Natalya V. SHMELEVANizhny Novgorod State Pedagogical University. K. Minina (Minin University)
Ulyanova Str., 1, Nizhny Novgorod, Russian Federation, 603002
Associate Professor of the Department of Philosophy and Social Sciences
Ph.D. in Philological Sciences
e-mail: shmelevanv@mail.ru
ORCID: 0000-0001-8822-7629
Михаил Михайлович АБРАМЫЧЕВNizhny Novgorod State Pedagogical University. K. Minina (Minin University)
Ulyanova Str., 1, Nizhny Novgorod, Russian Federation, 603002
Documentation Specialist of the Faculty of Humanities, Master Student of the Department of Philosophy and Social Sciences
e-mail: abramychevmm@gmail.com
ORCID: 0000-0003-0043-0644
The Logic of Emancipation in Modern Museum PracticesAbstract: This article analyzes modern ideas about the interaction of the museum and the visitor. Based on the works of Jacques Rancière, there is a transition to the aesthetic regime of art, which involves the elimination of the privileged position of one of the actors of interaction, the erasure of all kinds of boundaries and hierarchies, and the establishment of a new emancipated status of the subject. The space of the museum in such optics is an instance that usurps the right to possess the truth and thus asserts a privileged position when, as a visitor, it is knowingly endowed with the status of an ignorant person who must submit to the authority of the museum in order to be able to approach the truths hidden in the presented cultural values. Attempts to overcome the current situation were noted, in particular, the idea of the participatory museum of Nina Simon, in which the visitor becomes an active participant in the action, gets the opportunity not only for contemplation, but also for the manifestation of creative activity. But, as shown in our work, this idea, with all its unconditional merits, concerns primarily external activity, while the possibility of knowing the subject remains limited, since the museum still reserves the exclusive right to possess true knowledge. In this context, attention was drawn to the work of Rancière "The Emancipated Spectator", where the French philosopher promotes the logic of emancipation, according to which it is necessary to recognize an equal starting cognitive opportunity that the museum visitor can see in the images he contemplates something different, not what he is being pushed to, but for this it is necessary to achieve the emancipation of the object of contemplation. It is necessary to shift the emphasis from the poles of "museum – visitor" and recognize that the truth lies between them. The object of contemplation itself is autonomous in relation to the other two, and this implies a situation in which the visitor, as well as other representatives of the museum, exist in the same conditions and have equal opportunities.
Key words: museum, museum visitor, emancipation, art, Jacques Rancière, Nina Simon, participatory museum, aesthetic mode of art, division of the sensual.
References:
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- Rancier, J. (2018). Emansipirovannyj zritel [Emancipated viewer]. Nizhny Novgorod: Krasnaya lastochka? 128 p. (In Russian).
- Simon, N. (2017). Participatornyj muzej [Participatory Museum] Perevod A. Glebovskoj. Moscow: Ad Marginem Press, 368 p. (In Russian).
- Sgibova A. Yu. (2014). «Posetitel’ muzeya» i problemy formirovaniya muzejnoj deyatel’nosti [«Museum visitor» and museum affairs establishment issues] / Cennosti i smysly. 3 (31). 120–131. (In Russian).
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- [Charter of the International Council of Museums (ICOM). Adopted at the 16th General Assembly of ICOM (The Hague, the Netherlands, September 5, 1989), additions and changes were made at the Extraordinary General Assembly of ICOM] (Paris, France, June 9, 2017). URL: https://icom-russia.com/data/ustavnye-dokumenty/?sphrase_id=1130937 (Accessed January 31, 2022) (In Russian).
- Shlyakhtina, L.M. (2009). Osnovy muzejnogo dela: teoriya i praktika [Fundamentals of museum business: theory and practice] Uchebnoe Posobie, 2nd ed. erased. Moscow: Vysshaya shkola, 183 p. (In Russian).
For Citation: Shmeleva, N., Abramychev, M. (2022) The Logic of Emancipation in Modern Museum Practices. International Journal of Cultural Research, 1 (46). 77–84. DOI: 10.52173/2079-1100_2022_1_77
DOI: 10.52173/2079-1100_2022_1_77
