By Didier Maleuvre
From its inception within the early 19th century, the museum has been greater than an insignificant ancient item; it has synthetic a picture of historical past. In gathering previous artifacts, the museum supplies form and presence to historical past, defining the distance of a ritual come upon with the previous. The museum believes in historical past, but it behaves as if background will be summarized and accomplished. via construction a monument to the top of heritage and lifting paintings out of the turmoil of old survival, the museum is expounded to dehistoricize the art. It replaces historicity with historiography, and residing historical past becomes timelessness.This twofold strategy explains the paradoxical personality of museums. they've been accused of being either too heavy with old airborne dirt and dust and too traditionally spotless, excessively historicizing works of art whereas slicing them off from the historic existence within which works of art are born. hence the museum turns out contradictory since it lectures in regards to the ancient nature of its gadgets whereas denying an analogous gadgets the dwelling ancient connection approximately which it purports to educate.The contradictory personality of museums leads the writer to a philosophical mirrored image on background, person who reconsiders the idea that of tradition and the ancient price of paintings in gentle of the philosophers, artists, and writers who're captivated through the museum. jointly, their voices suggested a reevaluation of the options of ancient awareness, creative id, and the tradition of items within the sleek interval. the writer exhibits how museum tradition bargains a different vantage element at the 19th and 20th centuries’ preoccupation with historical past and subjectivity, and he demonstrates how the structure of the classy offers perception into the nation-states of know-how, commercial tradition, structure, and ethics.
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Extra resources for Museum Memories: History, Technology, Art (Cultural Memory in the Present)
Spirit thereby deserts the work, and the gods no longer inhabit statues. The despiritualization of art in museums thus coincides with the age of philosophical maturity. What Quatremère bemoans as the despiritualizing of the work of art, Hegel celebrates as the sign that consciousness has discarded archaic forms of totemistic projection and evolved into a self-possessed, self-ruling spirit. Quatremère says that art is dead in museums; Hegel adds that that is as it should be. If the statue of the god standing in the gallery is devoid of its spiritual, necromantic, or religious force, it is because Spirit has surpassed the type of concrete embodiment proper to the age of the spiritual work of art.
To investigate this question, we turn to Quatremère's contemporary, to Hegel's critique of culture. Hegel's Guide to the Museum Hegel is the museum. M. Merleau-Ponty, "Indirect Language and the Voices of Silence" Culture is the child of each individual's self-knowledge and dissatisfaction with himself. Nietzsche, "Schopenhauer as Educator" Page 22 That museums elicited an immediate philosophical response shows that, from the start, philosophy recognized in them more than a phenomenon worthy of philosophical attention.
Indeed, the claim that museums wreck culture is only valid after it is proven that culture embodies in itself an immanence, that its much-touted connection to "life" is strong and actual. It is one thing for modern consciousness to yearn for a golden age of cultural immediacy, the happy union of art and history, of mind and context, that is, in the end, of subject and object; yet this yearning is only justified if the principle it seeks (contextual, live, rooted culture) is proven true. To investigate this question, we turn to Quatremère's contemporary, to Hegel's critique of culture.