Scenographic Museum Exhibitions. History, Prejudices and Judgments, Potential

21世纪的博物馆正面临着一场身份危机：预算紧张，游客数量增加的压力，以及来自电视、互联网和科学中心和游乐园的多媒体景观的竞争，迫使许多博物馆尝试其他展览方式，以保持社会相关性。问题是，在21世纪，旧的欧洲博物馆文化机构在其传统形式下仍能发挥什么作用，我们如何制定新的标准，以避免用过时的19世纪观点来评判博物馆。“场景博物馆展览-历史、偏见和判断、潜力”项目解决了这些问题。通过多媒体和场景展览，它希望更深入地了解一种突出的展览新方式，并找出从实物到多媒体体验的转变对博物馆作为一个机构意味着什么。这种超越类型界限，更多地以电影和戏剧的戏剧性为基础的新型多媒体展览文化的风险和机遇是什么？它通过快速移动的图像、视听媒体或互动产品，重现了历史舞台布景和/或使曾经静态的展览更具活力。这些展厅不再是专门为藏品保留的，而是将不同的媒介、事物和设计元素融合在一起，形成一种具有高度体验内容的艺术综合体。迄今为止，对这种方法的优缺点以及我们对它的偏见和判断的历史背景缺乏系统的研究。这个项目应该会缩小这个差距。它想要系统地分析观众在多媒体场景历史展览中的挪用行为，收集支持者和反对者的观点，并看看我们对合法和非法展览形式的理解的历史根源（取决于年龄，国籍，社会背景和专业背景）。这种方法的潜力将在当代（SB1）和历史（SB2）博物馆分析的两个子项目（SB）中进行测量-档案研究，游客观察，展品分析，问卷调查。他们还将研究它在普通和专业公众中引发的讨论。潜在的论点是，在德国（仅在这里？），资产阶级的影响阻碍了博物馆内的多媒体和场景展览，以及文化批评，认为大众娱乐是在剥夺质量。这种焦虑的历史根源可以追溯到19世纪，可以在资产阶级的文化理想中找到。本项目拟系统分析德国、瑞典和英国的三个场景展览，以区分其民族特色。

The museum of the 21st century is facing an identity crisis: tight budgets and pressure for high visitor counts as well as competition from television, the Internet and multimedia spectacles at science centers and amusement parks have caused many museums to try alternative exhibition approaches to maintain social relevance. The question arises as to what role the old European cultural institution of museums can still play in their traditional form in the 21st century and how we can set new standards to avoid judging museums with out-dated 19th century views. The project "Szenographische Museumsausstellungen - Geschichte, (Vor)Urteile, Potenziale" [Scenographic Museum Exhibitions - History, Prejudices and Judgments, Potential] addresses these issues. With the multimedia and scenographic exhibitions, it wants to take a closer look at a prominent new approach for exhibitions and find out what the shift from real objects to multimedia experiences means for the museum as an institution. What are the risks and opportunities for this new multimedia exhibition culture that transcends the genre boundaries and is based more on the dramaturgy of film and theater. It recreates a historic stage set and/or makes the once static exhibition more dynamic with fast-moving images, audio-visual media or interactive offerings. These exhibition rooms are no longer exclusively reserved for the objects of the collection, but rather blend different media, things and design elements into a synthesis of the arts with a high degree of experiential content. A systematic study on the strengths and weaknesses of this approach has been lacking so far, as well as the historical background of our prejudices and judgments towards it. This project should close this gap. It wants to systematically analyze the appropriation practices of visitors in multimedia scenographic historical exhibitions and collect the arguments from the proponents and opponents, as well as to look at the historical roots of our understanding of legitimate and illegitimate exhibition forms (dependent on age, nationality, social background and the specialized context). The potential of this approach will be gaged in two sub-projects (SB) of contemporary (SB1) and historical (SB2) museum analysis - archive studies, visitor observations, exhibit analysis, questionnaires. They will also examine the discussions that it triggers in the general and professional public. The underlying thesis is that in Germany (only here?) a bourgeois affect holds back multimedia and scenographic exhibitions within museums, as well as the cultural criticism which sees entertainment for the masses as taking away from the quality. The historical roots of this anxiety can be traced back to the 19th century and can be found in the cultural ideals of the bourgeois. This project plans to systematically analyze three scenographic exhibitions in Germany, Sweden and the United Kingdom to distinguish, inter alia, national characteristics.