26th September 2011

Virtual learning about the cultural heritage: the findings of research at the UOC

How are social and technological changes affecting learning? What can our museums and heritage centres do to provide or co-produce inspiring and meaningful online educational resources for different publics? Janine Sprünker has dealt with all of this and more in her thesis, which we have asked her to summarize so as to share it with you in our blog. The thesis has been distinguished with a well-deserved summa cum laude. Congratulations, Janine, and thanks for condensing several years of research and hundreds of pages for us here!

On July 1, I defended the thesis entitled ‘Heritage Education Using Online Educational Resources with Cultural Content and Learning Networks’ before the UOC open university. Before attempting to summarize the thesis I would like to thank the Museu Picasso and Conxa Rodà for inviting me to write this post and giving me the opportunity to share with you some of the conclusions and one of the research questions that is challenging us again. Read more »

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 »

7th September 2011

Today’s museums seen by postgraduate students / 1

What role should museums have today? What are they like? What should they be like? We asked the students on the Postgraduate Course in Museum Management to reflect on these questions when they were still in the first term. The result was a first-rate collection of ideas, criticisms, questions and suggestions. What we offer you here is a selection — hard to make, I can assure you! — grouped by sub-theme. As you will see, in some of their formulations they have really put into practice what we asked them to do in applying a critical eye. You will also see that there are conflicting opinions. That is the strength and the beauty of collective participation — a participation that we in the museums are still learning to encourage and integrate.

So as not breach any blogger laws about the length of articles, this post will be in two parts.

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15th July 2011

Our Postgraduate Course in Museum Management under Exam: Assessments and Improvements

The first edition of the new Postgraduate Diploma in Museum Management, run jointly by the Museu Picasso and IDEC-Universitat Pompeu Fabra, has just come to an end and it’s time to take stock. We are doing an internal evaluation at the Museum, we have asked the students for their assessments, and we want to share them with you, the readers of our blog, and with potential future students of the course.

First of all, a figure: 76.2% of the students who took the Postgraduate course would recommend it. Of all the various indicators, this one is especially significant for us. This is not to say that we haven’t identified areas for improvement, which is of course to be expected of a project that has just started, and normal for a venture involving a large staff and a number of different partner institutions.

Postgraduate students in the IDEC classroom. On the right: In the classroom with Pepe Serra director of the Museu Picasso

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30th December 2010

2010 of the Picasso Museum in 21 images

By making a choice of the most representative images of the work we have done in the museum this year that is coming to a close, we ourselves have been able to visualise the reach and quantity of the projects in which the whole team has been working! With a relatively small team a lot of work has been carried out.  Whether it has been good or not is up to you to decide.  The rate of participation in the multiple activities organised, plus the more than one million visitors we have received, plus some awards indicate that we are heading in the right direction, but we still have to do more and better.  Your comments and criticisms help us to improve so that the museum becomes a space of more and more knowledge open to debate and participation.

[click on the images to enlarge]

1 2

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10th December 2010

Museums and Social Media in Portugal: rapport of a conference

On the 11th and 12th of November 2010 the Museu de Portimão, in southern Portugal, hosted a Conference of Users of Technological Applications for the Cultural Heritage. The Conference included a workshop on Museums & Social Media at which the Museu Picasso was invited to make a presentation.

Museums 2.0 Conference | The exterior of the Portimão Museum, a former canning factory

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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 »

16th November 2009

Doctoral Thesis on Picasso’s Iconography

On Monday, November 9, the doctoral thesis ‘Picasso’s Iconography between 1905 and 1907. The Influence of Pompeian Painting’ by Conchita Boncompte, and supervised by Dr. Lourdes Cirlot, was read at the Universitat de Barcelona.

The thesis sets out to demonstrate the influence of Pompeian painting on the work Picasso produced between 1905 and 1907, an influence that was supported by and engaged in dialogue with Picasso’s milieu and his experience of Catalan Romanesque from his stay in Gósol. The highly stimulating presentation of this study, which runs to more than 700 pages, and promises to open up new avenues of research, has already prompted many to wish that it be made accessible to a wider readership.

It would be an impossible task to summarize here the wealth of research and visual information put forward in the session, and we have therefore asked the author herself to give us a brief extract:

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19th October 2009

The Digital Image in the Museu Picasso: a Project in Collaboration with the University

On the 7th and 8th of October I attended as a representative of the Museu Picasso at the two lectures by Carles Mitjà, a professor at the UPC (Universitat Politècnica de Catalunya), spoke at the Working Sessions on the control of image quality at the Sonimag photo & multimedia fair. I am still asking myself how I, with my very limited knowledge of the digital image, came to be taking part in a speech full of algorithms on digital image quality… This is, then, a story of collaboration and mutual enrichment.

When I joined at the Museu Picasso just over a year ago the Director expressed his very real concern about the issue of ‘photography’ in the Museum. Despite my background of 14 years working in the Arxiu Fotogràfic de Barcelona, I remember insisting that I could introduce some degree of order and establish organizational and conceptual criteria, but that what was needed in the twenty-first century was digital images, about which I knew very little. I realized that the Director and I saw eye to eye on this, both of us aware of the importance of the issue for the proper functioning of the Museum, but we were also aware of the magnitude of the tragedy. So with this in mind I set to work.

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