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Museums and Stuff

@museumsandstuff / www.museumsandstuff.org

Personal blog of Jennie Carvill Schellenbacher Mostly museums. Some stuff. Click here to sign up for a weekly digest of posts
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On 29 November the first ICOM Massive Open Online Course (MOOC) will be online and available to all on the Future Learn platform: “Creating Meaningful and Inclusive Museum Practices”.  The course will encourage museum professionals to explore a series of methodologies and strategies for social inclusion and community building that can be implemented to support wider cultural participation.

The course was coordinated by the Department of Capacity Building / Museums and Society of ICOM Secretariat, and the content was developed by Armando Perla (El Salvador/Canada) and Deirdre Prins-Solani (South Africa), heritage and museum practitioners with strong experience on the subject.

Using representative case studies and discussions with practitioners, academics and community members, this course presents methodologies and strategies, such as co-curation, oral history, community collecting, inclusive design and conflict resolution. It illustrates a vibrant and evolving museum practice taking place in different corners around the globe.

The 4-week MOOC proposes practices for museums to ensure the inclusion of people who, for whatever reason, have been denied involvement in mainstream economic, political, cultural, and social activities, such as the elderly, persons with disabilities, migrants, minorities, Indigenous peoples, members from the LGBTQI+ and ethno-cultural communities.

At the same time, the instructors will lead the students to participate in self-assessment and peer-reviewed assignments to encourage self-reflection and social learning.

The course will also encourage a reflection on the challenges faced by institutions and practitioners, so that participants can broaden their perspective on the role of contemporary museums in community engagement and equip themselves with the skills to develop meaningful and inclusive museum projects.

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The cynic in me says to get out and enjoy the museums before they have to shut again. Definitely not as busy as you would expect for a bitterly cold Sunday afternoon, but also not quite as empty as I hoped either. Tried and failed to find the way into the Beethoven Bewegt exhibition 🙈 - - - - - #museums #vienna #wien #instawien #instamuseum #khm #sculpture #mns #facemask #coronacouture #intimesofcorona (at Kunsthistorisches Museum Vienna) https://www.instagram.com/p/CLR1WHqFL3_/?igshid=jcqrv41g2gs0

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A novel approach from @leopold_museum to informing visitors about the measures they should be aware of for their visit. #museum #egonschiele #LeopoldMuseum #MuseumsInTimesOfCorona #vienna #wien #museen #corona #signage #mask #washyourhands #Austria #instawien #instamuseum (at Leopold Museum) https://www.instagram.com/p/CC1qljZF515/?igshid=2h3cs5d7acoj

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Fascinating new exhibition @hdgoe, featuring objects damaged during the November Pogrom ("Kristallnacht") that were recently rediscovered in a cellar of an Orthodox Jewish school in Vienna's 2nd district #Leopoldstadt, on #Malzgasse. The building housed a school, a synagogue and the world's oldest Jewish Museum prior to the catastrophic events of 1938. After the Pogrom and during the war, the building became a Jewish old people's home and a place where Jews who had been evicted from their homes lived in cramped conditions prior to their deportations to ghettos and extermination camps. It is now a school once more. The exhibited objects include the everyday objects such as equipment from science lessons, leather shoes, crockery, but also artefacts from the museum, including art and ritual objects and gravestone fragments. NICHT MEHR VERSCHÜTTET (Buried No Longer), temporary exhibition, on until 19th April 2020 at Haus der Geschichte Österreich. - - - - - #hausdergeschichteoesterreich #hdgoe #Wien #instawien #novemberpogrom #kristallnacht #Holocaust #shoah #antisemitism #worldwar2 #vienna #austria #österreich #neverforget #niemalswieder #instamuseum #houseofaustrianhistory #exhibition #ausstellung #museum #jewishmuseum (at Haus der Geschichte Österreich) https://www.instagram.com/p/B4nc81wgEP2/?igshid=1731ktg3jcgfk

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Surprisingly small, yet super complex. The ivory collection in the #kunsthistorischesmuseumwien dates back to the Habsburgs and testifies to the imperial roots of the collection. If you want to know the quick way to spot a Habsburg, pop over to Museumsandstuff.com and search for Habsburg. Spoiler alert ⚠ it's the underbite that became more and more pronounced as the generations progressed. - - - - #habsburgs #kunstkammer #khm #Wien #ivory #elfenbein #arthistory #habsburgjaw #vienna #instawien #instaMuseum #Austria #österreich #kunstgeschichte #imperialcollections #Kunsthistorischesmuseum #artmuseum (at Kunsthistorisches Museum Vienna) https://www.instagram.com/p/B3rG5xpg7sI/?igshid=wvgw5idi0svg

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This week the UK’s Museums Association held their conference in Brighton. They live-streamed all of the sessions from the main room, including the keynotes (alas not the session “Are toilets the eyes to the museum’s soul?”). 

You can watch the videos on their facebook page. Click the link above! 

Topics included decolonialisation, museums and the patriarchy, the climate crisis, and the fundamental, existential questions of “what is a museum?”. One thing that always impresses me with the way the UK approaches museums, is how holistically they address all aspects of the museums work and sphere of influence. It’s not just curators and exhibitions, it goes through all corners of the museum, their staff and work. 

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This was posted online last year, but I never got round to posting it here.

“The potential for activist museums lies in museums acknowledging and harnessing the role they play in shaping society. If museums can inspire action in their visitors to become more active citizens, more engaged in their communities, more involved in democracy at the local, regional and national level, more informed about how their everyday actions can affect real change and empowered to make change happen, the more relevant museums will be.”

You can read my full article on Museum-ID by clicking the link

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Close up on a copper engraving "Temperance" (1560) by Phillip Galle after Bruegel. The detail and many concurrent stories happening in these pictures are mind-boggling. There is a one for each the deadly sins and the virtues too. Some of them are very NSFW (and instagram), but are at the same time amusing and satirical as well as quite hellish... On loan from the @albertinamuseum - - #Breugel #Kunsthistorischesmuseum #kunsthistorisches #Wien #temperance #engraving #art @kunsthistorischesmuseumvienna #albertina #Vienna #arthistory #deadlysins #virtue #religiousart #austria #InstaMuseum #instart #instawien #museum #museen #astronomer #satire #rotterdam #temperantia #moon (at Kunsthistorisches Museum Vienna) https://www.instagram.com/p/Bqhv4XDlTvw/?utm_source=ig_tumblr_share&igshid=8e50w92k4l4n

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The wildly popular #Breugel exhibition at the #Kunsthistorischesmuseum. Some great touches in the display of the engravings (for example) that allows visitors to get really face-to-face with the fine detail of the work, perfect height for 5'4" me, but would make them inaccessible to wheelchair users. The sheer number of people made the visit a little trying at times, despite time slots... Especially the number of guided tours; in only six rooms there must have been 7 or 8 groups of 15 people. But the selection of works on display was truly impressive, including the display of 4 of series of 6 seasonal paintings (1 is lost, 1 remains in New York), shown together for the first time in 350 years. The exhibition has been advertised as "once in a lifetime", and that's a fitting description, but go early. - - @kunsthistorischesmuseumvienna #Wien #Vienna #art #Breugel #arthistory #crowds #kunsthistorisches #paintings #crowds #babel #towerofbabel #austria #instaart #instawien #tour #massen #crowded #engravings #museum #museen #artgallery #InstaMuseum #museumsandstuff #onceinalifetime #people (at Kunsthistorisches Museum Vienna) https://www.instagram.com/p/BqgDdMUFwCv/?utm_source=ig_tumblr_share&igshid=19nwtptwnooni

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The Vienna City History Museum (Wien Museum) is going to be undergoing some pretty momentous changes in the coming years, and the museum held an event last night to inform interested members of the public of the current status of the developments and offer some tantalising snippets about the direction the museum will take.

Some brief background, although the museum as an entity is 130 years old, the current building and location is a product of the 1950s, a mere 11 years after the end of WWII, the museum opened in the so-called “Haerdtl” building, a modern and innovative building that set the tone for Vienna’s post-war city planning. However, the intervening years has seen the collection and the role of the museum transform and grow, and the current museum is busting at the seams, with revenue-driving temporary exhibitions spread over several floors and a somewhat disjointed feel. The building is also no longer able to completely meet the needs of a modern museum – both technologically, but also in terms of accessibility.

The current Wien Museum (top), the plans for redevelopment (bottom left, Certov, Winkler & Ruck) and the strong competition that is the the Karlskirche next door. 

The redevelopment of the museum has not been without controversy – indeed, previous events have been heated and not without the occasional conspiracy theory. This was avoided last night by hiring a friendly but determined moderator to ensure the discussion stayed on track, clearly defining the topics of the evenings discussion. The architects Certov, Winkler & Ruck from Graz won the global competition, beating over 270 other submissions. Their vision sees the adding of two extra floors to the museum, one offering more room for events, classrooms and ateliers, a lounge area, extra office space and a terrace with views of the city and a second dedicated solely to temporary exhibitions. This top floor will be flexible, it’s possible use ranging from one large exhibition space, to five smaller exhibitions spaces and all manner of possible configurations in between.

The redevelopment will only ony add more exhibition space and events/educational facilities, but it will also reestablish the museum’s position on the square with a piazza where visitors and non-visitors alike can meet and relax. Picture: Wien Museum

The current museum was built at a time when the square in front of the museum was not a park as it is today, but a busy traffic intersection. Changes to the use and layout of Karlsplatz (named for the bombastic looking Karlskirche ‘Charles Church’) have left the museum somewhat sidelined and easily overlooked, pushed into a corner of the park and quite well-hidden behind trees and play parks. Not only will the new elements take into account the protected status of the original building by adding new floors in a complicated and exciting sounding way, but a new entrance area will shield the new “piazza” area for cafes and events in the front of the museum from the traffic of the nearby road and offer a kind of intermediate zone between the museum and the wider world. The new design will reintroduce the museum on the square, both in terms of presence and use of space. 

The current Wien Museum and it’s immediate surroundings on Karlsplatz. Picture: Google Maps

The New Permanent Exhibition

The museum’s director, Matti Bunzl (see also “A Breakfast with Matti Bunzl, The Vienna City Museum’s Director-in-waiting”), was also on hand to offer some insight into what form the new permanent exhibition might take. The most significant changes will be to the size and scope of the exhibition, increasing from 2000m2 to 3000m2 and bringing the story bang up to date by including a much more substantial look at the 20th century (the exhibition currently stops prior to WWI) and into the 21st century.  The changes to the building will make the route through the exhibition more fluid than it currently is, offering visitors a chronological take on Vienna’s history as they ‘corkscrew’ up through the building.

The ground floor will begin with the archaeology of Vienna, leading through to the medieval period (the Wien Museum has several smaller museums throughout Vienna, including the Museum of the Middle Ages in the Stephansplatz tube station – review here) and potentially including a giant model of St Stephens Cathedral, the most famous building in Vienna. The next floor will also feature an outrageously sized object: the original Donnerbrunnen, a monumental fountain commissioned as the first public artwork by the City of Vienna in the 18th century. The fountain is so big that in all likelihood the museum will have to be somehow ‘built around it’, as even the new heavy-duty lift wouldn’t be able to transport it. Vienna’s story continues, including the boom period of the Gründerzeit, which saw Vienna as the capital of vast, multi-ethnic empire, but also the growing gaps between rich and poor, extensive migration from other areas of the empire and rapid technological advancements that made Vienna a vibrant, global metropolis. 

The Donnerbrunnen today in Vienna’s first district. The original will be part of the Wien Museum’s new permanent exhibition.  Photo: Wikimedia Commons

The third floor will continue the story through the changes, devastations and upheavals of the 20th century: the establishment of two Austrian Republics, the World Wars, Red Vienna, the Holocaust and Nazi Regime, the Cold War, Vienna and the UN, migration post-1960s and showcasing the museum’s art collection (it’s Vienna, so think Klimt and Schiele!)

What Comes Next?

To be able to realise such a wholescale redevelopment the museum will have to close for a period. Matti Bunzl also detailed some of the plans they have to continue the museum’s mission and to ensure that their key audiences remain in touch with the museums and engaged. One very exciting project was the school programme, which will see curators and educators spending a prolonged period in primary schools with the 3rd class (roughly nine years old), focusing not only on Vienna’s history, but also the work of a museum. Over a week, objects and information will be worked up into an exhibition that will then be opened at the end of the week. I would have just exploded with excitement if someone had come to my school to do this when I was nine.

Another programme is to have satellite, mobile exhibitions in slightly more unexpected places around the city.

The Wien Museum Neu project is now entering the public consultation phases and extensive exploratory drilling will be carried out in the coming weeks to head off any nasty surprises when the time comes to build.  

You can read more about the project on the website:

Wien Museum Neu (only in German it seems, but lot’s of pictures)

The Wien Museum also had an exhibition that featured not only the winning design, but also the runners-up and special mentions. 

Is it floorplans you’re after?

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New Museum Podcast: Queering Museums

A new podcast began in February to mark LGBTQ+ month and is seeking to give an insight into the different way that LGBTQ+ museum workers and people in related fields are changing and shaping museum practice and museums themselves.

In it's first week, Queering Museums focused on not only the importance of telling queer histories in museums to address how they have long been ignored or silenced, but also the how important it is for young people and the LGBTQ+ community to see their history represented, as well as the different ways that museums and museum professionals are trying to do it.   

Each episode features interviews with people from different museums, the project doesn’t limit itself to a particular project or approach. This includes Margaret Middleton who talks about the importance of language, including the family friendly language, that makes space for children from families in all their shapes and constellations (see poster below). Their is also a discussion about how the stories and objects are often already there in museums collections, but have been hidden or obscured by euphemism (great example given about soldiers in the American Civil War). It’s also great to hear from people who work in “less obvious” positions in the museum infrastructure, or those discussing the ways that different types of museum approach the the topics (e.g. Episode 3 when talking about science museums and centres). 

Margaret Middleton’s poster summary of family friendly language, buy it here.

The podcast quality is great and the production is slick, which makes it a pleasure to listen to. You can download it via iTunes, listen on Soundcloud or sign up using the podcast app of your choice. And don’t forget to follow their profile on Twitter and those of the masterminds behind the project: Sacha Coward, Russell Dornan and Shaun O’Boyle

Current Episodes: 

Related reading, projects and exhibitions:

QueeringTheMuseum.org An online resource that states: “We focus on museums due to their ability to shape and define the communities in which we live. QTM believes that museums have a responsibility to account for the role played in constructing normalized ideas of race, gender and sexuality.”

Never Going Underground exhibition at the People’s History Museums in Manchester, opened last week by Ian McKellen and telling the history of the figt for LGBTQ+ rights. 

The National Trust’s page on Exploring LGBTQ history at their sites. An interesting looks at how the LGBTQ+ stories become hidden or obscured, but not all are lost forever. Working together with Leicester School of Museum Studies to create a legacy from the 2017 anniversary of partial decriminalisation. 

Historic England’s Pride of Place project has a list of aims and objectives, not least - as the body that administers listed buildings in the UK - "nominate buildings or landscapes for consideration for local heritage listing on the basis of their significance to LGBTQ histories”.     A blogpost by the Te Papa Museum of New Zealand about their LGBTIQ+ collections and their importance in making the histories visible. 

The National Archive’s page on the Queer City project

If you know of any other resources, projects, podcasts or websites that you think should be inclided, get in touch

Listen here

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We’re Not That Hard to Find: Hiring Diverse Museum Staff

An infographic based on the guidelines by Joy Bailey-Bryant from the Jan/Feb edition of the AAM’s Museum about ways that museums can change their hiring and employment practices to encourage a more diverse and representative workforce. 

Rather than just repeating the data we already know about the worrying lack of diversity in many areas of museum education and employment, this attempts to unpick some of the causes, offering concrete advice about engaged museum might enact change and help recruit a more diverse workforce. The reasons for a lack of diversity in the museum field are manifold, but this addresses some of the mechanisms that are in place that can tackled, such as unpaid internships, proper career support and management of existing staff, where positions are advertised, and looking more deeply at applicants to see identify skill sets that aren't necessarily formal qualifications. 

As classically interdisciplinary places of learning, museums can only thrive when their perspectives are as diverse as the audiences and communities that they serve. If museums seek to be representative, then their staffing and institutions need to be as well. We know that speaking for marginalised voices and groups is inadequate, here’s how to do something about it. 

Other interesting resources and links

Posts on this blog that are of relevance:

If you know of any more projects or resources of interest, please feel free to submit them here

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The Natural History Museum (NHM) in Vienna offer regular ‘behind-the-scenes’ tours to off-limits areas, like the roof. However, much rarer are the tours that take you into the depths of the subterranean storage. This past Wednesday, the NHM offered a tour letting visitors into the mammal deep storage. The tour was runaway success. The people giving the tours (so many people turned up that they had to run several tours and start at intervals) credited the success with the facebook event page set up to advertise the tour going low-key viral, with 3.5k people marking “interested” and almost 400 saying that they were coming. In the end I estimate about 130 people actually turned up and paid the museum entry fee (€10) and the extra €8 for the tour itself.

The stores are located three stories underground and cooled to a constant 9-11 degrees Celsius, holding hundreds of taxidermy specimens and furs from all over the world. They were built when the nearby underground station was excavated and aren’t strictly speaking under the museum, instead the extend out under nearby Bellaria buildings, beyond the above-ground area of the museum.

Lots of the specimens relate back to the Habsburgs, including numerous hunting trophies, especially from the prolific hunter that was Archduke Franz Ferdinand whose assassination would spark the chain of events that led to WWI. 

The collections at the NHM are huge and only 0.3% are on display at any time. The objects range from tiny beetles, or plant specimens to whole elephants heads and taxidermy bison. Lots of the collection has links back to the Habsburgs, the family who once ruled Austria as emperors and empresses. One of the most prolific and famous collectors was Johann Natterer who accompanied the Princess Leopoldina when she was sent to marry in Brazil to marry Dom Piedro, eventually spending 18 years there before returning to Vienna with a host of things that are now part of the museum’s collection.

Peeking through the skin of the rhino to see the frame that is holding it in place. 

As you can see with the rhino, the method used to preserve and display the animals was that the skin/hide was removed and then stretched over wooden frames that were then filled with dry stuffing, such as sawdust or newspapers (which can come in handy for dating when the animals were prepared later on!). If there is some disruption in the storage conditions, but also just due to the sheer age of some of the objects – Natterer for example returned to Vienna in 1835! – then the hides might split and the inside structure becomes exposed.

Any examples that in the collection where the tag or description is underlined in red are “Typusexemplar” or “type specimens”, that is the specimen in the one used for the standard description of that animal based on the rules of International Code of Zoological Nomenclature. The museum storage is therefore also a kind of archive of zoological knowledge, where researchers can refer back to the original source rather than just the written description or drawings.

Cats are apparently notoriously difficult to achieve a natural expression in when it comes to taxidermy.

Adult entry fee: €10 Tour: €8 Wednesdays is late night opening until 9pm (the museum is closed Tuesdays). Every first Sunday and third Wednesday of the month special tours are offered. Check their website for further details

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Viennese dialect 101: “Gemma” means “Let’s go”. 

As part of the ongoing 125 year anniversary celebrations of the Art History Museum in Vienna (Kunsthistorisches Museum), this coming Sunday will be an extravaganza of different tours offering fresh and exciting perspectives on the collection that originally stems from the Habsburgs. 

You can find the full programme online here (only seems to be in German though, sorry). But here’s the quickest of overviews of some of the more quirky, exciting or mysterious sounding of the 45 tours and programme points on offer at no extra cost to those who have already paid the entrance fee, member of ICOM, Museumsbund, under 19s, etc. 

11am & 4pm

Gemeinsam anders sehen. “Seeing differently together” Barrier-free museum education and programming

Durch Mark und Bein. Horror in art. 

12pm

Ups! Ausrutscher in der Kunst. Oops! Gaffes in art

1pm

Sex & Crime. Aufreger in der Kunst. Art that shocks. Title is in English, because it universally accepted to be a sexy/shocking language! 

3pm

Von Amazonen und anderen starken Frauen in der Antike. Of Amazons and other strong women in antiquity. 

5pm

Großes Kino.  Cinematic moments in old art. 

Monster überall. Monsters everywhere. Family tour. 

1pm, 3pm, 5pm

Kunst trifft Drag Queen. Art meets drag queen. “Same sex love, transvestitism and intersex people - these ‘modern’ themes are not what you might necessarily expect in a traditional painting gallery. Teife Kümmernis - drag queen and art educator - is here to show you otherwise. Fun, but anchored in art history, you’re invited to come and change your perspective.”

Photo from the KHM Newsletter

I hope to make it to the museum on Sunday to catch a tour or two. I expect there’ll be tweets if I do!

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This year’s Austrian Museumstag was held 6th-7th October in Eisenstadt with the theme of “Migration- Inclusion – Interaction” and included a mix of presentations, mostly focusing on the projects that have already been carried out in museums throughout Austria.

Migration has been a subject that has become more and more accepted within museum narratives over time, moving from the fringes and temporary exhibitions, to becoming an element that is both expected and demanded.

The development in Austria has been a bit slower than in other countries; Austria on the whole still does not consider itself to be a migration society, despite the sweeping and diverse histories of multi-ethnic Empire, in and out flows of refugees, economic and forced migrants. in a country at the heart of Europe with borders to eight other countries.

Project Presentations

There were two main streams to the projects presented as part of the two-day conferences:

  1. Projects that deal with historical migration and developing new collections that address ignored or missing element in the museum
  2. Projects that have been developed over the past two years in response to the growing number of people seeking asylum in Europe and Austria.

A couple of projects stood out: On day one, the presentation by Kazuo Kandutsch and Christiane Rainer was a highlight. Their project, as part of the organisation Geschichte Willkommen (History Welcome) , initiated a short rapid-response collection of objects relating to the months when the migration “crisis” was at its peak in 2015 (Sept-Nov). They covered some of the ethical considerations and decisions that had to be made at short notice, such as choosing not to speak to people (“How can you ask people who have nothing to donate something?”) and instead adopting a ‘rubbish archaeology’ approach, selecting objects left behind at the various camps and border crossings, photographing them in context, but unable to collect information about the people who collected them. They also described some of the topics and objects they were collecting, including donations from members of the Austrian public (including some of the more surreal things, such as ornaments and evening dresses), the routes taken (for example, a 20ml carton of milk from Croatia that was left in Austria - see picture below) and the bureaucracy that went along with it (e.g. pictograms from the emergency accommodation showing how to use European-style toilets). The project was self-critical, showing an awareness of how such projects can be problematic, but also why their approach was chosen as the most appropriate.

From the presentation about Geschichte Willkommen

Another stand out project was Migration Sammeln a collection campaign commissioned by the Vienna City Government as a response to a campaign to develop a Migration Archive. The project was carried out by an external project team (represented by Vida Bakondy and Regina Wonisch, with the intention of the objects becoming part of the Vienna City History Museum’s (Wien Museum) collection. The presentation was honest about some of the structural problems that come with short-lived projects that seek to fill an identified gap, namely, that the relationships that have to be developed in order to collect the stories and develop trust that might lead to people donating their objects to the museum are then abruptly ended when the project is, and the fact that the people contracted in this case acted as a sort of ‘buffer’ between the museum and the people; the objects become part of the collection, but the connections and relationships that were built cannot be maintained.

Overall, there was level of agreement that instead of trying to bend the subject of migration to the current methods of collecting and representation, that museums, curators, educators – indeed every aspect of the institution – instead need to think about how migration and the new and expanded perspectives and approaches of the museum might need to change and adapt.

Employment Practices

One aspect that was mentioned in passing a couple of times – but wasn’t subject to a thorough discussion in its own right - was the question of how well the museum field really reflects the communities they serve? It’s something that this blog has looked at in the past (see “#Museumworkersspeak” and “Immaculate Integration”), but the problem again is one that might be addressed by not expecting migrants or “people with a migration background” (a term often used in Austria is a fuzzy term that can mean anything from 1st generation migrants to those who have one or two parents born abroad) to conform to the same old employment requirements. The question has to be asked: How long will museums continue to require the same things but hope to attract a different profile of people? Again, there needs to be a re-evaluate the kind of institution you are. If what you have isn’t what you are aiming for, perhaps you need to rethink the structures and processes in place and how they might perpetuate the problems and inequalities you are trying to overcome.

From the presentation by Dietmar Osses about the guidelines produced by the German Museums Association, here on collection practices. 

The conference was organised by the Museumsbund Österreich, ICOM Österreich and the Landesmuseum Burgenland

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