Po dobi kánonov: pisanje na steni (Oblike in norme umetnosti v muzejih)

The essay concerns the fate of the historical and sociological connection between aesthetic experience and the strategy of a museum display. The alliance of the theoretical and practical, or more precisely the institutional side of interpretation and maintenance of artwork/collections play up to the same interests. The isolation of artworks from everyday life and from their social contexts served the interests of the undisputed domination of the Western canon. The museums have remained the guardians of the – sometimes empty – norms and forms, the last and extremely popular “Institution” of the conservation of tradition and the advertisement of Order. But the multicultural challenge and relativism have definitely undermined that tradition. The critical reinvestigation of the dominant forms of collective memory sometimes resulted in the crisis of museological practice. The classification and collection of strategies proved too empty, meaningless, abstract and power-oriented. New Museology offered new kinds of theorems for collection, classification, visual display and museum pedagogy and proposed a new contract with the multicultural word, where European traditional perception is only one of many. New Museology abandoned the concept of a separate high culture and classical arts, but in exchange for the loss of exceptionality, a new and promising traffic has begun between art and anthropology in the age of postcultural hierarchy.Referat se ukvarja z usodo zgodovinske in sociološke povezave med estetskim izkustvom in strategijo muzejske postavitve. Povezava med teoretsko in praktično, ali točneje, institucionalno platjo interpretacije in vzdrževanja umetniškega dela oziroma zbirk, sta podpirala iste interese. Osamitev umetniških del od vsakdanjega življenja, iz njihovih družbenih okvirov, je služila interesom nespodbijane prevlade zahodnega kánona. Muzeji so ostali stražarji – včasih praznih – norm in oblik, so zadnja in zelo priljubljena “Institucija” konserviranja tradicije in reklamiranja Reda. Toda multikulturalni izziv in relativizem sta dokončno spodkopala tradicijo. Kritično ponovno preučevanje vladajočih oblik skupinskega spomina je včasih rezultiralo v krizi muzejske dejavnosti. Klasifikacijske in zbiralske strategije so se izkazale za preveč prazne in brez pomena, za preveč abstraktne in preveč usmerjene na moč. Nova muzeologija je ponujala novo zvrst teoremov za zbiranje, klasifikacijo, vizualno razstavno predstavitev, muzejsko pedagogiko in ponudila novo pogodbo z multikulturalnim svetom, v katerem je bila evropska tradicionalna percepcija le ena izmed mnogih. Nova muzeologija se je odrekla pojmu posebne visoke kulture in klasičnih umetnosti, v zameno za izgubo izjemnosti pa se je v obdobju postkulturalne hierarhije pričela nova in obetavna izmenjava med umetnostjo in antropologijo