O propósito original do (e no) museu de arte

This dissertation focuses on the basic issues in the development of the institution in which the Museum is configured. The focus is on Art Museums and their original purpose, as well as their relationship with the original object. This is, therefore, the basic premise of departure, for the raising of questions that evidence the experience in the Museum based on authenticity, in contrast with the tendency to move away from the value of the authentic. In this way, the work carried out by us is shaped into 3 plans: the socio-economic plan; the cultural plan; and, as expected, the museological plan. In these terms, we begin an analysis that extends from the formation of the Museum to the present day, highlighting some moments, considered by us, as transforming or fundamental. Having this said, we enter on an anthropological and aesthetic excursion, questioning values that, in principle, would be unanimous, in terms of consensus. Throughout the text, we interpenetrate our reasoning in the 3 plans, whose objective is to scrutinize the influence on the Museum. The Museum tends to transform its original meaning by adapting to the present time, so we propose a reflection on whether, strictly speaking, we are neglecting the relationship between Authenticity and Museum; and, if so, where are we heading to. We propose the analysis of the base that originated the Museum, questioning its action, its objects, and practices, to understand the emergence of an 'identity crisis', which haunts it. As well as exploring the extent to which the Museum and the original object are intrinsically and conceptually linked. In this way, we articulate the issue of authenticity, as the basis of the museological experience, with the respective analysis of the transformation that is the museum good, in art museums