L’Internationale Online is the common platform for research, debate and communication for the confederation L’Internationale and its partner institutions: MG+MSUM (Ljubljana), Museo Reina Sofía (Madrid), MACBA (Barcelona), M HKA (Antwerp), SALT (Istanbul & Ankara), Van Abbemuseum (Eindhoven), MSN (Warsaw) / NCAD (Dublin), HDK-Valand (Gothenburg)
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Austerity and Utopia
Full e-pub download link available here
Our Many Europes (OME) is a four-year programme focusing on the 1990s: the decade contemporary Europe was born. Europe expanded and diversified when technology and post-Cold War politics turned the world into a 'global village'. Understanding who we are today – the challenges we face, the possibilities we have – begins post 1989, when a divided Europe ended and the plurality of the many Europes we inhabit today began. Art and culture are driving forces behind this as they show us who and how we are in the world. The art of the 1990s profoundly reflects a fundamental shift in society: through internet and open borders, Europeans got active and connected. To reflect this change, we need a different museum strategy, which understands audiences not as passive consumers, but as constituent members of a plural community in permanent becoming. Developing a new Constituent Museum strategy is therefore a major and long-term goal of OME. This is done from the premise that museums innovate by doing, and learn in practice. So by exploring the 90s, through a rich programme of conferences, exhibitions and experimental mediation, OME partners will develop a new, effective museum strategy tailored to the desires of Europeans today!
OME is organised by a consortium lead by the museum confederation L'Internationale. The confederation has successfully realised two EU-funded programmes and has now been active for seven years, dedicated to innovation in the museum field. OME partners and associate partners connect eleven countries – Belgium, Bosnia-Herzegovina, Ireland, Poland, the Netherlands, Slovenia, Spain, Sweden, Turkey, Italy and the United Kingdom. OME partners are primarily museums, collaborating with universities and smaller art organisations.
OME focuses on audience development and transnational mobility. OME will promote transnational mobility of cultural professionals, especially museum staff and artists, who will improve their professional skills and career opportunities through effective peer learning. The programme includes exchange of cultural heritage, of professional expertise and will also disseminate its best practices internationally via free e-pubs.
In the domain of audience development the programme foregrounds inclusivity, working for, but also with communities. Different types of audiences namely by habit, by choice and by surprise are placed at the heart of the Constituent Museum strategy. Classic modern and contemporary art museums are defined, with a typical 90s term, as constructivist. They use a 'broadcasting' model that understands (art) history as a static reservoir of material studied by experts and shown to a broad, yet passive audience. OME, however, implements an innovative strategy that takes the visitor as an active and constituent member of the cultural institution. OME partners collaborate with this constituent audiences by organising many workshops, encounters, guided tours which brings curators, educators and other museum and education professionals in a horizontal relationships with the audience. This is done with the principles of diversity, openness and mutual respect. Thus, OME provides the public with knowledge about our current immediate pre-history in the 90s, which will help us to find comprehensive, rapid, effective, and long-term responses to global challenges such as Europe's changing society, relations with foreign countries and territorial cohesion.\n","
OME is organised by a consortium lead by the museum confederation L'Internationale. The confederation has successfully realised two EU-funded programmes and has now been active for seven years, dedicated to innovation in the museum field. OME partners and associate partners connect eleven countries – Belgium, Bosnia-Herzegovina, Ireland, Poland, the Netherlands, Slovenia, Spain, Sweden, Turkey, Italy and the United Kingdom. OME partners are primarily museums, collaborating with universities and smaller art organisations.
OME focuses on audience development and transnational mobility. OME will promote transnational mobility of cultural professionals, especially museum staff and artists, who will improve their professional skills and career opportunities through effective peer learning. The programme includes exchange of cultural heritage, of professional expertise and will also disseminate its best practices internationally via free e-pubs.
In the domain of audience development the programme foregrounds inclusivity, working for, but also with communities. Different types of audiences namely by habit, by choice and by surprise are placed at the heart of the Constituent Museum strategy. Classic modern and contemporary art museums are defined, with a typical 90s term, as constructivist. They use a 'broadcasting' model that understands (art) history as a static reservoir of material studied by experts and shown to a broad, yet passive audience. OME, however, implements an innovative strategy that takes the visitor as an active and constituent member of the cultural institution. OME partners collaborate with this constituent audiences by organising many workshops, encounters, guided tours which brings curators, educators and other museum and education professionals in a horizontal relationships with the audience. This is done with the principles of diversity, openness and mutual respect. Thus, OME provides the public with knowledge about our current immediate pre-history in the 90s, which will help us to find comprehensive, rapid, effective, and long-term responses to global challenges such as Europe's changing society, relations with foreign countries and territorial cohesion.\n","
The Uses of Art (UoA) proposes new readings of European art history for the broader public. This new perspective on the past is anchored in the long history of civil society, tracing it back to the civic revolutions of 1848 through wars and social changes up to the revolutions of 1989, and then on to the economic crises of today. The projects planned by the members of L'Internationale can be divided into those that reflect on the formation of civil society in the mid-19th century from today's perspective and explore the role of art in democratic emergence; those that revisit the 1980s and focus on the relation between artistic experiment and the beginnings of a trans-European civil society; and finally, those that think through the future possibilities of European society based on common cultural references and transnational identities.
The organisation of exhibitions, symposia, publications, education programmes and staff exchanges, will culminate with simultaneous exhibitions across Europe. This will generate a content-driven, sustainable form of collaboration in the museum field that will ensure new forms of transnational access; both physical and digital; as well as intercultural dialogue on society and visual art, and the sharing of professional skills and knowledge about collections and artistic projects.
This was the first project organised within the framework of L'Internationale, a transnational organisation founded in 2009 in order to instigate new narratives, latitudes and chronologies of the art history of the second half of the twentieth century, and to encourage collaborations among museums and archives. The founding partners of L'Internationale were the Moderna galerija, Ljubljana; the Július Koller Society, Bratislava; the Museu d'Art Contemporani de Barcelona, MACBA, Barcelona, the Van Abbemuseum, Eindhoven; and the Museum van Hedendaagse Kunst, Antwerpen. The first step of the long-term collaboration was this two-year project with the title 1957–1986. Art from the Decline of Modernism to the Rise of Globalisation from October 2010 to October 2012.
Each institution has shown that they are repeatedly concerned to negotiate different forms of local knowledge and experience with the central art historical narrative written in one or two western political/economic capitals. This initiative enabled the institutions to more effectively connect to their own stories together in new rhizomatic ways and to reconsider internationalism and translocalism as more sensitive measures of art and its relation to society.
The intention of L'Internationale as a new transinstitutional organization of five European museums and archives was a long-term collaboration based on collective use of their collections and archives. One of the goals was to challenge the usual master narratives of art and investigate local to local comparisons and differences. In place of the global, hegemonic ambitions of the largest contemporary art institutions, L'internationale proposed collaboration between museums, each with its specific collection focus and history, as a way to instigate transnational, cultural narratives in plural.
The concrete aims of L'Internationale were to develop common platforms and methodologies for presentation, education and research dealing with the full range of museological fields including collections, archives, publications, public mediation and conservation. The plan anticipated a long-term cooperation that concentrated on replacing the institutional spectacle with a sense of persistent presence and offered the museums' constituencies regular connections between specific contexts.
In 2011 a part of the Arteast Collection 2000+ was presented at the MACBA as a Museum of Parallel Narratives exhibition, testing the hypothesis, and a first exercise of alternative relational taxonomies was made through a reflective cooperation of the different institutions in Museum of Affects in MSUM. The following year the new take was realised on a grand scale through Spirits of Internationalism, a mapping of the period based upon the six collections, presented at the M KHA and Van Abbemuseum. This kind of decentred perspective was to become ever more international standard practice in the following years.