Abstracts 2016/2
Abstracts 2016/1
Abstracts 2015/2
Abstracts 2015/1
Abstracts 2014/2
Abstracts 2014/1
Abstracts 2013/2
Abstracts 2013/1
Abstracts 2012/2
Abstracts 2012/1
Abstracts 2011/2
Abstracts 2011/1
Abstracts 2010/2
Abstracts 2010/1
Abstracts 2009/2
Abstracts 2009/1
Abstracts 2008/1-2
Abstracts 2007/2
Abstracts 2007/1
Abstracts 2006/2
Abstracts 2006/1
Summaries 2005/2
Summaries 2005/1
Summaries 2004/2
Summaries 2004/1
Summaries 2003/2
Summaries 2003/1
Summaries 2002/1
Summaries 2001/1-2
Summaries 2000/2
Summaries 2000/1
Summaries 1999/2
Summaries 1999/1
Summaries 1998/2
Summaries 1998/1
Summaries 1997/2
Summaries 1997/1
Summaries 1996/2
Summaries 1996/1
1995/2 All texts in English
Summaries 1995/1
Summaries 1994/2
Summaries 1994/1
Summaries 1993/2
Summaries 1993/1

2006/1 Abstracts


From Nordisk Museologi 2006/1, Abstract pp. 3-20

Cathrine Baglo

Title: Savages in the city? About the living exhibitions of Saami, anthropology and scientific practices.

Abstract: During the 19th century, new practices emerge in the western representation of cultural otherness. One of these — whose importance is often disregarded by Academia, was the practice of exhibition of living "natives" in zoological gardens, amusement parks and circuses. By seeing these exhibitions as 'immutable mobiles', I am trying to demonstrate how these became instrumental for the "success" of racial discourse, by contributing to moving facts around to make them take on an apparent universality.

Keywords: Live exhibitions, representations of cultural otherness, ANT, immutable mobiles.


*Cathrine Baglo, PhD student, Fagenhet for samisk etnografi, Tromsø Museum - Universitetsmuseet

Address: Tromsø Museum - Universitetsmuseet, Fagenhet for samisk etnografi, 9037 Tromsø 
E-mail: cathrineb@tmu.uit.no


From Nordisk Museologi 2006/1, Abstract pp. 21-42

Anders Ekström

Title: Ferdinand Boberg and the machinery of statistics: On statistics as media, attraction and display, c. 1800-1930.

Abstract: Different types of statistical representations were among the most prolific visual media in late nineteenth century museums and temporary exhibitions. From the 1890s to the 1930s, several "social" or "statistical museums" were founded in Europe and North America, the most famously of which were established by the sociologist Patric Geddes in Glasgow, and by the philosopher Otto Neurath in Vienna. The first part of this paper gives a survey of the development of graphic representations in the nineteenth century, with particular emphasis on the visual pedagogics involved in statistical display. The second part of the paper is dedicated to two statistical displays developed by the Swedish architect Ferdinand Boberg at exhibitions in Helsingborg in 1903 and Stockholm in 1909. In particular, the analysis is focused on the ways in which Bobergs "machinery of statistics" - a series of moving, figurative and three-dimensional representations of statistics — related to other media presented at the exhibitions, and to the ways in which the audience was invited to interact with the displays. In the conclusion, the development and use of statistical media in early twentieth century museums are discussed in relation to an intermedial discourse on visual realism and the Utopian idea of a universal visual language. 

Keywords: Statistics, history, museums, exhibitions, pedagogy, visual realism.


*Anders Ekström, Docent in Department of History of Science and Ideas at Uppsala University.

Address: Institutionen for idé- och lärdomshistoria, Box 629, 751 26 Uppsala
E-mail: anders.ekstrom@idehist.uu.se


From Nordisk Museologi 2006/1, Abstract pp. 43-58

Karen Grøn

Title: When the visitor becomes "Curator for a day" - an experimental educational game within the rituals of the art museum.

Abstract: The "Curator for a day" project was carried out with guided tours in conjunction with the "Museum Mausoleum" exhibition held at Trapholt — museum of modern art, applied art, design and furniture design — during the winter of 2001—2002. As part of ordinary tours in small galleries, visitors were "tricked" into curating exhibitions of the museums artworks and design. Turning visitors into curators showed that many of them had a great sense of experiencing art, especially when responsibility for their own experience was handed over by the guide, and when their role was transformed into that of a coach. The project was inspired by constructive learning theory — using visitors' personal potential to make them create and develop new theories and gaze strategies for their next museum visits.

Keywords: Experimental educational project, art museum experience, constructivist learning theory, contextual model of learning, flow theory, ritual and liminality.


* Author: Karen Grøn has a master's degree in cross-disciplinary studies of aesthetics and culture in the twentieth century from Aarhus University. She works as a curator responsible for educational activities at Trapholt museum of modern an, applied an, design and furniture design in Kolding, Denmark. 2006-2007 she is Research Associate at Institute of Education, University of London, Department of Art, Design & Museology.

Address: Trapholt, Æblehaven 23, DK-6000 Kolding. 
Telefon: 76300530. 
E-mail: kg@trapholt.dk


From Nordisk Museologi 2006/1, Abstract pp. 59-73

Helene Illeris

Title: Educational rituals at The Royal Danish Kunstkammer. 

Abstract: In the fifteenth and sixteenth century The Royal Danish Kunstkammer provided the framework for two different educational rituals, one aimed at the court and another aimed at visitors from outside. The article employs an educational-anthropological perspective to investigate how the Kunstkammer's spatial organisations favoured certain movement and perception.

Keywords: Kunstkammer, education, ritual, spatial organizations, performance, ways of seeing.


* Helene Illeris is Associate Professor of Art and Visual Culture at the Danish University of Education, Department for Educational Anthropology. She holds an M.A. degree in Art Theory from the Royal Danish Academy of Fine Arts and a Ph.D. in Art Education from the Danish University of Education.

Address: Danmarks Pædagogiske Universitet, Institut for Pædagogisk Antropologi, Tuborgvej 164 DK- 2400 Copenhagen NV, Denmark
E-mail: illeris@dpu.dk
Phone (work) + 45 8888 9823
Fax (work): + 45 8888 9706


From Nordisk Museologi 2005/2, Abstract pp. 74-88

Merete Sanderhoff

Title: This is not a canon. Canonization and its effect on contemporary art.

Abstract: How does canonization affect contemporary art and the definition of cultural heritage? This subject is right now topical in Denmark, where the Ministry of Culture recently issued a much debated canon of Danish culture. This article looks behind the concept of canonization and examines the structures that determine why some artists and art works are canonized, while others are disregarded. The focus of the article is a marginalized group of contemporary Danish artists, named passionists, who have deliberately chosen to oppose the prevailing standards of art production. These standards are based on the tradition of the avant-garde, which itself forms a canon within art historiography today. 

Keywords: Canon, paradigm, contemporary art, passionism, avantgarde, cultural heritage, art historiography.


*Merete Sanderhoff, Lecturer at Department of Art History, Institute of Aesthetic Studies University of Aarhus. She was given a gold medal for the paper with the Danish title "I periferien af kanon", January 2006 at University of Aarhus.

Address: Vilhelm Bergsøesvej 13, 2. 8210 Århus V.
E-mail: merete-sanderhoff@get2net.dk or kunpb@hum.au.dk


Copyright 2010 Nordisk Museologi