نقش گفتمان موزه ای در انسجام بخشی گفتمان های متعارض (مطالعه موردی نمایشگاه 'آینده ای برای گذشته') (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
موزه ها در صورت بندی های فرهنگی جامعه، به ویژه در نقاط حساس تخاصم های فرهنگی و هنری، نقش محوری دارند. این مقاله با تمرکز بر رسالت موزه ها و نقش گفتمان موزه ای در شرایط چالشی، به تحلیل نمایشگاه «آینده ای برای گذشته» در موزه هنر زوریخ (به عنوان نمونه موردی) می پردازد. مبنای نظری پژوهش، نظریه گفتمان انتقادی لاکلا و موفه است. جستار حاضر در گام نخست، با گفتمان کاوی در نظم گفتمانی فضای موزه هنر زوریخ، به بررسی گفتمان های شناسایی شده در نمایشگاه پرداخته و سپس چگونگی تثبیت معنا توسط موزه را تحلیل می کند. پرسش تحقیق این است که چه گفتمان هایی در شکل گیری روایت آثار هنری غارت شده موزه هنر زوریخ، نقش مؤثر ایفا می کنند؟ چگونه تعارض های معنایی میان گفتمان های متعدد و بعضاً متخاصم به تعادل و ثبات معنایی منتهی می شود؟ یافته های پژوهش نشان می دهد که نظم گفتمانی موزه هنر زوریخ شامل گفتمان های «تاریخی»، «هنری»، «اخلاقی» و «نهادی (موزه ای)» است. در موزه هنر زوریخ، گفتمان موزه ای با استفاده از اعتبار نهادی و همچنین با مداخلات هژمونیک، نقش سازنده ای در مشروعیت بخشی و سازماندهی گفتمان های خرد متعارض ایفا می کند. موزه ها می توانند به عنوان نهادهای فرهنگی، نقش کنشگرانی فعال را در نقاط تلاقی گفتمان ها ایفا کنند و با ایجاد فضاهای دیالوگ، زمینه ای برای تأمل در تحقیقات منشأ و بازنگری هویت تاریخی فراهم آورند.The role of museum discourse in the partial coherence of conflicting discourses (a case study of the exhibition 'A future for the past')
Introducion: Research on the provenance of artworks has become one of the most significant areas of museum activity today. During the institutional reforms of ICOM (1971–1974), provenance and ethical considerations in acquiring artworks emerged as primary concerns. Today, provenance research and restitution processes are essential for museums.This study analyzes the exhibition A Future for the Past at Kunsthaus Zürich, examining the challenges museums face in confronting hidden histories, ensuring transparency, and adhering to ethical codes. Featuring the Emil Bührle Collection, this exhibition provides an opportunity to rethink the display of artworks as a discursive process. The article also explores how hegemonic museum discourse engages with controversial issues.The primary objective is to investigate the role of museums in shaping historical, political, ethical, and social values in the representation of artworks. Using Laclau and Mouffe’s discourse analysis, the research argues that all museum practices derive meaning within specific discursive frameworks. A Future for the Past is examined as a meaningful intervention within competing discourses.The central research questions are:What discourses can be identified within the Kunsthaus Zürich?How does the museum attempt to temporarily stabilize meaning through this exhibition?Which discourse is dominant in the museum’s discursive order, and what identity is created or reinforced for the museum?Methods: The study identifies and describes existing discourses using archival documents, exhibition catalogs, interviews, curatorial panels, and other sources. According to Laclau and Mouffe, discourse includes linguistic and non-linguistic elements, such as selection, display, arrangement, and categorization. The study examines how these discourses form, structure, and become hegemonic.Results and Discussion: Findings suggest that within the discursive order of the Kunsthaus Zürich, competing and conflicting discourses can be identified. The discourses analyzed in this study include:1. Historical Discourse: While A Future for the Past claims to focus on provenance and Jewish collectors during World War II, critics argue that it downplays the fate of looted artworks’ original owners.2. Artistic Discourse: Frames the museum as a space for aesthetic appreciation, separating art from historical and ethical concerns. Kunsthaus Zürich follows the “art for art’s sake” approach, emphasizing “masterpieces” and “stylistic diversity.”3. Ethical Discourse: This discourse seeks to balance the contentious provenance of artworks with the museum’s aesthetic mission.4. Institutional (Museum) Discourse: Emphasizes the museum’s role as a public institution, engaging audiences through interactive spaces and discussions on historical and ethical issues. During controversies, the museum employs hegemonic interventions to manage tensionsTwo dominant macro-discourses emerge:Artistic Discourse, emphasizing autonomy and neutrality of artworks.Ethical Discourse, stressing the museum’s responsibility for provenance.The conflict between these discourses represents a broader struggle between “ethical responsibility” and “artistic beauty.” Kunsthaus Zürich prioritizes displaying artworks, while ethical discourse critiques its decision to exhibit the Emil Bührle Collection.Institutional discourse mediates between artistic and ethical discourses. The museum legitimizes displaying “artistic masterpieces” from World War II while justifying the Bührle Collection as part of collective memory. This approach marginalizes but does not eliminate ethical discourse, maintaining it as a secondary concern. The Bührle Foundation’s statement (June 14, 2024) reaffirms the museum’s commitment to ethical museum guidelines, incorporating “justice” and “adherence to ethical codes” into its mission.ConclusionJust as A Future for the Past challenges the museum’s role in handling controversial collections, this study invites reflection on provenance research and museum responsibilities. Analyzing how museum discourses emerge and evolve reveals how museums manage and represent collections and adapt to social changes. Future research should explore museums’ broader role beyond exhibiting artworks, analyze historical museum discourses, and assess adherence to principles such as equity, social justice, and transparency. These studies can contribute to understanding how museums navigate contemporary challenges.
تبلیغات
