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International Conference “Innovative methods of organising exhibitions: lessons for Vietnam” | 8 October 2020 | 7-3:30 PM IST
∎ Venue: Vietnam Museum of Ethnology, Hanoi, Vietnam
∎ Primary language: Vietnamese (with English interpretation)
∎ Organizer: Vietnam Museum of Ethnology (VME)
VME was established in 1995 and officially opened to the public since 1997. The museum carries out the mission of scientific research, collecting, inventorying, preserving artifacts, organizing exhibitions, performing and operating educational activities to contribute to the preservation of cultural diversity of ethnic groups in Vietnam, Southeast Asia and around the world.
Exhibition is one of the most important aspects of museum’s work, promoting other works. Therefore, exhibitions always require high scientificity, aesthetics and updates with the development level of science and technology in each country. Museum’s exhibitions are a bridge connecting the public and museum artifacts. Without exhibits, a museum is just a storehouse, an archive of systematized collections. The development of ideas and exhibits as well as the renovation of exhibitions play a significant role in museums, especially in the context of modernization and international integration. Therefore, VME plans to organize an international conference on “Innovative Methods of Organizing Exhibitions: Lessons for Vietnam”.
The Conference is a scientific forum aiming at exchanging and updating the concepts, methods and new trends in exhibition work of museums among national and international experts in Vietnam as well as around the world in the direction of modern approaches and international integration. Thereby, it will make an important contribution to improving the Museum’s staff capacity, drawing lessons for Vietnamese museums in general and for the VME in particular to appropriately and effectively apply to the renovation of museums for a future sustainable development.
The Conference focuses on three key themes as follows:
Firstly, approaches in developing exhibitions
(museological/ethnological/anthropological approaches, community-participatory approach, community-based approach, educational exhibitions, artistic/aesthetic value featured exhibitions, exhibitions using 4.0 technology and multimedia, virtual exhibitions, etc.).
Secondly, new trends in organizing exhibitions in the world and in Vietnam.
Thirdly, lessons learnt for the Vietnam Museum of Ethnology.
Cultural Survival: Partnering with Indigenous Communities during Pandemic | 6 October 2020 | 7-9 PM IST
The Japan Foundation, Bangkok (JFBKK) and the Asia-Europe Foundation (ASEF) through its arts website culture360.ASEF.org are pleased to launch the open call for Virtual Workings, an e-residency for emerging arts curators from the ASEAN region and Japan. Organised as a response to the impact of the global pandemic, this e-residency will be held online for a period of 6 weeks and will offer an opportunity for capacity building, peer learning and collaboration with a support of an expert in the field who will serve as a mentor to each pair of curators.
About the Residency
Selected curators will work in pairs. Each pair will be assigned a mentor and will collaborate online over a period of 6 weeks (16 November – 22 December 2020).
Applicants are encouraged to apply in pairs. For individual applicants, the pairing will be done by the organisers.
Each applicant/pair of applicants is/are required to indicate their order of preference in the application form for the below-mentioned themes. This will be taken into consideration during the selection and “pairing” process. Within the chosen theme, each pair will further define and propose the specific topic of their project with the support of the assigned mentor.
Each pair will work on a final output that could take the form of an online presentation, photo documentary, podcast, video documentary, mock project presentation online, amongst others. The final output of the residency will be published on culture360.ASEF.org and partners’ social media channels.
At the end of residency, each pair will take part in a podcast or video interview about the collaborative process as part of a wider sharing of their residency experience
Fee: Each participant will receive a fee of USD 500 for their participation in the residency to be used for the implementation of their project idea (e.g. research fee, purchase of materials or any other necessary service fee)
Mentors and Themes
The 3 mentors for this residency include the following experts:
Ms Luckana KUNAVICHAYANONT (Thailand), Arts consultant & Independent Curator and former Director of Bangkok Art and Culture Centre (BACC)
Ms TAKAHASHI Mizuki (Japan/Hong Kong SAR), Executive Director and Chief Curator, Centre for Heritage, Arts and Textile, Hong Kong
Prof Amareswar GALLA (Australia, India), Director, International Institute for the Inclusive Museum, Australia and Anant National University, India
To know more about the mentors see: https://culture360.asef.org/news-events/asef-japan-foundation-announce-virtual-workings-e-residency-arts-curators/
Sardar Vallabhbhai Patel Stadium, Ahmedabad, India (architect: Charles Correa; structural design: Mahendra Raj, 1966) and Gandhi Bhawan, Chandigarh, India (architect: Pierre Jeanneret, 1962)from India are among 13 significant 20th-century buildings that will receive $2.2 million in Keeping It Modern grants from the Getty Foundation.
This is the final year of grants for this conservation initiative, launched in 2014 to help professionals worldwide engage in the proactive research and planning needed for the long-term preservation of modern buildings.
Keeping It Modern has supported a total of seventy-seven projects in forty different nations around the world. This year’s grants include new projects in Chile, Kuwait, Nigeria, Portugal, and Senegal. Getty received ninety inquiries from geographically diverse applicants in 2020, indicating greater international awareness of, and support for research and planning before beginning conservation work.
“Modern architecture, with its experimental materials and structural innovations, is a powerful cultural expression that took many forms worldwide,” said Joan Weinstein, director of the Getty Foundation. “These buildings embody human ingenuity, but many are showing their age and face irreversible damage or even demolition if we fail to act. Our Keeping It Modern grantees across the globe are working to safeguard this modern heritage for future generations, and to produce models of best practice that other stewards of modern architecture can learn from.”
“Before the launch of Keeping It Modern, the conservation of modern buildings often took a ‘discover as you go’ approach that could have disastrous consequences,” said Antoine Wilmering, senior program officer at the Getty Foundation who oversees the initiative. “Leaders in the field became increasingly vocal about changing this habit, so we decided our grants should promote research and planning before conservation work even begins.”
A 2019 survey of the 24 Keeping It Modern grantees who had completed their projects at that time found that 88% of grantees had already activated their conservation management plans or were set to do so in the future. Even with two-thirds of the grant projects still in progress, the results show increased receptivity to prioritizing research and planning.
“I have seen firsthand how Keeping It Modern has not only established exemplary processes for the conservation of modern heritage across the world but has transformed how civic leaders perceive this heritage,” said Shikha Jain, an internationally-recognized expert in architectural conservation who has led grant projects and served as an advisor for the initiative. “This phenomenal impact was evident in our projects at Chandigarh [India], where stakeholders now agree that 20th-century buildings can have cultural value and have become true custodians of modern heritage.”
Even though this is the last year of the grant competition, Keeping It Modern will continue for several years until projects reach completion. The Foundation will also provide support for regional grantee-led workshops for architects and decision-makers to help reinforce the need for research and planning and to introduce the methodology of conservation management plans. A first regional workshop was held in the Sidi Harazem bath complex in Morocco, with others planned in East-Central Europe, Asia, and Latin America.
Keeping It Modern was developed by the Getty Foundation to complement the Getty Conservation Institute’s Conserving Modern Architecture Initiative (CMAI). CMAI will continue to pursue model field projects, offer training programs, and disseminate publications related to modern architecture conservation.
The 13 buildings receiving funding this year include:
Rietveld Academie, Amsterdam, Netherlands (architect: Gerrit Rietveld, 1963)
Swimming Pools, Leça, Portugal (architect: Álvaro Siza, 1966)
International Fairgrounds, Dakar, Senegal (architects: Jean-François Lamoureux and Jean-Louis Marin, 1974)
Kuwait Towers, Kuwait City, Kuwait (architect: Malene Bjørn, 1976)
Monasterio Benedictino de la Santísima Trinidad de las Condes, Santiago, Chile (architects: Brother Martín Correa and Gabriel Guarda OSB, 1964)
Obafemi Awolowo University, Ife-Ife, Nigeria (architect: Arieh Sharon, 1962-76)
White Tower, Ekaterinburg, Russia (architect: Moisei Reisher, 1929-31)
Sardar Vallabhbhai Patel Stadium, Ahmedabad, India (architect: Charles Correa; structural design: Mahendra Raj, 1966)
Oberstufen-Schulzentrum Wedding (secondary school), Berlin, Germany (architects: Pysall, Jensen, Stahrenberg & Partner, 1976)
Tecton Buildings at Dudley Zoo and Castle, Dudley, West Midlands, United Kingdom (architects: Berthold Lubetkin and the Tecton Group, 1937)
The following building received a Keeping It Modern planning grant in 2019, and has received another this year for the immediate stabilization of its interior artwork:
Buzludzha Monument, Hadzhi Dimitar Peak, Bulgaria (architect: Georgi Stoilov, 1981)
The following two buildings received earlier Getty grants for conservation research and planning and are now receiving implementation grants to support treatment efforts:
First Presbyterian Church, Stamford, Connecticut (architect: Wallace K. Harrison, 1958)
Gandhi Bhawan, Chandigarh, India (architect: Pierre Jeanneret, 1962)
Click here to read more about the Sardar Patel Stadium
Dr. Amareswar Galla (Amar), the then Chairperson of Asia Pacific Executive Board of International Council of Museums interviewed Dr George F MacDonald, the Chief Executive Officer of Museum Victoria, Australia’s largest public museums organisation, on 2 November 2000. The following are abridged reflections of Dr. MacDonald at the opening of the Melbourne Museum, the flagship of Museum Victoria. Transcribed text was approved by Dr MacDonald. Two decades on the museological wisdom in these reflections remains just as valid.
Amar: What does the opening of the Museum Victoria mean to museum development and re-development in Australia and within the museum world in general? What does it mean to George MacDonald CEO who oversaw the foundation of a major national museum in the world, i.e. the Canadian Museum of Civilisation, Ottawa, and now another major museum development on the other side of the world?
George: The thing that did strike me is that dates and events are very important, and they galvanise thinking and create thresholds and so on. I think the opening of Victoria Museum of this magnitude at this point in time as we enter a new millennium certainly struck me as being an opportunity to make a statement – To try and balance things a little differently than had been previously done. The more I thought about it the more I realised that what I was doing in Ottawa was to respond to a generation of visitors, which covered 80 percent of the people who were coming to the museum, raised in the television age from their very earliest memory. That generation were looking at the world through a television screen which is very different than looking at the world as you move around a village or a town or within your own experience frame of reference. Suddenly you were in this bionic electronic world that was being shown to you through a window that was global, and people accelerated their sophistication very rapidly. Now it has been about 50 years that television has been current in North America and in that 50 years people have become very sophisticated in a whole series of things such as how things work and the long sequences of history consistently recapitulated in television series. I thought that’s it, we are doing a project for a whole new generation of people and we won’t re-do it for some time. Read the full interview here.
Source : UNESCO
UNESCO sheds light on the current advances and challenges in the legal protection of artistic freedom, the protection of the social and economic rights of artists and cultural professionals, and the monitoring of artistic freedom. Released on the occasion of World Press Freedom Day 2020, this special edition of the Global Report series builds on the recommendations put forth in the chapter “Promoting the freedom to imagine and create” in UNESCO’s 2018 Global Report to assess whether progress has been made, to determine what efforts are still required and what new challenges have emerged. Read Full Story Here.
Over 130 Ministers and Vice-Ministers of Culture joined the online meeting convened by UNESCO to discuss actions to bolster the cultural sector, which is facing unprecedented upheaval due to the COVID-19 pandemic. The ministers spoke of the direct effects of the current crisis on tourism, museums, cultural production and artists, as well as the measures that they have taken to mitigate the impact of the crisis. They reaffirmed their commitment to intergovernmental dialogue and international solidarity in order to strengthen and unite their efforts.
Opening the debate, the Director-General of UNESCO, Audrey Azoulay, reminded participants that “We need culture, so we need to help it to sustain this shock. We must assess the impact of the crisis, launch a joint reflection and coordinated initiatives. UNESCO fully intends to play its role in this process, in line with its mandate.”
Ministers highlighted the social and economic benefits of the culture sector in their countries, and agreed on the urgent need to invest in the sector during, and following, the crisis. The mobility restrictions and containment measures that governments have been forced to adopt due to the pandemic have drastically curbed access to culture in the short term and – if action is not taken – could weaken the entire cultural ecosystem for generations to come.