Museology Research Papers - Academia.edu (original) (raw)

Arseny Zhilyaev in conversation with Boris Groys: "Contemporary art is the theology of the museum". This recent conversation is part of the Center for Experimental Museology, a collaborative project between COLTA.RU and the V-A-C... more

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- Museum Studies, Museums and Exhibition Design, Conceptual Art, Museology

How an ethnographic collection is received depends entirely on the narrative that accompanies the individual objects. Digging into the origins, making the diversity of cultural perspectives visible – this was the goal of “Object Biographies.” Taking three objects from the Africa collection as case studies, this collaboration between African and European scholars found new ways to tell the objects’ story, travelling back to their origins to bring them closer to Berlin’s museum-going public.

- by Verena Rodatus and +2
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- Museum Studies, Ethnography, History of Museums, Museology

This paper reflects on the changing role of the guardian or keeper in museums and art collections from the seventeenth
century to the present. Starting from the lexical meaning of the Italian word ‘custode’, thanks to archival documentation, the research
reconstructs the use of this word in the historical lexicon of museums and their professions, in different geographical and cultural
contexts. Comparing the historical regulations of museums and art collections in different Italian regions, the paper argues that the
profound changes associated with the functions and the professional profile of the keepers transformed them from curators of collections
to mere guardians of rooms.

- by Chiara Piva
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- Museum Studies, History of Museums, Museology, Museums

Given the growing awareness of the museum field's foundation in white colonial power, museums have started to take action, utilizing the word "decolonize" to expand community partnerships and removing sculptures that celebrate white... more

- by Jennifer Miller
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- History, Egyptology, Anthropology, Art History
- by Vanessa Righettoni
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- Contemporary Art, Museology, Histoire de l'art, Museologia

La tesi di Laurea in Architettura dal titolo “L’ISOLA DELLA PENA, L’ARCHITETTURA DEL RISCATTO. Castiadas, la più grande Colonia penale agricola d’Italia”, riguarda lo studio dell’ex Colonia penale agricola di Castiadas e dei suoi fabbricati.
L’intento è stato quello di ricercare ed analizzare i documenti, molti dei quali inediti, secondo un approccio di tipo scientifico, per poter ricomporre i processi storici, politici ed architettonici che hanno contraddistinto la nascita e l’evoluzione dell'ex Carcere, dall'impianto nel 1875 ai successivi ampliamenti, fino alla sua chiusura.

- by Tiziana Firinu
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- History, Architecture, Cultural Heritage Conservation, Heritage Conservation

Actas de las XIII Jornadas Museológicas Chilenas realizadas en Valdivia en el año 2016.
Organizadores: ICOM-Chile y Dirección Museológica de la Universidad Austral de Chile.
Coordinador general: Simón Urbina.
Comité editorial: Luis Alegría, Gabriela Alt, Marcelo Godoy, Leonardo Mellado, Ricardo Mendoza, Simón Urbina, Valeria Vera, Fernando Vergara y Karin Weil.
Edición: César Altermatt.
Diseño: Milka Marinov.
Maquetación: Alejandra Rosas.
Traducción de conferencias magistrales: Valentina Pires A. / VPA Communications.

- by Simón Urbina
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- History, Cultural History, Cultural Studies, Museum Studies
- by Lucia Cataldo
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- Political Science, Museology

This chapter brings the practice of soundwalking, walking the landscape with a focus on listening to one’s environment to the museum, expanding the roaming pursuit of walking into the locale of its galleries, to use the boundariless... more

- by salomé voegelin
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- Sound, Museology, Curation, Listening

The aim of this paper is to show how the collection of
Coptic fabrics “Ramon Soler Vilabella” of Montserrat
Museum was formed. This fact is associated with Albert
Gayet archaeological campaigns of the early twentieth
century. The importance of these campaigns and the textile
collection formed, lies in all written documentation
that allowed us to give a context and a rough chronology,
both as training materials thereof.

- by Luis Turell
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- Coptic Studies, Museology, Museología, Collection of Ancient Art

iii Contents Preface Part I: Museology, a Field of Knowledge: Museology and Techniques Ago, Fabrizio (Italy): Towards a New Museology in China -Results of a Research Activity 01 (English) Barblan, Marc-Antonio (Switzerland): Engineering Works and Scaled-down Models or Industry Laid Bare 10 (English) Brulon, Bruno C. Soares (Brazil): How the Museum Deals with reality: from Museum Techniques 25 to Ethical Matters (English) Boucher, Louise N. (Canada): La muséification du patrimoine industriel: pour un projet de 32 paysage créatif Abstract (English) Chung, Yun Shun Susie (USA) : Universal Knowledge through Heritage in Science, Technology, 40 and Industry Museums. Case study: Museum of Science and Industry Chicago/Illinois (English) Decarolis, Nelly (Argentina): Museology and New Technologies -a Challenge for the 21 st . Century 46 (English) Museología y Nuevas Tecnologías: Un Desafío Para el Siglo XXI (Spanish) 50 Decharneux, Sophie/Gob, André (Belgium): Les techniques au Musée : questions éthiques (French) 55 Harris, Jennifer (Australia) : Obsolescence Overcome ?: Natural History Museums. Respond to 61 History Museums (English) (Abstract (English) Resumé (French) Lengyel, Alfonz (USA and China): Abstract: High Tech natural Science Museum 69 of the City of Jagdaqi (English) iv Lima, Diana F.C (Brazil): Muséologie, Patrimoine Universel et Techniques: espace multidisciplinaire. 70 Maranda, Lynn (Canada): Museology, Techniques and the ICOM Code of Ethics (English) 76 Nazor, Olga (Argentina): The Young and Revolutionary: technological Museums (English) 81 Saldaña, Freire Rodriguez (Mexico): Cambio Social, Naturaleza y Tecnología Ser Himano y Museos 84 en el Nuevo Milenio (Spanish) Scheiner, Tereza M. (Brazil): Mousàon and Technè -Reflections of Contemporary Culture 89 (English) Shah, Anita (India): Museology, Responsibility and Techniques (English) 99 Guelbert de Rosenthal, Eva (Argentina): Museology and the Preservation of Universal Heritage (English) 113 Museología y la Salvaguarda del patrimonio Universal 117 en una Sociedad en Constante Cambio (Spanish) Hernández-Hernández, Francisca (Spain): Retos de Los Museos Cientificos ante el Desarrollo 121 de la Sociedad del Siglo XXI (Spanish) Kossova, Irina (Russian Federation): Cultural Heritage and the Modern Museum (English) 129 Risnicoff de Gorgas, Mónica (Argentina): La Mise en Question du Concept du Patrimoine Universel (French) 133 El Patrimonio Universal, Un Concepto en Cuestión (Spanish) 140 Resumen: El Patrimonio Universal, un Concepto en cuestión (Spanish) Abstract: The Universal Patrimony, a Concept to Consider (English) v Xavier Cury, Marilia (Brazil): Toward a Universal Paradigm for Museums -Discussion (English) 147 Por um paradigma universal para os Museums 155 -em Discussão (Portuguese) (Brazil): 16 Museum Information and Communication in the Internet and the Virtual Visitor 169 Resumo and Abstract (Portugues/English) Cristofano, Mariaclaudia (Italy) The State of the object in the Italian demo-ethno-anthropological contemporary museology 170 (English) Smeds, Kerstin (Sweden) The Escape of the Object? -crossing territorial borders between collective 172 and individual, national and universal (English) vi vii Preface

- by Bruno Brulon Soares
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- Museum Studies, Museum, Museology, ICOFOM

Η Πέλλα είναι σήμερα ένας από τους σημαντικότερους επισκέψιμους αρχαιολογικούς χώρους της Ελλάδας που συνδυαστικά με το νεόδμητο μουσείο διαμορφώνουν ένα μοναδικό αρχαιολογικό σύνολο. Σε αυτό το έργο, που παρήχθη, η συμβολή του καθηγητή κ. Ιωάννη Ακαμάτη υπήρξε καθοριστική. Αφοσιωμένος επιστήμονας με ακούραστη διάθεση επικέντρωσε την επιστημονική του έρευνα στην ανασκαφή και τη μελέτη της Αγοράς της Πέλλας και έφερε στο φως το μεγάλο αυτό συγκρότημα που μας επέτρεψε να κατανοήσουμε το μέγεθος της αρχαίας πρωτεύουσας και το ρόλο της στον ελληνιστικό κόσμο.

- by Alexandros Laftsidis and +3
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- Museology, Greek Pottery, Ancient Greek Architecture, Greek and Roman Sculpture
- by Bruno Brulon Soares
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- Queer Studies, Museum Studies, History of Museums, Museology

Literary museums today must respond to new challenges; the traditional image of the author’s home museum as a sacred place of literary pilgrimage centered around a national hero has been questioned, and literary museums have begun to develop new strategies centered not only on biography, but also literary texts, imagined spaces, different readers, historical contexts, architectural concepts, and artistic interventions. As this volume shows, the changing of spaces ask how literary museums create new ways of interlinking real and literary spaces, texts, objects, readers, and tourists.

- by Johan Schimanski
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- Museum Studies, Museology, Museums and Heritage, Literary Reception

"Vienna’s Museum für Vökerkunde holds in its collections a rare sixteenth-century Taíno cotton
belt from Hispaniola (today’s Dominican Republic/Haiti) – one of only two surviving Taíno
cotton artefacts to feature European ‘exotics’, including mirrors, jet beads and brass. This complex
woven structure – a wearable work of art – offers a rare window on to one of the most prestigious
of Taı´no valuables, a personal ornament that literally wrapped the wearer in wealth, status and
spiritual power. The paper charts the original context and use of Taı´no belts, and provides a
detailed account of the Vienna belt’s collection history, its construction and its chronological
placement (radiocarbon-dated using accelerator mass spectrometry (AMS) to AD 1475–1635). The
question of how and when the European materials were incorporated into the belt is explored,
critically engaging the entangled histories of association between the two."

- by Joanna Ostapkowicz
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- Ethnohistory, Archaeology, Ethnoarchaeology, Museum Studies
- by Bruno Brulon Soares
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- Anthropology, Art History, Education, Museum Studies
- by Elisa Bonacini
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- Museum Studies, Digital Museum, Storytelling, Interactive Digital Storytelling

Impulsionado pelos impactos da crise do Ocidente em meados do século XX, o Brasil reconfigurou-se no âmbito da Política Internacional, buscando adequar-se às novas demandas mundiais. Nesse contexto, situa-se a descolonização de países africanos e o estímulo da UNESCO na desconstrução das falsas doutrinas da desigualdade das raças, bem como o encorajamento dos princípios da igualdade. A África, para o presidente Jânio Quadros (1961), foi tomada como o palco perfeito para a expansão econômica do Brasil. Para tal, o governo brasileiro abriu embaixadas no oeste da África – nos planos da Política Externa Independente – e nomeou Raymundo Souza Dantas, um jornalista negro, como embaixador no país de Gana. Gasparino Damata serviu como adido de imprensa nesta embaixada, entre 1962 e 1963, e, além de atuar como diplomata, exerceu também o papel de colecionador de arte africana. Neste contexto, Jânio Quadros também elegeu, em 1961, José Roberto Teixeira Leite ao cargo de diretor do Museu Nacional de Belas Artes (MNBA-RJ), com o propósito de atualizar, modernizar e dinamizar a instituição. Nessa conjuntura, Teixeira Leite adquiriu a coleção de arte africana montada por Damata durante as viagens realizadas pelo adido em países da África Ocidental. Nesse sentido, esse trabalho abordou três aspectos: a Política Africana do Brasil em Gana; as narrativas sobre a África e os jogos de poder utilizados por Damata na consagração dos objetos africanos em arte; e, por fim, as negociações e os conflitos enfrentados pelo diretor do MNBA na compra e no processo de musealização das peças africanas, em 1964.

- by Silvia Colombo
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- History, Art History, Museum Studies, Fascism

Since the mid-1980s, the new, socially responsive role that museums have assumed and the critically engaged positions of chief curators and directors have led to a variety of practices that attempt to break the old canon of exhibitions, to promote new and interactive ways of communicating their collections to the public and to achieve the much-desired engagement with museum objects. In this framework, artists are often invited by art and other museums (historical, archaeological, ethnographic, etc.) to display or to produce their work as artists-in-residence, creating different contexts for existing exhibitions. But what happens when contemporary artists are called to " reorganize " parts of a museum's permanent collection, commenting in parallel on the institution's own history and function? In our paper, we discuss curatorial projects undertaken by artists that critically assess the museum's historical role, its epistemological background and its power to legitimize culture. Artistic installations and redisplays of historical collections by artists become the focus of our inquiry, especially in the now fashionable display format of the Renaissance Wunderkammer. Our aim is to examine how artistic knowledge and practice can illuminate aspects of art-historical and museological practices, aspects which are rendered invisible when working separately in our academic fields. Keywords : curatorship and art practices; museum's epistemology; artists-as-curators; Wunderkammer If we are now living in " Liquid Times " as Zygmunt Bauman proposed (2000), then what are the role and the raison d'être of museums? How can these powerful by-products of an outdated modernity attract new audiences, offer new narratives using aging collections and respond to current sensitivities? How do they manage to survive as they try to come to terms with current institutional criticism of their authority and social utility? In this paper we discuss one such " survival strategy, " namely the curatorial projects undertaken by artists that critically assess the museum's historical role, its epistemological background and its power to legitimize culture. Our thoughts stemmed from museums' and artists' apparent fascination with a rather unexpected historicism, which is characterized by several contemporary artworks presented, in particular in museums that are not directly devoted to art. Artistic installations and new exhibitions of historical collections put on by artists become the focus of our inquiry, especially in the now fashionable display format of the Renaissance Wunderkammer. 1 ARTICLE

- by Esther Solomon (Εσθήρ Σολομών) and +1
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- Museum Studies, Curating, Curatorial Studies and Practice, Museology

Il testo offre una visione globale sul museo contemporaneo, illustrando tutte le componenti della sua attualità (comunicazione e rapporto con il pubblico, aspetti giuridici, strategie di sviluppo, standard di qualità, problematiche della conservazione e del degrado), senza tralasciare i riferimenti alla sua genesi ed evoluzione storica. Ampio spazio è dato all'educazione museale (anche con riferimenti agli studi di tradizione anglosassone) e ai temi legati all'apprendimento che, all'interno del museo, assume connotazioni specifiche; altri approfondimenti riguardano l'utilizzo dei new media nella comunicazione museale, la museografia, il rapporto percettivo fra lo spettatore e l'ambientazione delle opere, la psicologia ambientale. Il volume trasmette l'idea di museo come spazio aperto di formazione e di progettazione capace di evolversi insieme con il suo pubblico pur nella salvaguardia della sua storia e dei suoi contenuti e costituisce uno strumento di base utile ai diversi indirizzi di studio e alle varie professionalità che gravitano intorno alle realtà museali: corsi di Museologia e Museografia nelle Università e nelle Accademie, corsi di formazione e riqualificazione professionale presso gli Enti locali e le Soprintendenze, Scuole di specializzazione per l'insegnamento secondario (SISS). conseguito la Specializzazione in Archeologia ed il Perfezionamento in Didattica museale, pubblicando numerosi saggi di archeologia e di comunicazione museale. Giornalista, è autrice di scritti d'arte contemporanea, ha curato mostre nel settore e collaborato con diverse Soprintendenze per la comunicazione e didattica dei beni culturali. Marta Paraventi, specializzata in Storia dell'Arte presso l'Università di Bologna, si è occupata di catalogazione dei beni storico artistici, di progettazione di musei, di valorizzazione e promozione dei beni culturali. Ha curato mostre, progetti di comunicazione e uffici stampa. Ha pubblicato articoli e saggi di carattere scientifico sull'arte italiana e marchigiana; giornalista, collabora con il Giornale dell'Arte. Dal 2001 è funzionario della Regione Marche ed è responsabile di progetti per la cultura e i beni culturali.

- by Lucia Cataldo
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- Museology
- by Selçuk Mülayim
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- Art History, Art Theory, Museum Studies, Research Methodology

Dalla fine del XX secolo, i tentativi di rileggere le collezioni museali sono stati declinati in alcuni casi attraverso narrazioni non lineari che non rispettano le tradizionali categorie della storia dell'arte. L'articolo intende indagare le cause di questa tendenza globale dal punto di vista culturale, sociopolitico e teorico. Queste pratiche si sono avvicinate alle collezioni museali come ad una forma di archivio e sono state sviluppate negli ultimi trent'anni in particolare da diverse istituzioni dedicate all'arte contemporanea, rimodellando gli allestimenti e il loro ruolo istituzionale. Attraverso l'analisi di tre casi studio, il Centre Pompidou di Parigi con la mostra Modernités plurielles (2013-2015), il Van Abbemuseum di Eindhoven con The Making of Modern Art (2017-2021) e il Museo Sztuki di Łódź con Atlas of Modernity (2014-oggi), l'articolo analizza la necessità istituzionale dei musei contemporanei di rileggere e riscrivere la storia della "modernità" e delle loro collezioni nel XXI secolo attraverso l'uso di narrazioni dialettiche. Il rapporto tra l'istituzione, le collezioni e la loro narrazione sarà analizzato come carattere distintivo dell'identità e della missione del museo.

- by Alice Labor
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- Museum Studies, Contemporary Art, Curating, Curatorial Studies and Practice

Volume 3 do livro que apresenta o panorama profissional e de investigação na área da Museologia e Patrimônio, contando com autores do Brasil, Espanha e Portugal.

- by Luciana Costa
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- Museology, Museologia, Patrimônio

In 1899 the great exhibition devoted to Alessandro Volta was meant to open a new season of richness for Como and the Lake. Nonetheless, in 1927 the second exhibition organized for the centennial anniversary of Volta's death was promoted by city's institutions and local businessmen as moment of improvement in the fields of economics, culture and tourism. Around the 1927 exhibition new buildings and facilities were built redesigning the historical downtown and its surroundings, such as the Sinigaglia Stadium built in the 1899 exhibition site, the Faro Voltiano on the Brunate hill, in the place of an ephemeral tower. The paper aims to reconstruct some events in Como's urban history in the first three decades of 19 th century, following both stylistic and architectural issues and connections with municipal identity and then fascist propaganda.

- by Gianpaolo Angelini
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- Art History, Museum Studies, Urban History, Architectural History

Peut--on, comme d’autres ont défini des lieux de mémoire, ou des lieux de savoirs, envisager certains lieux aujourd’hui comme des espaces (publics) plus propices que d’autres à la pratique de la pensée, comme des lieux de pensée ? Dans quelle mesure, comment, et à quelles fins, des lieux – le musée, le théâtre, la bibliothèque... – peuvent-ils impulser, élaborer ou modeler de la pensée ? Quels sont les dispositifs (institutionnels, architecturaux, scénographiques) que mobilise et construit une telle volonté des pratiques professionnelles et artis- tiques de s’inscrire dans des enjeux de pensée ? Quels sont les enjeux, les bornes, les moyens, les e ets de ces dispositifs ?
Les études de cas réunies dans cet ouvrage permettent de mettre à l’épreuve une hypothèse : que ces lieux déterminent des modes d’exercice de la pensée qui leur sont propres, tant du côté de ceux qui y « œuvrent » que du côté des publics – visiteurs, spectateurs ou usagers ; qu’ils peuvent, conjointement, être conçus – c’est à dire fabriqués, pensés, analysés, interprétés – comme des espaces de pra- tique de la pensée, voire de l’exercice philosophique, en son sens le plus ouvert de pratique d’une pensée contemplative, réflexive ou critique.

- by Julie Botte
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- Museum Studies, Museology

The great exhibition of Volta in 1899 and the exhibition of Ercole Ferrata and the Intelvesi masters held in Pellio in 1910 had the merit of focus the attention of scholars on a historical and artistic heritage still largely unexplored as warned Francesco Malaguzzi Valeri and Peter Toesca, engaged on the territory in cataloging campaigns and on the press in complaint action. After the end of World War I, in 1920, they were held exhibitions aimed to present to a wider audience the works of art admitted to wartime in warehouses set up in Rome and returned to their places of origin, under the guidance of Nello Tarchiani. This exhibition program had a dual purpose: on the one hand the public awareness towards heritage, on the other the celebration of victory, and the effectiveness of the protection measures implemented by the military command and the organs of the Ministry of Education. In this vein it is located, a few decades later, the publication of the Inventario degli oggetti d’arte della provincia di Sondrio, the ninth volume of a historic ministerial series, published in 1938. However, when that same year it was organized in Sondrio a big exhibition of painting and portrait from the XVth to the XIXth century, the intent were far from conservation and protection and turned to nationalistic propaganda. The article means to establish the mixed reception by scholars and the public, through the study of reviews and museographic programs, highlighting the connection with the activities of protection and cataloging in the territory and with the historical research.

- by Gianpaolo Angelini
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- Art History, Cultural Heritage, Fascism, Heritage Conservation

1. World Youth Hostel
The medieval Altena Castle (https://en.wikipedia.org/wiki/Altena), former residence of the Counts of the Mark, is home of the world's first youth hostel. Even today you can see how the idea of a guesthouse took shape, especially for wandering young people, because the rooms were left in their original condition.
In 1909 the teacher Richard Schirrmann developed the idea of youth hostels wherever wanderers, especially young people, were travelling.
This led to the oldest youth hostel in the world, which Schirrmann set up in 1912 at Altena Castle. This World Youth is the "mother" of all the more than 4000 youth hostels in 90 countries. The World Youth Hostel is therefore a continuing learning venue for multiculturalism and tolerance with regard to all people of different origins, skin colour, religion and culture.
2. The Poet Anton Wilhelm Florentin von Zuccalmaglio
A tombstone in the courtyard of the castle points to another, less well known history of the region, that of Anton Wilhelm Florentin von Zuccalmaglio, the poet of many folk songs, including "Kein schöner Land".

- by Reinhard Kirste
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- Cultural History, Poetry, Youth Culture, Folk Music
- by Edison Villanueva Garcia
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- Photography, Museum Studies, Museology
- by Jonathan Sweet
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- Museology, Exhibition
- by Susana de Luis Mariño
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- Cultural Heritage, Museology, Museography, Museología

David Maskill.
Imperial Lines: Harold Wright (1885–1961): Printmaking and Collecting at the End of Empire
Harold Wright (1885–1961) was the founder of a scholarship to study the print collection of the British Museum, which was the extension of a process of education and acquisition that he conducted throughout his life as the major advisor to private print collectors and public institutions in Australia and New Zealand. At Colnaghi’s, the Bond Street dealers he served for over ﬁfty years, Wright presided over the last ﬂourish of the so-called Etching Revival, tirelessly promoting the work of its key members until the Great Depression made them unmarketable and deeply unfashionable. He believed, as they did, that these British printmakers were the true heirs of the great tradition of European printmaking. While this view is at odds with the prevailing canon of modern printmaking, it oﬀers us an alternative history, one which has directly informed the early print collecting of some of our major institutions.

- by David R Marshall
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- History, Cultural History, Art History, Museum Studies
- by Etienne Boumans
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- Criminology, Criminal Justice, Police Science, Forensic Science

Ces dernières années, les grands musées ont connu une augmentation importante de leur fréquentation, portée par de grandes expositions temporaires dites “blockbusters”.
Autrefois réservé à un public averti ou scolaire, le musée est entré résolument dans une stratégie de séduction pour attirer le plus grand nombre. Mais le contexte actuel est celui d’une usure de ce modèle (coûteux, peu écologique, files d’attente à rallonge…).
Comment désormais répondre aux attentes d’un public nombreux et maintenant fidélisé ? Dans le seul cas du Louvre, 70 % de son public est composé d’étrangers venus du monde entier pour découvrir ses chefs d’œuvres. Avec ses 9 millions de visiteurs et bientôt davantage, le Louvre doit maintenant se préoccuper de son basculement dans le tourisme de masse.
Que signifie pour un musée le fait de se transformer attraction numéro un d’une ville ? Comment concilier les logiques de conservation du patrimoine et de médiation et celles plus commerciales des industries culturelle ?
Daniel Jacobi, spécialiste reconnu des musées, propose ici des réponses pour comprendre leur évolution.
https://www.editionsmkf.com/produit/expositions-touristes/

- by Mkf éditions and +1
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- Tourism Studies, Museology, Nouvelle Muséologie, Musées
- by Lauren Puzier
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- Art History, Instructional Design, Educational Technology, Museum learning

The Lalit Kala Akademi is the National Academy of Art, charged, in the preamble to its Constitution, to achieve a two fold objective, to foster and coordinate activities In the sphere of creative visual arts, and, to promote thereby the cultural unity of the country. The Constitution spells out the programmatic functions for achieving this twin objective as also powers. The first category of powers and functions is academic, the encouragement and promotion of study and research in creative arts with a special focus on survey, preservation, encouragement and projection of folk, tribal and traditional arts, crafts and artists and craftspersons. This is proposed to be achieved through recognition, scholarship and prizes to deserving artists and art institutions, publication, aid and social security. A second category of powers and functions is infrastructural, to be achieved through the establishment, encouragement, coordination of regional arts centres. State Lalit Kala Akademis, acquisition, maintenance, disposal of land, property and funds for promoting its objects and works.

- by Kalyan Kumar Chakravarty
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- Education, Museum Studies, Museology

The presentation will focus on ICOM Switzerland‘s works concerning training designed for museums professionals. Its implication in this field is increasing, within the framework of its own offer of continuous education, as well as within partnerships with other external institutions (for example universities).In September 2008, the first Master in Museology in Switzerland (Master en etudes museales) will be launched, as a result of the cooperation of ICOM Switzerland, the University of Neuchâtel and l‘Association des musees suisses (the National Swiss Museums Association).ICOM Switzerland is involved in reflections with museum professionnals. For instance, it collaborated with Swiss museum educators (the mediateurs culturels) in order to define quality standards for their working areas. This year also, a certification has also been set up, regarding training for museums professionals. The project has been presented in Vienna last year and it is now operational.

- by Marie-Agnès Gainon-Court
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- Sociology, Museology