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40 anos em exposição permanente no Museu Calouste Gulbenkian. Contributos para uma Critica do Objeto Museológico
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Nesta tese defende-se a utilidade da Crítica do Objeto Museológico como
ferramenta de estudo e de caracterização da mediação expositiva de uma coleção
museológica.
Desenvolvida segundo uma metodologia de estudo de caso e perspetivada
como investigação prévia à elaboração do plano de curadoria educativa, a Crítica do
Objeto Museológico aqui apresentada norteia-se por três questões-chave: Quais são
os objetivos gerais da exposição e de que modo (nos) são comunicados? Quais são os
conceitos chave e os critérios gerais de organização da exposição (guião) e de que
modo (nos) são comunicados? e Que objetos (nos) mostram/dizem ser estes?
O estudo de caso desta tese é a Exposição Permanente do Museu Calouste
Gulbenkian. A caraterização geral da função de mediação expositiva desta Exposição
reporta para o seu atual ciclo expositivo (2001-2013). De forma a enriquecer esta
caraterização, apresenta-se um breve estudo das exposições temporárias da coleção do
Museu Calouste Gulbenkian realizadas durante o período de programação definitiva
da sua exposição permanente (1960-1969) e analisam-se opções da montagem
expositiva original (1.º ciclo expositivo: 1969-1999).
Porque o caso de estudo desta tese corresponde a um modelo de programação
museológica que tem como vector fundamental de identificação do museu a sua
‘exposição permanente’, procurou-se identificar, mediante um Inquérito à Coleção,
de que modo esta exposição é representativa do acervo desse Museu.
Da aplicação da Crítica do Objeto Museológico desenvolvida nesta tese
resultaram ainda duas proposta de guiões de novos mediadores do Museu Calouste
Gulbenkian, aqui apresentados enquanto exercícios museológicos
This thesis advocates the usefulness of a Critique of the Museum Object as a tool for study and characterization of expository mediation of a museum collection. Developed after a study-case methodology and envisaged as a research prior to making of an educational curatorial plan, the Critique of the Museum Object here presented is guided by three key-questions: what are the general goals of the exhibition and in which way are they communicated to visitors? What are the key-concepts and the main organizing criteria of the exhibition’s program and in which way are they communicated to visitors? And, how are museum objects interpreted? The study-case of this thesis is the Calouste Gulbenkian Museum’s Permanent Exhibition. The general characterization of this exhibition’s expository mediating function reports to its current exhibition cycle (2001- 2013). In order to enrich this characterization, we present a brief study on the temporary exhibitions from the Calouste Gulbenkian Museum’s collection showed over the period of its permanent exhibition definitive programming (1960-1969) while analyzing options from the original expository setting (1st exhibition cycle: 1969-1999). Because the case study of this thesis corresponds to a model of museum programming in which the fundamental vector identifying the museum is its own ‘permanent exhibition’, we looked for to identify – via an Enquiry to the Collection – in which way this exhibition is representative of that Museum’s collection. The application of the Critique of the Museum Object developed in this thesis has also resulted in two proposals of scripts for new mediating tools of the Calouste Gulbenkian Museum.
This thesis advocates the usefulness of a Critique of the Museum Object as a tool for study and characterization of expository mediation of a museum collection. Developed after a study-case methodology and envisaged as a research prior to making of an educational curatorial plan, the Critique of the Museum Object here presented is guided by three key-questions: what are the general goals of the exhibition and in which way are they communicated to visitors? What are the key-concepts and the main organizing criteria of the exhibition’s program and in which way are they communicated to visitors? And, how are museum objects interpreted? The study-case of this thesis is the Calouste Gulbenkian Museum’s Permanent Exhibition. The general characterization of this exhibition’s expository mediating function reports to its current exhibition cycle (2001- 2013). In order to enrich this characterization, we present a brief study on the temporary exhibitions from the Calouste Gulbenkian Museum’s collection showed over the period of its permanent exhibition definitive programming (1960-1969) while analyzing options from the original expository setting (1st exhibition cycle: 1969-1999). Because the case study of this thesis corresponds to a model of museum programming in which the fundamental vector identifying the museum is its own ‘permanent exhibition’, we looked for to identify – via an Enquiry to the Collection – in which way this exhibition is representative of that Museum’s collection. The application of the Critique of the Museum Object developed in this thesis has also resulted in two proposals of scripts for new mediating tools of the Calouste Gulbenkian Museum.
Descrição
Palavras-chave
Coleção Programação museológica Exposição Interpretação Mediação Exposição Permanente do Museu Calouste Gulbenkian Collection Museum Programming Exhibition Interpretation Mediation Critique Museum Object The Calouste Gulbenkian Museum’s Permanent Exhibitions