19th September 2011

Today’s museums seen by postgraduate students / 2

Here is the continuation of the selection of ideas put forward by students from the Postgraduate Course in Museum Management. As you can see, the new waves of museum people have plenty of critical force. Let’s listen carefully to what they have to say.

Intelligent interactive museography: not to trivialization

‘Currently, we can still find museums that belong in the nineteenth century, and others that have exaggerated the formula and become theme parks for family fun.’
Núria C. Read more »

5th November 2010

How can we make museums more participatory? Nina Simon provides a lot of ideas in her book The Participatory Museum

To get us nicely warmed up before the lecture that Nina Simon will give at the Museu Picasso on Wednesday 17 November, we offer you a review of her widely acclaimed book.

The concept of public participation is associated above all these days with the track opened up by social media. And it’s true that the social networks provide endless options to share, comment, recommend, co-create and, in short, participate so easily and so immediately that we’re still getting used to. But the idea of participation goes far beyond the Web 2.0. The museum visitor, now accustomed to being an agent in the virtual environment must also be offered channels of expression and participation in the physical environment of the museum. Read more »

20th May 2010

How to make a museum work: a different Postgraduate course

Postgraduate and Masters Degree courses have been proliferating in an almost vertiginous way in recent years. Training is always a key element, but in times of economic recession it probably is more so. However, between the knowledge acquired in academic training and the necessary requirements and skills for developing professional practice there is often a gap that is difficult to fill. That’s what we intend to do through this Postgraduate course.

How are the loans of works managed? What is done on the day the museums are closed each week? What preventive measures are adopted to preserve the collections? How is a strategic plan produced? How does the storage work? How are the laws that affect museums? How can you attract visitors and, above all, participants? How is the digitisation of the collection done? What opportunities are opened up by the social web or web 2.0? What best practices can be found in museums round the world? The list can go on, but this should give a notion of what we propose to cover. Read more »

10th July 2009

The Why and the How of the New Presentation of Las Meninas

The return of Las Meninas to the museum after being out on loan for the exhibitions Picasso et les maitres, at the Grand Palais in Paris, and Picasso. Challenging the Past, at the National Gallery in London, together with the important gift of a preliminary drawing of the series, has led the Museum to a new presentation of the series of variations on the great painting by Velázquez that Picasso made between August and December 1957.

Our intention has been to respect the will of the artist and faithfully reflect his creative process. According to his friend and biographer Roland Penrose (Roland Penrose, Picasso. His Life and Work, 3rd e., University of California Press, Berkeley & Los Angeles, 1981, p. 434), Picasso was adamant thet the complete series of 58 paintings be kept together. He resolved not to sell any of them, and in order to ensure this unity he donated the whole series to the Museu Picasso of Barcelona in 1968. Interestengly, the artist left a record of the rhythm at which he was working, dating all of the canvases on the back, and even noting the order of execution on the occasions when he painted more than one on the same day. Read more »