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np. 10.4467/16890027AP.16.022.6009
np. Uniwersytet Jagielloński

Tom 17, Numer 1

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2016 Następne

Data publikacji: 11.02.2016

Opis
Projekt dofinansowany przez Uniwersytet Jagielloński ze środków Wydziału Zarządzania
i Komunikacji Społecznej, a także Instytutu Kultury, we współpracy z Małopolskim Towarzystwem Doradczym – Stowarzyszeniem Konsultantów na rzecz Rozwoju Lokalnego
i Przedsiębiorczości Społecznej, oraz współfinansowany ze środków Gminy Miejskiej Kraków.

Licencja: Żadna

Redakcja

Redaktor naczelny Ewa Kocój

Zastępca redaktora naczelnego Joanna Szulborska-Łukaszewicz

Sekretarz redakcji Alicja Kędziora

Redaktorzy numeru Ewa Kocój, Joanna Szulborska-Łukaszewicz

Zawartość numeru

Jarosław Klaś

Zarządzanie w Kulturze, Tom 17, Numer 1, 2016, s. 1 - 8

https://doi.org/10.4467/20843976ZK.16.001.4475
The why and how of creating a mission statement of a culture institution  on the example of a museum: The case of a museum
 
The article presents a concise overview of  arguments for and ways of formulating the mission statement of a culture institution  on the example of a museum. The issue is described on the basis of existing literature. The article provides an  explanation of the notion of the mission statement, a justification for its creation and a description of its form. There is also a description of the mission statement preparation process, including a short analysis of the Ashridge Model. The author suggests that a well-formed mission statement which is implemented in specific actions contributes to the effective management of an organization. The advice which the article offers  can be used by culture managers in the process of creating mission statements for museums or other non-profit institutions and organizations operating in the cultural sector.
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Katarzyna Jagodzińska

Zarządzanie w Kulturze, Tom 17, Numer 1, 2016, s. 9 - 29

https://doi.org/10.4467/20843976ZK.16.002.4476
Since the 1990s Central Europe has been making up for the time lost in different spheres of life. The new century marked the beginning of the development process of museum infrastructure – a process that despite the economic crisis of the end of 2010s has been going on. Every year new museums openin in both the historical and art sector, and especially those dealing with contemporary art. Nonexistent before 1989, museums of contemporary art constitute a new type of institution in the region. Their role is not only to collect the latest art and performance, but also to make connections between art and life. Considering the low regard of contemporary art in public life, the museum boom in the field of contemporary art is indeed a phenomenon. In every larger city in Poland, as well as in the Czech Republic, Hungary and Slovakia,  attempts are being made towards the creation of a museum or centre of contemporary art.
The aim of this article is to present and discuss the phenomenon of building new art museums in Central Europe, with emphasis on the mechanisms of their creation and local specificities. This museum-building frenzy that started in Central Europe at the beginning of the 21st century should be considered as part of the worldwide museum building boom. Various aspects of the museum boom are discussed in several points: 1) the grand vision for Warsaw – the desire to become an icon, 
2) the political vision for museums, 3) contemporary art in the regions, 4) new spaces for old museums, 5) private patronage and non-governmental organisations. 
Central European institutions that were established during this period meet the expectations of cultural circles, politicians and patrons. In most cases, the stories of building the museums echo the Western fashion for icons and the tendency to adapt post-industrial architecture for the purposes of art.
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Katarzyna Wojtaszek

Zarządzanie w Kulturze, Tom 17, Numer 1, 2016, s. 31 - 48

https://doi.org/10.4467/20843976ZK.16.003.4477

Monuments of martyrology: Do they need marketing?

Martyrological museums form a specific group within Polish historical museums. These museums not only collect historical artefacts specific for them but also deal with important and hard to understand matters of human beings, such as death, genocide, Holocaust, and the dark part of human nature. This article presents aspects of these difficult matters and their influence on the marketing activities of these institutions. For this purpose, the condition of Polish museums with emphasis on martyrological museums is described, as well as the history of Polish museology before, during and after World War II. The article presents the technical and ideological development of martyrological museums, with regard to the relevant legislation. It shows the difficult situation of Polish museums after WWII and its great influence on Polish culture and civilisation. Taking into account the present-day  development of technology and the needs of modern society, it describes the most popular forms of marketing in cultural institutions. On this basis, the marketing strategies of martyrological museums are analysed. The analysis shows that the life and emotional testimonies of former victims and torturers make these marketing forms inappropriate and – in fact – useless.

A solution could be to present these difficult issues through art, both in traditional forms, e.g. by presenting drawings made in camps by former victims, and in modern ways, such as movies or comics.
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Magdalena Kędziora

Zarządzanie w Kulturze, Tom 17, Numer 1, 2016, s. 49 - 65

https://doi.org/10.4467/20843976ZK.16.004.4478
The narratives on the category of the “unwanted memory” of traumatic historical events present in Polish museums
 
The article presents the problem of unwanted memory based on the analysis of narrative exhibitions, conducted in two Kraków museums – the Oskar Schindlerʼs Enamel Factory, which is a branch of The Historical Museum of the City of Kraków, and the Home Army Museum. The Schindler’s Factory permanent exhibition Kraków under Nazi Occupation 1939−1945  presents the fate of Kraków Jews and Poles under Nazi occupation during World War II, as well as the history of the manager and employees of the factory (during WWII bearing the name of Deutsche Emailwarenfabrik). The exhibition in the Home Army Museum presents  the history of the Polish Underground State as an armed and ideological formation, and also the history of the Home Army and its named and unnamed soldiers. Both permanent exhibitions are part of a research area of ​​unwanted memory, touching upon a subject which is very difficult for many types  of customers, both individual and collective. This issue is still subject to analysis and has no precise definition or clearly defined research methodology. The recurring  attempts to define the unwanted memory, in the opinion of the author of the article, are a great chance to create a dialogue between the parties in many current problematic discussions.
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Magdalena Tarnowska

Zarządzanie w Kulturze, Tom 17, Numer 1, 2016, s. 67 - 76

https://doi.org/10.4467/20843976ZK.16.005.4479
Jewish Cultural Heritage in Poland: Provenance Research – its Nature, Aims, Benefits and Risks (?)
 
In pre-1939 Poland, there existed the biggest Jewish diaspora in the world (numbered 3.5 million people). It was also the most important centre of Jewish culture. Unfortunately, as a result of the Holocaust, only a small part of the Jewish cultural heritage survived until nowadays. Only about 400 thousand of Jews survived. Despite this fact, in the years 1946–1950 Jewish institutions – the Central Committee of Jews in Poland and The Jewish Society of Promoting of Fine Arts among others – were engaged in gathering and saving objects of Jewish religious art, fine arts and crafts, books, documents and others. They were gathered mostly at the Jewish Historical Institute in Warsaw and also as museum collections. Unfortunately, the origins of these objects haven’t been sufficiently investigated.
The accession to the European Union obligated the Polish government to adopt the international agreements connected with the Jewish heritage in Poland: Washington Conference 1998, Resolution of the Council of Europe no. 1205, 1999 as well as Vilnius Declaration 2000 and Terezin Declaration 2009. According to those agreements, in the years 2009–2011 the Ministry of Cultural and National Heritage took efforts to prepare museums to lead provenance research, however unsuccessfully.
Nowadays, according to my research, a large number of Polish museums does not carry out any provenance research of objects of unknown origin which may have belong to the Jewish heritage. The main reasons for that are: weak interest in provenance problems and their relation to the Polish and Jewish cultural heritage, too many demands and aims to achieve by museums, luck of funds, fear of restitution, and, last but not least, a weak support of the Ministry of Cultural and National Heritage. Nevertheless, it appears that benefits of the provenance research are more important than the fear of it. First of all, such research contributes to the development of the humanities in Poland, especially art history. Further, it increases trust of Polish and non-Polish citizens in cultural institutions and the government. The fulfillment of the international resolutions mentioned above would improve the image of Poland in the European Union.
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Marek Rawecki

Zarządzanie w Kulturze, Tom 17, Numer 1, 2016, s. 77 - 89

https://doi.org/10.4467/20843976ZK.16.006.4480
The Unwanted Auschwitz
 
The heritage of Auschwitz from the local perspective of Oświęcim appears differently − personally. It is a stigma the town residents have to face every day when fulfilling their own needs and life aspirations, both in the semantic sense (a stigmatising name) and in the material sense (the remains of the camp in the city space). Comments, opinions and criticism concerning the city’s development are received from all over the world. The former camp conservation requirements impose development restrictions for the protection of the place which was created without the participation and consent of the local community. The question asked many times in Oświęcim: “Where does the former camp end and  normal life begin?” may be incomprehensible from outside, but is painfully valid here. Highly publicised conflicts, unsolved for years, in which the local heritage becomes meaningless, are caused by the coexistence of the memorial place and urban space. The population of Oświęcim living “in the shadow of Auschwitz” become a social minority for the world, marginalised in the face of the atrocities of the genocide committed here. On the other hand – the moral dimension of Auschwitz either paralyses local initiatives or supports extreme attitudes. The worldwide debate about Auschwitz lacks the local perspective, whereas the local community lacks the historiosophical view and the understanding that today you can reach Oświęcim only through Auschwitz.
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