Links

O ESTADO DA ARTE


@ Denise Pollini


@ Denise Pollini


@ Denise Pollini


@ Denise Pollini


@ Denise Pollini


@ Denise Pollini


@ Denise Pollini


@ Denise Pollini


@ Denise Pollini

Outros artigos:

2023-09-12


VOYEURISMO MUSEOLÓGICO: UMA VISITA AO DEPOT NO MUSEU BOIJMANS VAN BEUNINGEN, EM ROTERDÃO
 

2023-08-10


TEHCHING HSIEH: HOW DO I EXPLAIN LIFE AND CHANGE IT INTO ART?
 

2023-07-10


BIENAL DE FOTOGRAFIA DO PORTO: REABILITAR A EMPATIA COMO UMA TECNOLOGIA DO OUTRO
 

2023-06-03


ARCOLISBOA, UMA FEIRA DE ARTE CONTEMPORÂNEA EM PERSPETIVA
 

2023-05-02


SOBRE A FOTOGRAFIA: POIVERT E SMITH
 

2023-03-24


MANUEL QUARANTA
 

2023-02-16


QUAL É O CINEMA QUE MORRE COM GODARD?
 

2023-01-20


TECNOLOGIAS MILLENIALS E PÚBLICO CONTEMPORÂNEO. REFLEXÕES SOBRE A EXPOSIÇÃO 'OCUPAÇÃO XILOGRÁFICA' NO SESC BIRIGUI EM SÃO PAULO
 

2022-12-20


VENEZA E A CELEBRAÇÃO DO AMOR
 

2022-11-17


FALAR DE DESENHO: TÃO DEPRESSA SE COMEÇA, COMO ACABA, COMO VOLTA A COMEÇAR
 

2022-10-07


ARTISTA COMO MEDIADOR. PRÁTICAS HORIZONTAIS NA ARTE E EDUCAÇÃO NO BRASIL
 

2022-08-29


19 DE AGOSTO, DIA MUNDIAL DA FOTOGRAFIA
 

2022-07-31


A CULTURA NÃO ESTÁ FORA DA GUERRA, É UM CAMPO DE BATALHA
 

2022-06-30


ARTE DIGITAL E CIRCUITOS ONLINE
 

2022-05-29


MULHERES, VAMPIROS E OUTRAS CRIATURAS QUE REINAM
 

2022-04-29


EGÍDIO ÁLVARO (1937-2020). ‘LEMBRAR O FUTURO: ARQUIVO DE PERFORMANCES’
 

2022-03-27


PRATICA ARTÍSTICA TRANSDISCIPLINAR: A INVESTIGAÇÃO NAS ARTES
 

2022-02-26


OS HÁBITOS CULTURAIS… DAS ORGANIZAÇÕES CULTURAIS PORTUGUESAS
 

2022-01-27


ESPERANÇA SIGNIFICA MAIS DO QUE OPTIMISMO
 

2021-12-26


ESCOLA DE PROCRASTINAÇÃO, UM ESTUDO
 

2021-11-26


ARTE = CAPITAL
 

2021-10-30


MARLENE DUMAS ENTRE IMPRESSIONISTAS, ROMÂNTICOS E SUMÉRIOS
 

2021-09-25


'A QUE SOA O SISTEMA QUANDO LHE DAMOS OUVIDOS'
 

2021-08-16


MULHERES ARTISTAS: O PARADOXO PORTUGUÊS
 

2021-06-29


VIVER NUMA REALIDADE PÓS-HUMANA: CIÊNCIA, ARTE E ‘OUTRAMENTOS’
 

2021-05-24


FRESTAS, UMA TRIENAL PROJETADA EM COLETIVIDADE. ENTREVISTA COM DIANE LINA E BEATRIZ LEMOS
 

2021-04-23


30 ANOS DO KW
 

2021-03-06


A QUESTÃO INDÍGENA NA ARTE. UM CAMINHO A PERCORRER
 

2021-01-30


DUAS EXPOSIÇÕES NO PORTO E MUITOS ARQUIVOS SOBRE A CIDADE
 

2020-12-29


TEORIA DE UM BIG BANG CULTURAL PÓS-CONTEMPORÂNEO - PARTE II
 

2020-11-29


11ª BIENAL DE BERLIM
 

2020-10-27


CRITICAL ZONES - OBSERVATORIES FOR EARTHLY POLITICS
 

2020-09-29


NICOLE BRENEZ - CINEMA REVISITED
 

2020-08-26


MENSAGENS REVOLUCIONÁRIAS DE UM TEMPO PERDIDO
 

2020-07-16


LIÇÕES DE MARINA ABRAMOVIC
 

2020-06-10


FRAGMENTOS DO PARAÍSO
 

2020-05-11


TEORIA DE UM BIG BANG CULTURAL PÓS-CONTEMPORÂNEO
 

2020-04-24


QUE MUSEUS DEPOIS DA PANDEMIA?
 

2020-03-24


FUCKIN’ GLOBO 2020 NAS ZONAS DE DESCONFORTO
 

2020-02-21


ELECTRIC: UMA EXPOSIÇÃO DE REALIDADE VIRTUAL NO MUSEU DE SERRALVES
 

2020-01-07


SEMANA DE ARTE DE MIAMI VIA ART BASEL MIAMI BEACH: UMA EXPERIÊNCIA MAIS OU MENOS ESTÉTICA
 

2019-11-12


36º PANORAMA DA ARTE BRASILEIRA
 

2019-10-06


PARAÍSO PERDIDO
 

2019-08-22


VIVER E MORRER À LUZ DAS VELAS
 

2019-07-15


NO MODELO NEGRO, O OLHAR DO ARTISTA BRANCO
 

2019-04-16


MICHAEL BIBERSTEIN: A ARTE E A ETERNIDADE!
 

2019-03-14


JOSÉ MAÇÃS DE CARVALHO – O JOGO DO INDIZÍVEL
 

2019-02-08


A IDENTIDADE ENTRE SEXO E PODER
 

2018-12-20


@MIAMIARTWEEK - O FUTURO AGENDADO NO ÉDEN DA ARTE CONTEMPORÂNEA
 

2018-11-17


EDUCAÇÃO SENTIMENTAL. A COLEÇÃO PINTO DA FONSECA
 

2018-10-09


PARTILHAMOS DA CRÍTICA À CENSURA, MAS PARTILHAMOS DA FALTA DE APOIO ÀS ARTES?
 

2018-09-06


O VIGÉSIMO ANIVERSÁRIO DA BIENAL DE BERLIM
 

2018-07-29


VISÕES DE UMA ESPANHA EXPANDIDA
 

2018-06-24


O OLHO DO FOTÓGRAFO TAMBÉM SOFRE DE CONJUNTIVITE, (UMA CONVERSA EM TORNO DO PROJECTO SPECTRUM)
 

2018-05-22


SP-ARTE/2018 E A DIFÍCIL TAREFA DE ESCOLHER O QUE VER
 

2018-04-12


NO CORAÇÂO DESTA TERRA
 

2018-03-09


ÁLVARO LAPA: NO TEMPO TODO
 

2018-02-08


SFMOMA SAN FRANCISCO MUSEUM OF MODERN ART: NARRATIVA DA CONTEMPORANEIDADE
 

2017-12-20


OS ARQUIVOS DA CARNE: TINO SEHGAL CONSTRUCTED SITUATIONS
 

2017-11-14


DA NATUREZA COLABORATIVA DA DANÇA E DO SEU ENSINO
 

2017-10-14


ARTE PARA TEMPOS INSTÁVEIS
 

2017-09-03


INSTAGRAM: CRIAÇÃO E O DISCURSO VIRTUAL – “TO BE, OR NOT TO BE” – O CASO DE CINDY SHERMAN
 

2017-07-26


CONDO: UM NOVO CONCEITO CONCORRENTE À TRADICIONAL FEIRA DE ARTE?
 

2017-06-30


"LEARNING FROM CAPITALISM"
 

2017-06-06


110.5 UM, 110.5 DOIS, 110.5 MILHÕES DE DÓLARES,… VENDIDO!
 

2017-05-18


INVISUALIDADE DA PINTURA – PARTE 2: "UMA HISTÓRIA DA VISÃO E DA CEGUEIRA"
 

2017-04-26


INVISUALIDADE DA PINTURA – PARTE 1: «O REAL É SEMPRE AQUILO QUE NÃO ESPERÁVAMOS»
 

2017-03-29


ALGUMAS REFLEXÕES SOBRE O CONCEITO CONTEMPORÂNEO DE FEIRA DE ARTE
 

2017-02-20


SOBRE AS TENDÊNCIAS DA ARTE ACTUAL EM ANGOLA: DA CRIAÇÃO AOS NOVOS CANAIS DE LEGITIMAÇÃO
 

2017-01-07


ARTLAND VERSUS DISNEYLAND
 

2016-12-15


VALORES DA ARTE CONTEMPORÂNEA: UMA CONVERSA COM JOSÉ CARLOS PEREIRA SOBRE A PUBLICAÇÃO DE O VALOR DA ARTE
 

2016-11-05


O VAZIO APOCALÍPTICO
 

2016-09-30


TELEPHONE WITHOUT A WIRE – PARTE 2
 

2016-08-25


TELEPHONE WITHOUT A WIRE – PARTE 1
 

2016-06-24


COLECCIONADORES NA ARCO LISBOA
 

2016-05-17


SONNABEND EM PORTUGAL
 

2016-04-18


COLECCIONADORES AMADORES E PROFISSIONAIS COLECCIONADORES (II)
 

2016-03-15


COLECCIONADORES AMADORES E PROFISSIONAIS COLECCIONADORES (I)
 

2016-02-11


FERNANDO AGUIAR: UM ARQUIVO POÉTICO
 

2016-01-06


JANEIRO 2016: SER COLECCIONADOR É…
 

2015-11-28


O FUTURO DOS MUSEUS VISTO DO OUTRO LADO DO ATLÂNTICO
 

2015-10-28


O FUTURO SEGUNDO CANDJA CANDJA
 

2015-09-17


PORQUE É QUE OS BLOCKBUSTERS DE MODA SÃO MAIS POPULARES QUE AS EXPOSIÇÕES DE ARTE, E O QUE É QUE PODEMOS DIZER SOBRE ISSO?
 

2015-08-18


OS DESAFIOS DO EFÉMERO: CONSERVAR A PERFORMANCE ART - PARTE 2
 

2015-07-29


OS DESAFIOS DO EFÉMERO: CONSERVAR A PERFORMANCE ART - PARTE 1
 

2015-06-06


O DESAFINADO RONDÒ ENWEZORIANO. “ALL THE WORLD´S FUTURES” - 56ª EXPOSIÇÃO INTERNACIONAL DE ARTE DE VENEZA
 

2015-05-13


A 56ª BIENAL DE VENEZA DE OKWUI ENWEZOR É SOMBRIA, TRISTE E FEIA
 

2015-04-08


A TUMULTUOSA FERTILIDADE DO HORIZONTE
 

2015-03-04


OS MUSEUS, A CRISE E COMO SAIR DELA
 

2015-02-09


GUIDO GUIDI: CARLO SCARPA. TÚMULO BRION
 

2015-01-13


IDEIAS CAPITAIS? OLHANDO EM FRENTE PARA A BIENAL DE VENEZA
 

2014-12-02


FUNDAÇÃO LOUIS VUITTON
 

2014-10-21


UM CONTEMPORÂNEO ENTRE-SERRAS
 

2014-09-22


OS NOSSOS SONHOS NÃO CABEM NAS VOSSAS URNAS: Quando a arte entra pela vida adentro - Parte II
 

2014-09-03


OS NOSSOS SONHOS NÃO CABEM NAS VOSSAS URNAS: Quando a arte entra pela vida adentro – Parte I
 

2014-07-16


ARTISTS' FILM BIENNIAL
 

2014-06-18


PARA UMA INGENUIDADE VOLUNTÁRIA: ERNESTO DE SOUSA E A ARTE POPULAR
 

2014-05-16


AI WEIWEI E A DESTRUIÇÃO DA ARTE
 

2014-04-17


QUAL É A UTILIDADE? MUSEUS ASSUMEM PRÁTICA SOCIAL
 

2014-03-13


A ECONOMIA DOS MUSEUS E DOS PARQUES TEMÁTICOS, NA AMÉRICA E NA “VELHA EUROPA”
 

2014-02-13


É LEGAL? ARTISTA FINALMENTE BATE FOTÓGRAFO
 

2014-01-06


CHOICES
 

2013-09-24


PAIXÃO, FICÇÃO E DINHEIRO SEGUNDO ALAIN BADIOU
 

2013-08-13


VENEZA OU A GEOPOLÍTICA DA ARTE
 

2013-07-10


O BOOM ATUAL DOS NEGÓCIOS DE ARTE NO BRASIL
 

2013-05-06


TRABALHAR EM ARTE
 

2013-03-11


A OBRA DE ARTE, O SISTEMA E OS SEUS DONOS: META-ANÁLISE EM TRÊS TEMPOS (III)
 

2013-02-12


A OBRA DE ARTE, O SISTEMA E OS SEUS DONOS: META-ANÁLISE EM TRÊS TEMPOS (II)
 

2013-01-07


A OBRA DE ARTE, O SISTEMA E OS SEUS DONOS. META-ANÁLISE EM TRÊS TEMPOS (I)
 

2012-11-12


ATENÇÃO: RISCO DE AMNÉSIA
 

2012-10-07


MANIFESTO PARA O DESIGN PORTUGUÊS
 

2012-06-12


MUSEUS, DESAFIOS E CRISE (II)


 

2012-05-16


MUSEUS, DESAFIOS E CRISE (I)
 

2012-02-06


A OBRA DE ARTE NA ERA DA SUA REPRODUTIBILIDADE DIGITAL (III - conclusão)
 

2012-01-04


A OBRA DE ARTE NA ERA DA SUA REPRODUTIBILIDADE DIGITAL (II)
 

2011-12-07


PARAR E PENSAR...NO MUNDO DA ARTE
 

2011-04-04


A OBRA DE ARTE NA ERA DA SUA REPRODUTIBILIDADE DIGITAL (I)
 

2010-10-29


O BURACO NEGRO
 

2010-04-13


MUSEUS PÚBLICOS, DOMÍNIO PRIVADO?
 

2010-03-11


MUSEUS – UMA ESTRATÉGIA, ENFIM
 

2009-11-11


UMA NOVA MINISTRA
 

2009-04-17


A SÍNDROME DOS COCHES
 

2009-02-17


O FOLHETIM DE VENEZA
 

2008-11-25


VANITAS
 

2008-09-15


GOSTO E OSTENTAÇÃO
 

2008-08-05


CRÍTICO EXCELENTÍSSIMO II – O DISCURSO NO PODER
 

2008-06-30


CRÍTICO EXCELENTÍSSIMO I
 

2008-05-21


ARTE DO ESTADO?
 

2008-04-17


A GULBENKIAN, “EM REMODELAÇÃO”
 

2008-03-24


O QUE FAZ CORRER SERRALVES?
 

2008-02-20


UM MINISTRO, ÓBICES E POSSIBILIDADES
 

2008-01-21


DEZ PONTOS SOBRE O MUSEU BERARDO
 

2007-12-17


O NEGÓCIO DO HERMITAGE
 

2007-11-15


ICONOLOGIA OFICIAL
 

2007-10-15


O CASO MNAA OU O SERVILISMO EXEMPLAR
 

MUSEOLOGICAL VOYEURISM: A VISIT TO DEPOT, BOIJMANS VAN BEUNINGEN, ROTTERDAM

DENISE POLLINI

2023-09-10




 


A building of six floors designed by the Dutch architecture office MVRDV, totally dedicated to showing the collection of the Boijmans Van Beuningen Museum in Rotterdam: the so-called Depot is entirely done in metal and glass and allows visitors to come into contact with the artworks chosen from the collection in multiple ways: through showcases that give views to the deposits with classical structures of technical reserves, over glass panels with selected works or suspended structures (glass bridges), and also, in the case of contemporary artworks – such as the case of Maurizio Cattelan’s “Untitled” (2001) – by means of glass boxes, especially developed for that pieces.

A room dedicated to the "collection highlights" shows the artworks in the "glass easels", whose inspiration, which comes from the work of the Italian-Brazilian architect Lina Bo Bardi, is assumed and explicitly referred to in a video documenting a technical visit to the Museu de Arte de São Paulo (MASP), in Brazil – in which initially the glass easels were presented at the end of the 1960s.

Videos spread across the building often focus on staff figures, such as, for example, the security guard Renzo van Riemsdij: graduated in music, Renzo works as a sound engineer in his own studio during the day and as a security guard at Depot Bojimans at night.
The work of conservators is presented and highlighted by the vision rendered through glass walls´ laboratories, in which visitors can observe the work being done by the conservators, surrounded by all the technical equipment necessary for the function.

Bearing in mind that the museum experience is oriented mainly towards the experience of seeing, here, the visual contact with the artwork acquires another layer, a voyeuristic layer: the experience of “seeing behind” the artworks – and peeking the work that is done around it – and cast a glimpse through a gap, a window, an angle is everywhere, and everything collaborates with an experience of ultimate scrutiny of the artwork. And, with that, an irresistible intimacy is promoted, in which stands the voyeuristic accent.

In the case of the paintings, such feeling is reinforced by the exposed view of the labels from the back of the paintings´ frames. At one point, I found myself scrupulously observing these labels that were placed on the back of the frames of the artworks every time they participated in a tour for a new exhibition. It felt like reading the biography of that specific work of art.

 

@ Denise Pollini

 

So, in the Depot, the experience of the artwork is not just itself, but also what is done with it: in the conservation laboratories, around its own security demands and, what we could call “the engine of the Museum” is hence, exposed to the visitor – in a quite spectacular way.

It can be stated that a new era in the realm of the museological experience opens with this building – which is reported to be the world's first art storage facility open to the public – for the reason that even the negative expression, often attributed to Museums and their collections as dead inventories with little lighting and recluse from the public's eyes, calls for a revision here. Whether you like this proposal or not, the fact is that the collection here is indeed in motion, in a kind of symbolic transit, as it is visited and experienced by the visitors.

If the personality of a museum is, to a large extent, defined by its collection, it is worth reflecting here on what will be the relationship between the Depot and the future Museum Boijmans Van Beuningen, which is closed for renovation. High expectations are natural both from the ambitious scope of the Depot, as from the words on the Museum's website that refer to a “future-proof museum that is expected to open in 2029” [1].

Another necessary reflection will be on how such a structure will age. How will the experience of the building relate to visitors once the freshness of pungent novelty has passed? Will people return to the Depot to rediscover their favorite artworks? Or will the return be primarily to re-experience this very particular intimacy with the work of art? (So, the whole experience of seeing the artworks in such a close relationship…).

With my analysis, I do not want to assert that the voyeurism provided by the building (and the way in which the works of art are displayed in it) is in itself detrimental. Even taking into account the clear spectacularization offered by the experience.

What is evident in the Depot is that this is indeed a new relationship between visitors and the artworks (and one that is here to stay). It is not a Museum; definitely, it is another thing much more in transit, in a state of transition, as if we were witnessing an ongoing shift happening in real time before our eyes.

But everything indicates that this will be an experience that will become a new trend among European and North American Museums. But what interests me most is what kind of relationship this building is projecting into the future of the Museums and what kind of Museum will be born from this new relationship initiated by the Depot.

Bearing in mind my conviction that Museums are meeting places: of people, of senses, of paths, what seems relevant here is to think to what extent this building, and everything that is made of it, contributes to the Museum institution becoming a more inclusive, more porous and truer undertaking.

Not being a Museum does not exempt the Depot from the social responsibility that a Museum is subject to. Time will show us what this whole endeavor will do with this responsibility.

 

 

 

Denise Pollini
She is a researcher, educator and curator who lives between Porto, Portugal and Antwerp, Belgium. She is currently developing her PhD at the University of Antwerp under the guidance of Pascal Gielen and Gert Verschraegen and is part of the Research Center “Culture Commons Quest Office” (CCQO) in Antwerp, where she investigates New Institutionalities in relation to Museums and Cultural Institutions.
She has a master's degree in Performing Arts from the University of São Paulo (USP, São Paulo, Brazil) and a degree in Visual Arts from Fundação Armando Alvares Penteado (FAAP - São Paulo, Brazil).
She was Coordinator of the Educational Service of the Museum of Contemporary Art of the Serralves Foundation between 2015 and 2021 and of the Educational Sector of the Museum of Brazilian Art - MAB/FAAP, São Paulo, Brazil, between 1999 and 2015, where she was responsible for implementing the Sector. Teacher and lecturer, having given classes, courses, seminars and conferences at the following institutions: SENAC, SESC, University of São Paulo (USP), Panamericana Escola de Arte e Design, Escola São Paulo, Centro Cultural B_arco and Universidade do Vale do Itajaí ( Univali) - in Brazil and in Portugal: Acesso Cultura, EGAC, ESAP, IMMER (i2ADS), Comédias do Minho, Médio Tejo Museum Network and APEI - Association of Early Childhood Education Professionals.

 

:::

 

Notes


[2] Renovating for the future, visited on 06/08/2023.