'The best way of collecting a cultural artefact for the museum is to collect both the specimen and its associated field data at the same time and from the same place'.
S.R. Sarkar, in: An Appraisal (2005).
The first TASK for us will be to collect sufficient, relevant information about the OBJECT to be displayed in the Museum.
The major OBSTACLE will be the fact that search engines will direct us to TOURIST web sites, which, alongside publications most commonly found in bookshops, will provide the easiest accessible INFORMATION; but SUPERFICIAL and 'CLICHÉ': both in its FORM and CONTENT.
A first film we see about Traditional Arts of Kerala uses an unsubtle hard-sell US voice-over and fast editing technique, which prevents the mind to focus on anything more than for a few seconds. An example of what to avoid at all costs!
By contrast, The Time of Puppets), a film about glove puppets made by/for the MUSEUM OF ETHNOGRAPHY in Geneva, enables us to WITNESS the ritual dance drama of PAVAKATHAKALI against the background of everyday VILLAGE life.
Reference
Sketches of Kerala, by Laurent Aubert, Ravi Gopalan Nair, Damian Plandolit, Patricia Plattner, Jonathan Watts,DVD, Light Night Productions (www.lightnight.ch).
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SRISHTI COLLEGE, BANGALORE: NOVEMBER-DECEMBER 2007
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TOTAL DESIGN: PROJECT INTRO
TOTAL DESIGN: MUSEOGRAPHIES-MUSEOLOGIES
Lead Tutor: Gérard Mermoz, France-UK.
AIMS AND OBJECTIVES
1. To explore the principles upon which a 'modern' ART MUSEUM may be set up, and develop inovative CURATORIAL IDEAS about how to present the works; to make them accessible and intelligible,
2. Translate CURATORIAL IDEAS into concrete DESIGN SOLUTIONS: from the design of SPACE, SCENOGRAPHY for the DISPLAY of the WORKS, and the production of GRAPHIC ARTEFACTS—from visual identity to signage, posters, flyers, invitation cards and catalogue and related activies intended to facilitate public access to the collection for local, national and International audiences, and to encourage creative and responsible INTERPRETATION.
3. Explore ways of working professionally in a 'live' design studio situation.
METHODOLOGY
We will work on a real life project which is currently being developped in South India, but has not yet been made official; and will explore ways of presenting objects and artefacts as well as images and documents (such as photographs, film, sound recordings, music, etc.), as well as ways of interpreting and animating the collections through a purposeful and dynamic interaction between media: object - image - text - sound, etc.
Students interested in this workshop are invited to prepare by considering existing practices of curation and museum display worldwide.
After exploring concepts for the Museum and its functions in the community (audience development: regional, national and international), we will develop specific strategies and a long-term agenda for setting up and managing the museum, and for developing an evolutive programme of thematic exhibitions and related activities.
We will, in particular, consider the implications of each strategies according to criteria of appropriateness, and evaluate them according to their respective capacity to deliver the aims and objectives of the Museum, as required (with reference to ACTION RESEARCH).
For this workshop you will work collaboratively in small design units—in parallel and in competition with each other (to simulate real-life work conditions—to develop ‘PROPOSITIONS’ which will be uploaded daily on a group BLOG (one per team), and professionally reviewed and discussed at all stages of the project, in live crits:
1. Concept: Aims and Objectives.
2. Name: Naming the Museum.
3. Objects: Inventory of art works, typology, etc.
4. Scenography: Museo-graphies...
5. Documentation and the use of Media as Interpretive Tools (beyond captions).
6. Visual Identity: as expressed in logo, house style for publications and publicity material, as well as in the design of the museum and its mode of functioning: staff attitude, etc.
7. Retail: Books, catalogues, CD, DVDs, artefacts, etc.
These propositions will be presented and reviewed at short, regular intervals [in ‘live project’ time] throughout the project—from your BLOGS and in live sessions—and will culminate in formal presentations at the end of the workshop: in a combination of media: print form, CD/DVD and in the form of an audio-visual presentation to the client, via a BLOG.
PROFESSIONAL OUTCOMES
This is a live brief and, in addition to giving students skills and knowledge in the areas covered, and the opportunity to work in a simulated design environment, some of the propositions may be implemented in the actual museum, when it is set up; and actual commissions may arise as a direct result of working on this project.
Gérard Mermoz
Coventry 13.09.2007; 21.10.2007 (rev.)
gerardmermoz@hotmail.com
Lead Tutor: Gérard Mermoz, France-UK.
AIMS AND OBJECTIVES
1. To explore the principles upon which a 'modern' ART MUSEUM may be set up, and develop inovative CURATORIAL IDEAS about how to present the works; to make them accessible and intelligible,
2. Translate CURATORIAL IDEAS into concrete DESIGN SOLUTIONS: from the design of SPACE, SCENOGRAPHY for the DISPLAY of the WORKS, and the production of GRAPHIC ARTEFACTS—from visual identity to signage, posters, flyers, invitation cards and catalogue and related activies intended to facilitate public access to the collection for local, national and International audiences, and to encourage creative and responsible INTERPRETATION.
3. Explore ways of working professionally in a 'live' design studio situation.
METHODOLOGY
We will work on a real life project which is currently being developped in South India, but has not yet been made official; and will explore ways of presenting objects and artefacts as well as images and documents (such as photographs, film, sound recordings, music, etc.), as well as ways of interpreting and animating the collections through a purposeful and dynamic interaction between media: object - image - text - sound, etc.
Students interested in this workshop are invited to prepare by considering existing practices of curation and museum display worldwide.
After exploring concepts for the Museum and its functions in the community (audience development: regional, national and international), we will develop specific strategies and a long-term agenda for setting up and managing the museum, and for developing an evolutive programme of thematic exhibitions and related activities.
We will, in particular, consider the implications of each strategies according to criteria of appropriateness, and evaluate them according to their respective capacity to deliver the aims and objectives of the Museum, as required (with reference to ACTION RESEARCH).
For this workshop you will work collaboratively in small design units—in parallel and in competition with each other (to simulate real-life work conditions—to develop ‘PROPOSITIONS’ which will be uploaded daily on a group BLOG (one per team), and professionally reviewed and discussed at all stages of the project, in live crits:
1. Concept: Aims and Objectives.
2. Name: Naming the Museum.
3. Objects: Inventory of art works, typology, etc.
4. Scenography: Museo-graphies...
5. Documentation and the use of Media as Interpretive Tools (beyond captions).
6. Visual Identity: as expressed in logo, house style for publications and publicity material, as well as in the design of the museum and its mode of functioning: staff attitude, etc.
7. Retail: Books, catalogues, CD, DVDs, artefacts, etc.
These propositions will be presented and reviewed at short, regular intervals [in ‘live project’ time] throughout the project—from your BLOGS and in live sessions—and will culminate in formal presentations at the end of the workshop: in a combination of media: print form, CD/DVD and in the form of an audio-visual presentation to the client, via a BLOG.
PROFESSIONAL OUTCOMES
This is a live brief and, in addition to giving students skills and knowledge in the areas covered, and the opportunity to work in a simulated design environment, some of the propositions may be implemented in the actual museum, when it is set up; and actual commissions may arise as a direct result of working on this project.
Gérard Mermoz
Coventry 13.09.2007; 21.10.2007 (rev.)
gerardmermoz@hotmail.com
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