Locating the Function of Theory in New Institutionalism: The Case of MACBA

定位理论在新制度主义中的功能：MACBA案例

• 批准号: 2274162
• 金额: --
• 依托单位: University of the Arts London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2274162
• 关键词: Locating; Function; Theory; New; Institutionalism

Since 1970s critical scholarship has unveiled the museum's role in offering opportunities for the privileged to cultivate taste while civilising and disciplining the masses (Hooper-Greenhill, 2000; Bennett, 1995; Mc Call and Grey, 2013). The first concerted effort to construct alternatives to this model in contemporary art institutions emerged in Europe in the midst of the 'museum boom' of the late 1990s under the label of"New Institutionalism" (Ekeberg, 2003). The largest and most influential of all these so-called "New Institutions" was the Museu d'Art Contemporani Barcelona (MACBA) during the experimental period led by director Manuel Borja-Villel (1999-2007). MACBA created the first Public Programmes department charged with providing an overall direction to the museum, rather than being secondary to exhibitions. This research will focus in the role that "Theory"played within this programme.Borja-Villel's vision for MACBA in this period was unparalleled in its ambition. He sought to transform a brand-new flagship institution built with the intention of gentrifying a red-light district into a machine for producing resistant, politically active publics. Crucial to this was the solidarity between the institution, activist groups and "subordinate communities" which was fostered through the Public Programme (Borja-Villel, 2010, 29). MACBA's project was on an altogether different scale to other smaller 'progressive institutions' and the 'MACBA model' has informed projects such as Tate Encounters (2007-2010) and the Public Programmes department at Nottingham ContemporaryIn practice, however, this did not always generate a new form of public engagement but often created instead a platform for the production and dissemination of critical discourse on publics. The use of the highly specialised discourse of 'Theory' - now prevalent across art institutions - raises questions as to MACBA's openness to the participation of non-specialist publics, calling into question the extent to which the intended aims of this model were realised.

自 20 世纪 70 年代以来，批判性学术研究揭示了博物馆在为特权阶层提供培养品味的机会，同时文明和约束大众的作用（Hooper-Greenhill，2000；Bennett，1995；Mc Call 和 Grey，2013）。在当代艺术机构中构建这一模式的替代方案的第一个共同努力出现在欧洲 20 世纪 90 年代末的“博物馆繁荣”期间，被称为“新制度主义”（Ekeberg，2003）。所有这些所谓的“新机构”中规模最大、最具影响力的是巴塞罗那当代艺术博物馆（MACBA），该博物馆正处于由馆长曼努埃尔·博尔哈-维莱尔（Manuel Borja-Villel）（1999-2007）领导的实验时期。 MACBA 创建了第一个公共项目部门，负责为博物馆提供总体方向，而不是屈从于展览。这项研究将重点关注“理论”在该计划中所扮演的角色。博尔哈-维勒尔对这一时期的 MACBA 的愿景是无与伦比的雄心勃勃。他试图将一个全新的旗舰机构转变为一个旨在将红灯区高档化为生产抵抗、政治活跃公众的机器。对此至关重要的是通过公共计划培养的机构、活动团体和“下属社区”之间的团结（Borja-Villel，2010，29）。 MACBA 的项目与其他较小的“进步机构”的规模完全不同，“MACBA 模式”为诸如泰特邂逅（Tate Encounters，2007-2010）和诺丁汉当代艺术中心的公共项目部门等项目提供了信息。然而，在实践中，这并不总是产生一种新的公众参与形式，而是常常创建一个用于生产和传播针对公众的批判性话语的平台。高度专业化的“理论”话语的使用——现在在艺术机构中普遍存在——引发了人们对MACBA对非专业公众参与的开放性的质疑，并对这种模式的预期目标实现的程度提出了质疑。