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

Tom 18, Numer 1

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2017 Następne

Data publikacji: 22.02.2017

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Ewa Kocój

Zastępca redaktora naczelnego Joanna Szulborska-Łukaszewicz

Sekretarz redakcji Alicja Kędziora

Redaktorzy prowadzący numeru Katarzyna Plebańczyk, Ewa Kocój

Zawartość numeru

Svetlana Hristovaxw

Zarządzanie w Kulturze, Tom 18, Numer 1, 2017, s. 1 - 16

https://doi.org/10.4467/20843976ZK.17.001.6284
In order to understand the specificity of the European model of cultural heritage policy, we shall first take account of the main changes in the late modern world which pre-determined the repositioning of culture and cultural heritage in the world economy; then we shall trace the reasons leading to the current reappraisal of cultural heritage in European public policies, and finally we shall reveal the main trends in the European policies for cultural heritage, which form a distinguishable, coherent long-term approach that presumably can be qualified as ‘the European model’.
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Charlène Arnaud, xw Mourad Attarça xw

Zarządzanie w Kulturze, Tom 18, Numer 1, 2017, s. 17 - 27

https://doi.org/10.4467/20843976ZK.17.002.6285
This study is set in the French institutional and cultural context where the State and local authorities have strong and multiple roles and missions in the cultural field. Despite the declined Welfare State, France has experienced an important evolution of the legal and fiscal framework concerning patronage and non-profit organizations, giving a new role to citizens. We question the place and role of private sponsors in territorial management of cultural heritage. To do so, we analyze two cases: the project of the François Pinault Foundation to build a museum of contemporary art on Seguin Island, near Paris, and the project of the Louis Vuitton Foundation to launch a museum of contemporary art in The Bois de Boulogne inside Paris. The failure of the first project and the success of the second one will allow us to draw lessons for this kind of public-private initiatives.
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Alexandra Bouniaxw

Zarządzanie w Kulturze, Tom 18, Numer 1, 2017, s. 29 - 40

https://doi.org/10.4467/20843976ZK.17.003.6286
This paper focuses on the role of cultural societies in the establishment of regional museums in Greece. It uses as a case study the Museum of Refugee Memory on the island of Lesvos, a small local institution, created and supported entirely by a local cultural society; the museum, despite its size and professional shortcomings, has become a vehicle of social cohesion and an expression of a distinct local identity. This paper argues that this museum forms an example of a grass-roots museum initiative that deserves to be studied and even copied, since its operation provides an alternative model of cultural heritage and museum management that reaches to the local communities and resources instead of national or top-down ones. First, it presents in brief the development of the local cultural institutions policy in Greece and then it turns its attention to the case study and presents the information gathered through in situ research, multiple visits and interviews, in order to argue, in the final part, about the importance and role of such institutions. 
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Maria Kouri xw

Zarządzanie w Kulturze, Tom 18, Numer 1, 2017, s. 41 - 60

https://doi.org/10.4467/20843976ZK.17.004.6287
In Europe an increasing shift towards participatory cultural heritage governance is observed, opening the way to the meaningful inclusion of grassroots stakeholders in sharing heritage ownership and administration. In Greece, history politics and current cultural policies underline the symbolic and instrumental value of heritage, reinforcing a state-centric governance model, particularly concerning antiquities. By analysing state policies, rhetoric and projects on heritage between 1994‒2013, we purport that state-centrism in antiquity governance is perpetuated, despite the constitutionally provided “complementarity of duties” between the State and citizens. Nonetheless, participatory practices concerning antiquities and contested heritage are growing. The paper explores some prominent cases in Greece, highlighting the expanding role of decentralised authorities and citizen associations. Concluding, it formulates explorative empirical propositions on the factors enabling or impeding participatory heritage governance, in order to serve as basis for the much needed in-depth, long-term research that is presently lacking. 
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Weronika Pokojskaxw

Zarządzanie w Kulturze, Tom 18, Numer 1, 2017, s. 61 - 74

https://doi.org/10.4467/20843976ZK.17.005.6288
The article presents the results of a research on Icelandic museums and their specifics. The analysis is based on the traditional concept of ‘land, nation and language,’ which form the core of the Icelandic culture and national identity. The first section of the paper describes the definitional problems which occurred during the research. Then the methodology is explained, also taking into consideration the difficulties in examining Icelandic museums using standard tools and guidelines. The last section is devoted to the results of the research, presenting a few examples of different Icelandic museums and their approach to heritage through the prism of the abovementioned trinity. 
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Katarzyna Jagodzińskaxw

Zarządzanie w Kulturze, Tom 18, Numer 1, 2017, s. 75 - 93

https://doi.org/10.4467/20843976ZK.17.006.6289
The aim of this article is to reflect on the new position of the audience in museums which has been evolving from a passive to a more active role. The context for this reflection is Nina Simon’s concept of the participatory museum. I discuss the issue using the examples of four museums in Poland where the changing attitude towards the visitor is a part of the general transformation of museums after the political transition of 1989. Selected case studies are: the project “Anything Goes” (2016) realised by the National Museum in Warsaw, the “Selfservice Museum” (since 2012) realised by the Contemporary Museum Wrocław, the “ms3 Re:action” (2009) conducted by the Museum of Art in Łódź, and the “Free Museum in Wolnica Square. Kazimierz Collective” (since 2013) realised by the Ethnographic Museum in Kraków. My thesis is that although visitors are encouraged to engage 
and participate in museum programmes, they are involved or seemingly involved to a limited extent.
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