petersburg and Moscow in 2008 and2009, in collaboraon with the RussianMuseum and the Pushkin Museum ofArt, curated by Alexander von Busch,the founder of Art-Tour. The goal of thatproject was to enter into the daily lifeof cizens and remind them about theclassical art, which exists next to us. The



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Installaon and interpretaon of thereproducons were approached the

same way as inside the museum. Theart was framed and supplementedwith short descripve labels; addionalinformaon was suggested through

text messages. The project aimed tointegrate art into peoples everyday

environments, creang an arscallycharged part of the city and promongthe value of classical art, tradions andcultural heritage.



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Instead of people looking for art, theart will look for people. It will integrate

into their everyday lives and remindabout the treasures, which exist reallyclose. The most important is that peopleneed to noce the artworks and stop,says Alexander. This raises the quesonof how he and his team found theeecve ways to encourage people tostop and noce the change in the city,be impacted, enjoy or use the art asa historical resource. Alexander saidthat nding eecve ways for cizensto noce the artwork is an on-goingprocess. The outside nature of theproject lets the cizens experience art

in their everyday, dynamic environment.Mobile programming is created around

this project. One can look up a map ofthe artworks and head to explore themor follow the route suggested by thecurator. St. Petersburg (2009), Moscow(2008), Barcelona, London (2007) andBelgrad hosted the project artworksunder the open sky. As Alexanderstates in his descripon of the project:The new modern museum form breaksthe borders of percepon, the artharmonically enters the everyday lifeof a person of any city whether it is aremote locaon or megapolis. Art-touris a tour-guide through world art that

leads people from reproducons to theoriginals. Alexander says that it is

to be of a very high value and thateveryone should know about them. This


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important for people to know thenaonal and world history; and the

ethical aspect is very important(implies knowing the art history andunderstanding the aesthec part of it).The technology allows us to expandmuseum resources to remote areas forthose who cannot visit actual museumsdue to their geographical locaon orlack of me. He says that all museumsperceive this project as a markengtool; however, it is more than that.The museum thinking in Russia is veryconservave and holds to conservaonof cultural heritage, the exhibionsare boring, low visitaon, poormarkeng and huge interest in traveling

exhibions.

This project is one step towards breakingthe tradional format of display andreaching out to the public to show thatthe museum eld in Russia just beginsto advance. However, one thing that thisthesis suggests to exclude is the pin-pointperspecve to remind the public aboutgreat artworks of the past and their highvalue. This thesis suggests to considerall collecons as informave resources,pieces for enjoyment while eliminangartwork highlights that are considered

pin-poinng perspecve that sll existsin curang pracces in Russia should be

re-shaped, because that brings elism tothe image of an art museum and dictatesa specic foundaonal knowledge forthe visitor, which they do not necessarilyhave.

For SSEit is important to create anexperienal environment for viewingthe artworks, and incorporate freshinterpretaonal and viewing approaches,which an Art-tour with its mobileapplicaon does not oer.

However, it shows that a properparthership should be established

between parcipang museums andSSEsto agree on one mission and goal toavoid misunderstanding such as betweenArt-Tour and Russian Museum in regardto the markeng.

C. Satellite Exhibions: The

Guggenheim and BMW Group


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gg p

This is an example of an impacul projectthat engages the public in reshapingtheir city environments by bringingthem together in an arscally designedlocaon to aend programmed events.The Guggenheim, in addion to itsinternaonal expansion to Bilbao andVenice, launched the project BMW

Guggenheim Lab that took place invarious locaons. This is a co-iniave ofthe Solomon R. Guggenheim Foundaonand the BMW (Automobile) Group.This month-long lab is an urban thinktank created to gain insight into currenttrends in dierent cites (by far New York,Mumbai and Berlin) and discover ways toaccommodate them. The project raisesawareness of important urban challengesin the cies and around the world.

The BMW Guggenheim Lab project isfocused on acvang local cizens inparcipang cies and working towards

urban change. The Guggenheim projectapproaches the conversaon about

cizens needs through collecvethinking, approaching problems aschallenges and a developing a track fordevelopment. It is not a gathering-placewhere people might most likely complainand share they thoughts about the needsof their city.

This project has very dierent goalsfrom this thesis applicaon and is basedon programming. However, it is a caseof a satellite locaon launched by amuseum in order to improve cizensexperiences in their cies. Involvement ofa cultural instuon into infrastructuralissues merges the borders of eldsand encourages the public to thinkand approach the challenges in theirenvironments creavely. The BMWGuggenheim Lab does not include art;sll the pavilions are places of desnaonfor people. Those pavilions create spacesfor the publics shared experiences and

thoughts.


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Project in Mumbai, Dec 9, 2012Jan 20, 2013


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Project Berlin, June 15July 29, 2012


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Conclusion

IV


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Museums that do not have in therpossession large collecons might notbe interested in parcipang in SSEproject; however, it is not a restricon.If the museum has small but digizedcollecon, it can become a member ofthe SSEproject.

Another factor may be the board or

stas resistance to exhibing theirdigized collecons in a non-museumenvironment and non-tradionalapproaches.

Cases that SSEshould considerbefore parcipang:

1. The benet of temporality toSSEis that it is a good way to prototypenew approaches, evaluate outcomes

Through engaging populaons of several

locaons simultaneously and collecons

of several museums, SSE aims to ignite


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and advance the project for the next

prototype unless is ready to fullyfuncon.

2. Mulple locaons and internaonalexchange of collecons can bringsdiverse perspecves to interpretaonand build mul-layered background forthe visitor. The internaonal factor was

also menoned by the surveyed peoplein Russia by expressing that they wouldlike to see more foreign art exhibions,and get exposure to fresh exhibionapproaches and environments. Thiscultural enrichment is especially essenalin underserved areas where museums

are more didacc and tradional thanin Moscow and St. Petersburg and thepublic is not provided with experienceand interpretaon that sparks curiosity.

curiosity about art, concepts and stories

beyond the everyday experiences andencourages the public to think about

art museums and concepts broadly and

openly more oen.

Using digized collecons frees SSE from

loans, transportaon and conservaon

issues. Some remote locaons are unable

to host original artworks due to lack

of security and proper conservaon

environment that provides sustainability.

Digized collecons can be available

at several locaons simultaneously to

give visitors the opportunity to connect

through similar experiences across

the regions and explore each othersperspecves and thoughts. Moreover,

digized collecons can be used in

dierent dimensions, and various sizes,

while the details from one artwork can be

zoomed in on to beer see the technique

or a detail. This method oers variety

of ways to approach the representaon

of the artworks to beer emphasize the

message.


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Project VSimultaneousSatelliteExhibitions


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Simultaneous Satellite Exhibitions

This thesis project suggests creating Simultaneous Satellite Exhibitions with digitalcontent or reproductions of artworks from permanent and stored collections united by

VI. Project - Simultaneous Satellite Exhibions


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Goals:1. Create meaningful, relevant andinformave interpretaon

2. Provide access to museum colleconsin underserved locaons

3. Expand collecons outside of amuseum and reunite collecons thatare no longer together or items fromdierent collecons that can be part ofone story

Expected Outcomes:that enhances visitor enjoymentand inspires using collecons as aninformave resource

to regenerate culture in the locaon

to generate fresh approaches, new

contexts and novel stories

content or reproductions of artworks from permanent and stored collections, united by

common themes, where experimental or non-traditional interpretation is encouraged.The Simultaneous Satellite Exhibitions will be located in both cities and underservedareas to connect communities and provide access to culture. It will take art outside themuseum walls, raising the profile of the local participating museums, and demystifyingthe experience of viewing fine art. These outcomes will result in increased museumattendance for the participating museums.

As mentioned earlier, museumstypically exhibit up to approximately10% of their collections, usuallyincluding the most outstanding worksfrom their collections. The majority oftheir collections is stored and rarely on

view. Learning opportunities are missedbecause stored collections are not usedenough as an informative resource toolto learn about past and present.


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Who Why

Delivery

Communies that lackcultural enrichment

18 to 44 years old

Socially engaged target

audience

Local Communies ofgeographically remote

locaons from large museums

Develop the eld of cultureand arts in underserved areas

Create open access to storedcollecons

Consider art as aninformave resource notonly as aesthec pleasure

Satellite locaons for exhibions

New interpretaons and storiesReunited collecons in a non-museumspace

Consideraons

MUSEUMS

1. Parcipang Museums

Tradional museums currently collaborate with other


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LOCATION

COMMUNITY

INTERPRETATION

MUSEUMPROFESSIONAL

COLLABORATION

tradional museums through travelling curated exhibionsand through the loan of specic art objects for scholarshipand exhibion. These tradional collaboraons can be reliablerevenue-generators and are able to aract many visitors.The informaon and resource exchange among tradionalmuseums mostly happens in the geographic areas wherecultural streams are strong and able to aract and impact highnumbers of visitors.

1. Expanding their collecons naonally andinternaonally

2. Discovering new exhibion approaches andinterpretaons

3. Creang new, more experiencal context fortheir web-based digital collecon and expandingits aordances

3. Choosing based on reputaon:well-known and unknown museums should bein one parcipang group to aract moreof thepublic to familiarize them with the collecons ofunknown museums through the reputayions ofmore well-known museums

Parcipang museums might consider:

MUSEUMS LOOK TO

SHARE WITH

DIVERSE COMMUNITIES

EXPAND BEYOND

PHYSICAL LOCATION AND WEB

READY TO ALTERNATIVE

EXHIBITION APPROACHES

Expanding the space of tradional museums to temporary satellite locaons will allowmuseums to exhibit their digized collecons in many locaons. Moreover, these new,t ill ll d lt i t t t ibl

2. Selecng Satellite Locaons for Exhibions


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temporary spaces will allow and may encourage alternave interpretaons not possible

within the framework of the tradional museums.This project suggests starng to prototype in the locaons within a certain distance fromthe parcipang museums where populaons are familiar with the museums collecon.Aer the prototype within the range of familiarity, the project will progressively expandto the areas located further from the parcipang museum and reach most culturally

underserved populaons.

UNDERSERVED GEOGRAPHICAL LOCATIONS

1. Familiarity basedRemote locaons within a certaindistance from parcipang museums,where the community is familiar withthat museum, but does not have easy

access to it

2. Start with the closest to parcipangtradional art museums to:

Hidden threadsMutual historical or current conneconsof the locaons that are reected in the

themes of artworks

For example, famous artwork is locatedin the participating museum, but theevent represented in that artworkor the artist is from that potentialsatellite location. And the communityof that location might not know aboutthat connection, because the artwork

was privileged to be displayed in the

museum.

OR

a. expand further aer the projectmeets the required outcomesb. gradually familiarize areas and

spread the word about this project

3. Determine opportunies for furthercultural development

Parcipangmuseum

Second

Moscow

Bryansk

Example


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museum

Firstexpansion

Familiarity

expansion

Secondexpansion

Novgorod

Expansion

Expa

nsion

Orienburg

Some tradional museums and artsfunders have begun to recognize the art

and culture gap for people that live inunderserved communies. For example,the funding project Challenge AmericaFast-Track by Naonal Endowment forthe Arts oers support to arts projectsthat extend the reach of tradional

museums to underserved populaons those whose opportunies to

experience the arts are limited bygeography, ethnicity, economics, ordisability. This grant supports thestrengthening of communies throughthe arts.

Parcipangmuseum

Firstexpansion

Second

expansion

Secondexpansion

Familiarity

Expansion

Expa

nsion

Philadelphia

Trenton

Roanake

Potsville


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These maps show the intensity ofpopulaon in Russia and in the UnitedStates. Moscow and St. Petersburgare densely populated and generatethe income and exchange of cultural

resources with other countries.Somemes the large cies spread theirresources to some other locaons. TheUnited States are more evenly populatedin cultural hubs, such as New York,Chicago, New Orleans, San Francisco,that are evenly located throughout thecountry.

POPULATION

CARTOGRAMS


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COMMUNITY of chosen locaons

1. 18 to 44 year olds2. Interested in cultural development oftheir city

INTEREST

DEMOGRAPHICS

FURTHERto determineopportunies for further


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their city

3. Socially engaged4. Isolated from art museums and

lacking cultural enrichment

DEVELOPMENT

pp

development of cultureand the arts in thatcommunity

3. Developing Collaborave Interpretaon

Museum sta + outside emergeing professionals

1. Bring new perspecves that lay outsidethinking of museum sta2. Explore the boundaries of novel ways

of interpretaon that is relevant to targetaudeinces3. Possess external knowledge thatmuseums might not have or take into

consideraon

1. Inside in-depth understanding of localcommunity (in case there is a regionalmuseum to incorporate their experse)

2. Detailed informaon about theselected artworks from parcipang

museum

Not limited by the framework oftradional art museum, emerging

museum professionals will have morepossibility to create new variousinterpretaons. Lisa C. Roberts(Changing Pracces of Interpretaon,222) notes that there is debate withinthe art museums to determine which

collecons to exhibit and which museumprofessionals will curate them. Forthese Simultaneous Satellite Exhibions,emerging museum professionals willbe called upon to curate them inunconvenonal ways and to collaboratewith other

tradional museums in developingcontent and narrave. Especially inRussia, where museum departments arenot strongly connected

Inving consulng emerging museumprofessionals into the establishedcollaborave processwithin the museum will bring an outside


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in working on an exhibion, engagingeducators, curators, conservators,markeng managers and publicrelaons managers is an important goal.

perspecve that will potenally helpinside museum professionals expandtheir percepon of their museum.

Emerging outsideMuseum

ProfessionalsWork closelytogeher

Curators Educators Conservators

Markeng

Managers

PublicRelaonsManagers

+

RegionalMuseum

Professionals

If located in the area

MUSEUMS


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For example, the Tate Museumsupports curatorial collaboration, runsprofessional exchange program, andcollaborates with other institutionsand professionals, which share

research in the museum field. One ofthe highlights from collaboration ofthe Tate Museum with the Pushkin

Museum of Art in Moscow wasWilliam Blake and British Visionary

Art. This exhibition was held inMoscow; it showcased 110 works andattracted 238, 000 visitors. It attainedhigh visitation because the show wasexhibited in the biggest art museum inthe city with easy access to citizens.

PROJECT

PARTICIPATING OUTSIDE


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MUSEUM PROFESSIONAL

colleconinformaon

outside experseconcepts

topicgoals + objecvesoutcomes

Primary Responsibilies

in Collaborave Work

provides

provides

developing conceptsdesignstudy demographicsand interest in achose locaon

curangproviding informaonabout the collecon

Consideraons for a proposed project for a satellite exhibions

Developing Interpretaon

1. Connect parcipang museumsinternal experse with external vision of

4. Museum sta should provide outsidemuseum professionals with thorough


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The collaboraon of several tradionalmuseums working together on newinterpretaon of their collecons willbenet all parcipang instuons by

enriching collecons interpretaonwith diverse viewpoints. Bringingpieces of dierent collecons togetherin one space encourages the creaonof new stories, open perspecves andviewpoints, and marries collecons,making them more global. Ongoingresearch behind the scenes can be

parally accessed by the public throughthis type of internaonal and naonalcollaboraon, and will become publicsknowledge faster, creang greater impactfrom the exhibion interpretaon.

outside museum professionals

2. Connect internal and externalviewpoints to develop several themes forinterpretaon (see 6. Creang ExhibionTopics)

3. Choose one to make it an exhibiontopic

informaon about selected artworks

5. In the concept stage both paresdevelop interpretaon

6. When the story is developed, outsidemuseum professionals take over

designing satellite locaons

The permanent collecons of tradionalart museums are a valuable publicresource that reect both the past andpresent. Through these collecons,

people may nd enjoyment, inspiraon,learning, and a deeper understandingof culture and diversity. The sharing andconnecng of collecons contributes totheir interpretaon and increases thebenets they can provide to the public.Collaborave exhibits can helpto generate renewed interest in

collecons for the visitors who arefamiliar with the collecon or had achance to see it live.

For example, in the museumcollaboration such as between theHermitage Museums in St. Petersburg

Additionally, the Hermitage Museumand Rijksmuseum network will beab-le to reach wider geographic areas


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and the Rijksmuseum in Amsterdam,those simultaneous satellite exhibitionscould be a faster and cheaperinterpretive method to create or addresscurrent topics through collectionobjects that are ordinarily not on view.

4. Satellite Exhibions

High Budget Low Budget

1. Pop-up pavilions in the central locaonof the city

2. Last for one month

3. Mobile structures that are easy to put upand take down

4. Developed and designed by the outsidemuseum professionls who are working withparcipang museums

1. Exisng space in central locaon

2. Design those spaces to make them

look unfamiliar to what they originallyare while visually communicang thestory of an exhibion

than their respective central traditionalmuseums, creating much more accessto art and its interpretation for bothcitizens of those cities and tourists whocome to experience different cultures.

Simultaneous

Available in the areas of each parcipang museum

1. to provide the community of each 2. to aract higher number of visitors

8/12/2019 Simultane

Simultaneous Satellite Exhibitions

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