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Abstract(s)
Os museus surgiram como síntese representativa de uma realidade, impondo questões sobre a preservação das memóriasinerentes à função e à simbologia dos objetos. No caso dos museus de arte, o objetivo era constituir um repositório patrimonialque contribuísse para a criação de uma identidade cultural, pelo que os objetos eram avaliados sobretudo em função daexcelência dos seus parâmetros estéticos, em detrimento de outras significações; também a historiografia da arte privilegiavaos aspectos formais, estabelecendo atribuições e estilos. Essas circunstâncias determinaram a descontextualização do objetono espaço museológico. Porém, a partir de meados do século XX, os estudos sobre o público, enquanto entidade plurale diversificada, e os debates teóricos em torno da significação do objeto contribuíram para uma redefinição do discursomuseológico. O museu passou a compensar as perdas inerentes ao processo de musealização por meio de um conjuntode procedimentos e ferramentas que recontextualizam os significados do objeto nas suas múltiplas valências. Entre ambosos vetores, de descontextualização e de recontextualização, o museu desafia a nossa memória pessoal e coletiva.
Museums have emerged as a representative synthesis of a reality, so a question rises about the preservation of the memories inherent to the functional and symbolic objects. In the particular case of art museums, the goal was to build a heritage repository which would contribute to the creation of a cultural identity. So, the objects were mainly evaluated in terms of aesthetic excellence of its parameters, to the detriment of other meanings. On the other hand, also the historiography of art favored formal aspects, establishing authorities and styles. These circumstances determined the decontextualization of the object in the museum. In return, from mid-twentieth century onwards, the studies of the public, as a plural and diversified entity, and the theoretical debates around the meaning of the object, contributed to a redefinition of the museological speech. The museum had to offset losses due to the musealisation through a set of procedures and tools that recontextualize the meanings of the object in their multiple valences. Between the two vectors, decontextualization and recontextualization, the museum challenges our personal and collective memory.
Museums have emerged as a representative synthesis of a reality, so a question rises about the preservation of the memories inherent to the functional and symbolic objects. In the particular case of art museums, the goal was to build a heritage repository which would contribute to the creation of a cultural identity. So, the objects were mainly evaluated in terms of aesthetic excellence of its parameters, to the detriment of other meanings. On the other hand, also the historiography of art favored formal aspects, establishing authorities and styles. These circumstances determined the decontextualization of the object in the museum. In return, from mid-twentieth century onwards, the studies of the public, as a plural and diversified entity, and the theoretical debates around the meaning of the object, contributed to a redefinition of the museological speech. The museum had to offset losses due to the musealisation through a set of procedures and tools that recontextualize the meanings of the object in their multiple valences. Between the two vectors, decontextualization and recontextualization, the museum challenges our personal and collective memory.
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Keywords
Museu Arte Património Exposição Percepção Informação Museum Art Heritage Exhibition Perception Information