Dis/ordered assemblages of disability in museums

Janice Rieger, M. Strickfaden
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引用次数: 5

Abstract

Museums are spaces of power and care. They are institutions that present assemblages (Deleuze & Guattari 2002), which are reconstructions and representations of history and societal values, and thus are partial realities that curate human existence. These assemblages cannot ever represent the totality of human existence because it is never possible to do so, and yet these assemblages are embedded with power because choices are made about what ought or ought not be represented within museums (Ott 2013; Bennet 2017). The nature of partial realities is that, at their centre, these are still representations that tell stories of what one would imagine to be the most significant events related to a place (nation, city), with a particular focus on a societal event or issue (war, art, sports, nature, human rights, etc.) and peoples (e.g. immigrants, migrants, First Nations or Indigenous peoples, etc.). Persons attending museums rely on the expertise of historians, curators, archivists, conservators, and exhibition designers to present materials within the museum that focus upon and represent societal values. Most museum visitors are not aware of the power that museums hold, although more and more museum visitors push against narratives which they do not feel to be adequate representations of the places, events, issues, and peoples of society (Hooper-Greenhill 1992, 2000; Anderson 2004; Janes 2009, 2010). Where there is power, there is also care. Historians, curators, archivists, conservators, and exhibition designers take great care in how they assemble materials within museums. Historians seek to find documented information that represents accurate narratives of interest to the societies and eras in which they work. Curators look for evidence of these narratives through artefacts and material things that aid towards showing the relations of things. Archivists and conservators work towards keeping objects of material culture organised and in good condition so that these pieces of human narratives can be used in storytelling. Exhibition designers work with historians, curators, archivists, and conservators to bring narratives together through visual imagery, spatial environments, text, lighting, and other means as an assemblage of meaning making. As such, a great deal of care is delivered through various experts who are acting to create value and meaning for society...
博物馆里杂乱无章的残疾人集会
博物馆是权力和关怀的空间。它们是呈现集合的机构(Deleuze & Guattari 2002),是历史和社会价值的重建和再现,因此是策划人类存在的部分现实。这些组合永远不能代表人类存在的整体,因为这是不可能的,然而这些组合被嵌入了权力,因为在博物馆里选择了应该或不应该表现什么(Ott 2013;班纳特2017年)。部分现实的本质是,在它们的中心,这些仍然是陈述,讲述人们想象中与一个地方(国家、城市)相关的最重要事件的故事,特别关注社会事件或问题(战争、艺术、体育、自然、人权等)和人民(例如移民、移民、第一民族或土著人民等)。参观博物馆的人依靠历史学家、策展人、档案保管员、管理员和展览设计师的专业知识来展示博物馆内关注和代表社会价值的材料。大多数博物馆参观者并没有意识到博物馆所拥有的力量,尽管越来越多的博物馆参观者反对那些他们认为不足以代表地点、事件、问题和社会人群的叙述(Hooper-Greenhill 1992,2000;安德森2004年;Janes 2009, 2010)。哪里有权力,哪里就有关怀。历史学家、策展人、档案管理员、保护人员和展览设计师在如何在博物馆内组装材料时都非常小心。历史学家试图找到能够准确描述他们所处的社会和时代的文献资料。策展人通过人工制品和实物来寻找这些叙事的证据,以帮助展示事物之间的关系。档案保管员和保护人员致力于保持物质文化物品的组织和良好状态,以便这些人类叙事的片段可以用于讲故事。展览设计师与历史学家、策展人、档案保管员和文物保管员合作,通过视觉图像、空间环境、文本、灯光和其他手段将叙事结合在一起,形成意义的集合。因此,通过为社会创造价值和意义的各种专家提供了大量的关怀……
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