Visions of the Empire is an exhibition of photography and about photography. One more exhibition in the programme of Padrão dos Descobrimentos (the Monument to the Discoveries in Lisbon), which is one of the cultural institutions that most questiones (itself and us) about the country's colonial past and about slavery. On the website of the Padrão dos Descobrimentos, one reads that “Photographic images were staged and commercialised with numerous goals. They changed hands, both officially and secretly, they were forgotten or destroyed. They documented individual and collective dreams and memories. They fuelled the imagination around colonial domination, helping to make it come true. They contributed to a vision of the “other” as essentially different ‒ regarding ways of life, customs and mentality ‒ and to the establishment and maintenance of laws and practices founded on political, social, economic and cultural discrimination and drawn along racial lines. Moreover, they served to denounce the iniquity and violence of colonisation, encouraging aspirations for a more humane and egalitarian future that spanned various political hues and orientations. Their uses in the past and their legacy in the present were ‒ still are ‒ vast, heterogeneous and long-lasting.”
Sunday, 17 October 2021
Sunday, 10 October 2021
To provoke a sigh
This week, I participated in Territórios Públicos (Public Territories), the national meeting of services of education and mediation organised by 23 Miles, the cultural project of the Municipality of Ílhavo. I like the name of this initiative, which makes me think of words like “community” and “communication” – communication that creates community – the connection created by a shared task (to remember the speech “What is to love a country” by Tolentino Mendonça).
The beginning of the meeting was marked by the participation of Álvaro Laborinho Lúcio, by the worlds he brings along and generously shares in his public interventions, with a mixture of charming seriousness and captivating lightness. I could highlight several points, but, considering the theme of this post, what seems to me most relevant is to refer to the way he encouraged us to follow the impulse of our constant ignorance, which takes us from the stereotypes, to the interrogation, the questioning, the doubt…
Sunday, 14 June 2020
My responsibilty for this vandalism
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| Father António Vieira's statue in Lisbon (Photo: Nuno Fox, for the newspaper Expresso) |
Sunday, 23 February 2020
Beauty will prevail
Tuesday, 23 July 2019
Memory that resists
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| A scene from the documentary The Silence of Others |
Saturday, 22 June 2019
First thoughts on the National Plan of the Arts
There were two occasions for a first appreciation of the National Plan of the Arts (NPA): its public presentation, on 18 June, and the reading of the document. I'll start by sharing my thoughts on the first.
Saturday, 23 March 2019
The great privilege of public life
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| Poster image of "The Coat", presented in 2017 by the Grupo de Teatro da Nova in Lisbon. |
Monday, 11 June 2018
Discussing the decolonisation of museums in Portugal
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| Photo: Maria Vlachou |
I love museums. I love them for what they are; I love them for what they are not, but can be; I love them for their potential. I especially love them because of the work developed by a number of colleagues around the world so that museums may adapt to new realities, remain or become relevant for people, and even reinvent themselves. I particularly love them lately because of the controversies they cause or face, pushing our thinking and practice forward.
Saturday, 5 May 2018
“Lindonéia, the suburb’s Gioconda”: my first visit to the Pinacoteca of São Paulo
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| "Lindonéia, the suburb's Gioconda", Rubens Gerchman, Pinacoteca de São Paulo (Photo: Maria Vlachou) |
“Na frente do espelho
Sem que ninguém a visse
Miss
Linda,feia
Lindonéia desaparecida
Despedaçados, atropelados
Cachorros mortos nas ruas
Policiais vigiando
O sol batendo nas frutas
Sangrando
Ai, meu amor
A solidão vai me matar de dor (...)”
Caetano Veloso, “Lindonéia”
Monday, 16 March 2015
What have we got to do with this? (ii)
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| Field Museum, Chicago (photographer unknown) |
Monday, 8 September 2014
What lies beyond?
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| Freeman Tilden |
2. Information, as such, is not Interpretation. Interpretation is revelation based upon information. But they are entirely different things. However all interpretation includes information.
3. Interpretation is an art, which combines many arts, whether the materials presented are scientific, historical or architectural. Any art is in some degree teachable.
4. The chief aim of interpretation is not instruction, but provocation.
5. Interpretation should aim to present a whole rather than a part, and must address itself to the whole man rather than any phase.
6. Interpretation addressed to children (say up to the age of twelve) should not be a dilution of the presentation to adults, but should follow a fundamentally different approach. To be at its best it will require a separate program.
Curiosity killed the visitor
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| Plaka Bridge, National Park of Tzoumerka, Greece |
Monday, 9 December 2013
'Paideia': where education and culture meet
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| Field trip at Crystal Bridges Museum of American Art (Photo: Stephen Ironside, taken from the site Education Next) |
Monday, 1 July 2013
Guest post: "From 'Museo' to 'Useo'", by Jorge Barco (Colombia)
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| Colectivo Impar (Photo: Andres Sampedro) |
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| LABSURAB (Photo: Checho) |
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| MAMM Education and Culture team (Photo: Clara Botero) |
Monday, 17 December 2012
Guest post: "The story of the boy who fell asleep", by Mohamed El Ghawy (Egypt)
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| Visual arts workshop for underprivileged children. (Photo: AFCA) |
| Second edition of Hakawy Festival with children with special needs. (Photo AFCA) |
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| In front of AFCA, one day after Hosni Mubarak´s resignation. (Photo: AFCA) |
Monday, 10 December 2012
Magic places
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| Workshop by Ricardo Lopes (Photo: Vasco Célio / Stills) |
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| Workshop by Maria Alcobia (Photo: Vasco Célio / Stills) |
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| Workshop by Vasco Célio (Photo: Vasco Célio / Stills) |
Monday, 3 December 2012
Says who?
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| Giselle Ciulla, 'curator' of Giselle´s Remix. (Photo taken from the website of Clark Art Institute) |
It´s so good to see Giselle´s happy face and we can almost feel how proud she is of her exhibition. This is also the role of museums in society, a role that allows for involvement, active participation, which recognizes that there are more than one versions of the ‘truth’ and creates a place for them to be shared, even if this is about 11-year-old children. The objects´ labels were written by Giselle herself. They convey simplicity and freshness, they demonstrate sensitivity. A few years ago I had seen lables written by visitors at the Tate Britain and I had also liked them a lot. For me, they were, for me, as interesting as the others, the ‘official’ ones. At the time (it was in 2004) Maev Kennedy of the Guardian had found the initiative dubious. On the otehr hand, Tate Britain´s director at the time, Stephen Deuchar, was saying that he would be particularly interested in the contributions of visitors who might know much more on a painting than the museum experts or the artists themselves (read here).
On 12th to 14th of November I was at the conference In the name of the arts or in the name of the audiences, organized by Culturgest in collaboration with the programme Descobrir of the Calouste Gulbenkian Foundation. One of the main concerns of those present seemed to be the issue of ‘authority’ regarding the interpretation of a work of art. When I did my master´s, we were ‘warned’ that people acknowledged authority in museums, they considered the information they found in them as a ‘validated truth’. But even at that time, and it´s been almost 20 years, we were questioning ourselves regarding the possibility (and the obligation) to create the space for more than one story to be told.
Well, there is still a concern and lots of thinking about it. The concept of participatory museum (so well substantiated in theory and in practice by Nina Simon) is being widely accepted. An interesting case, among others, at the above mentioned conference was that of the dTOURS at the contemporary art exhibition dOCUMENTA. These were (paid) guided tours given by people of various ages and backgrounds, the majority residing in
A number of issues are raised here: Why repeat an initiative, in exactly the same way, if it was not positively evaluated? Are we ignoring – in the name of experimentation, of exploration, of a wish to do more and better – people´s basic needs, such as listen to what a specialist has to say on a specific subject, such as in a ‘normal’ guided tour, such as in a ‘normal’ label? Are we walking towards an opposite extreme, where “visitors know best” (even “more than the artists themselves”, to quote again the Tate Britain´s former director)?
Clay Shirky´s book Cognitive Surplus: How Technology Makes Consumers into Collaborators tells us about the pro-am (professional – amateur) movement and how new technologies allow us today to use people´s enormous cognitive surplus. People are eager to contribute with their knowledge (without being paid for it, just because it makes them feel good, useful, involved) towards all sorts of projects, social causes, etc. Wikipedia is such an example. Ian David Moss argued in his blog Createquity that the model of Wikipedia may be applied to culture, in programming or in distributing funds (read here).
People continue looking for information in museums. In an article by Stephen Weil entitled “The Museum and the Public” (included in the book Museums and their communities, edited by Sheila Watson), I read that, after the era of ‘celebratory’ and assertive museums, there was a new trend, that of admitting that what´s being said is not a closed issue, it could be open to different interpretations or the subject of ongoing research. It´s worth mentioning that it was a natural history museum (the American Museum of Natural History) one of the first to present labels which said “what we know so far”, “but we might be wrong, it´s happened before, there is an ongoing reserach”, etc. Maybe because scientists are more at ease than other specialists with testing and error and with admitting that they had been wrong.
Specialists don´t know everything, but they know a lot, more than we do in their specific areas. We may find them in and out of museums, they may be professionals or amateurs, and together they may contribute in the development of our knowledge. I, as a visitor, still look for their opinion, for their ‘version', not because I wish to accept it as if it was the Bible, but because with it I can build my own opinion, my own knowledge. At the same time, going beyond information, and considering that a museum visit is also feelings, surprises, emotions, sharing, previous knowledge and experiences, memories, the specialist – when also a good mediator or facilitator (or...) – will know how to create that space where everyone can contribute with their ideas, their experiences, their interpretations, their reactions. That space where there are no specialists and non-specialists, right or wrong. Thus, the participatory museum for me is not the museum which, in the name of cultural democracy, passes the responsibility for one of its main functions over to the visitor. The participatory museum is that which gives ‘Giselle’ (each one of us) the tools to build and admit without fear her tastes, opinions, sensitivities and which creates the space for them to be hosted and shared with everyone.
This text is based on my short intervention during the closing of the conference In the name of the arts or in the name of the audiences, on November 14.
More readings
Museu2.0: a arte de ouvir o público, in the newspaper O Globo (27.11.2012)
Selling a product vs building a movement, by Nina Simon
When painting labels do their job, by Hrag Vartanian in Hyperallergic
Stories from the field: The Walters Art Museum, by Dallas Shelby
"GO", a group show at the Brooklyn Museum, by Martha Schwendener
The power of non-experts, by Desi Gonzalez
Still on this blog
We are for people. Or… are we?
La crise oblige? (ii) Programming challenges
Building a family: lessons from the social sector
Free to visit an art museum
Museums: new churches?
























