解毒剂博物馆的实践:一位艺术家和一位民族学家对罗马尼亚农民博物馆的看法

F. Fouché, Mare Mesnil
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引用次数: 0

摘要

在2017年秋天布加勒斯特的一次采访中,Marianne Mesnil(民族学家)和Florian fouch(艺术家)谈论了他们在布加勒斯特罗马尼亚农民博物馆的经历。他们讨论的是Irina Nicolau(1946-2002)和Horia Bernea(1938-2000)所经历的博物馆展示:“瘟疫”展厅,“乡村学校”的窗帘,“解毒剂博物馆”的展示,或者“父亲博物馆”和“母亲博物馆”的概念,“时间”展厅。从他们对农民博物馆的反思开始,讨论转向Florian fouch关于该博物馆的展览,名为“解药博物馆”(Centre d 'art Passerelle, Brest,2014),以及Irina Nicolau在法国举办的展览,Un village dans une malle(巴黎,1991),以及另一个在比利时举办的展览,Roumanie en miroir, msammoires de tiroir (Treignes, 1997)。文章附有Florian fouch为他的展览拍摄的照片。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Antidote Museum in practice: an artist and an ethnologist's iew on the Romanian Peasant Museum
During an interview from Autumn 2017, in Bucharest, Marianne Mesnil (ethnologist) and Florian Fouché (artist) talk about their experience at the Romanian Peasant Museum in Bucharest. They are discussing about the museum display experienced by Irina Nicolau (1946-2002) and Horia Bernea (1938-2000): the exhibition hall “The Plague”, the curtains from “Village School”, the manifest “The Antidote Museum”, or the concepts of “father-museums” and “mother-museums”, the exhibition hall “Time”. Starting with their reflections on the Peasant Museum, the discussion turns to the exhibition that Florian Fouché had about the museum, entitled “The Antidote Museum” (Centre d’art Passerelle, Brest,2014), but also to the exhibitions that Irina Nicolau had set up in France, Un village dans une malle (Paris, 1991), and another one in Belgium, Roumanie en miroir, mémoires de tiroir (Treignes, 1997). The article is accompanied by photos taken by Florian Fouché of his exhibition.
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