ven if we feel com- pelled to look out- side the institution, there are two facts that have to be taken into account. First, mot all the alterna- tive exhibitions have kept that “alterna- tive” nature they claimed at the begin- ning; and second, the museum has, since the eighties, allowed for a more open criticism from within. 1. See; Carol Duncan, “Art Museums and the Ritual of Citizenship,” Exhibiting Cultures: The Poetics and Politics of Museum Display. Ed. lvan Karp and Steven D. Lavine, (New York, Smithsonian Institute, 1991); Rosalind Krauss, “The Cultural Logic of the Late Capitalist Museum,” October, vol. 54, (Spring, 1991). 2. Rosalind Krauss, “The Cultural Logic of the Late Capitalist Museum,” October, vol. 54, (Spring, 1991). 3. Ibid., p. 4. Walter Grasskamp, “Introduction,” Projects in Munster. 5.lbid. 6. Duncan, p. 7. Duncan, 8. Ibid, 9.Krauss refers to: Philip Weiss, “Selling the Collection,” Art in America, vol. 78 (July, 1990), pp. 124-31. 10. Krauss, p. 11. Krauss, “The cultural logic...” 12. a design on which no control was exerted, and, as a matter of fact, was encouraged to contemplate the design before the func- tion, keeping Lloyd-Wright as a touchstone 13. For further information on the MoMA expansion, refer to: “The MOMA Expansion: A Conversation with Terence Riley.” October, vol. 84, (Spring 1997). 14. Riley, “The MoMA Expansion...” 15. Sylvia Sansoni, “International Museums,” FORBES, (May 18, 1998). This is an article on Krens’ management of the Guggenheim museums.. See this article at this site: http://forbes.com/forbes/98/0518/6110056a.htm 16. Ibid s 17. The curator for the next Documenta is Okwui Enwezor, and will be curating the show “Mirror's Edge” at the Vancouver Art Gallery, March 18-August 13, 2000. 18. Taken from: Ivan Karp and Fred Wilson, “Constructing the Spectacle of Culture in Museums,” Thinking about exhibitions,” Ed. Reesa Greenberg, Bruce W. Ferguson, Sandy Nairne, Routledge, (London and New York, 1996) James Clifford, “Of Other Peoples: Beyond the Salvage Paradigm,” Discussions in Contemporary 19.Culture No.1: The Politics of Representation, Ed. Hal Foster, DIA Foundation, Bay Press, (Seattle, 1987). 20. ‘Secul;ar truth is the term C. Duncan uses to oppose this to a clerical truth. Duncan. p. Regarding’a closely related issve, but in different’sit vation, James Clifford wrote, “We sill regularly encounter ‘the last traditional Indian beadworker’, or the last ‘stone age people’ {though the discovery of the Tosaday, frontpage news ten years ago, is now revealed to have been a staged media event). The sal vage paradigm, reflecting a desire to rescue “outhen- ticity’ out of destructive historical change, is alive and well.” But later on in his article, it follows that, taking the exhibition “Art at the Sepik River” as an example, some contemporary shows have been organized by representatives of the culture being presented; thus breaking with the common artifice of placing still exist- ing cultures as ancient ones, suggesting they no longer exist. In addition, more than ten years after Clifford’s article, it is now common to have a representative of the culture, or area, being presented, either organizing or curating the show; furthermore, it is rare to find a case that doesn’t follow this stipulation. What is at stake, then, is not the museum but the way we, isn’t it just natural that eventually the institution will change i museums are contemplating is but an internal version of it’s fo beitsslbevidentitoirscsony tcoled in’experience’ and em hallways. After the Pompidou Centre, Paris saw o shift fr Use the escalators to go to the top and see Paris from ae museum that gives it its value, the one that earned it its so [as citizens, view the museum. If museum programs have been revised and re-evised over the last four decades, ’s course? Isn't this course going to be an unwanted, unexpected one for many? The ‘heterotopic space’ that some \general activities. Before museums were treated as ‘secular truth’ as Carol Duncan has mentioned, which seemed irically verifiable.” Today, the museum finds a way of integrating other leisure spaces such as cafes, shops, empty mm the Eiffel Tower being the main attraction, to the Pompidou. What is interesting here is that many people would ye, have a coffee, and leave without ever experiencing the art. What is at stake is the collection: that part of the fed status. The question is, since the art will still be available, is it important that the permanent collection remains permanent? In other words, what will be the new meaning of the art shown in museums, not for the directors or trustees, but for the citizens? Some would argue that the Crossover between high and low ort will result in a de-sacre blamed for opening the path towards the late capi list cor er spectacle? ; lization of art itself. But, who is controlling this phenomenon? Who would be responsible if it is art that is being Even if we feel COM-|is:cusmumunmmmmas | pelled to look COU tee ge tar tree ergy Bide the insti tule Lon, | seetie coast iamemn cones s,Soey io, there are two facts eg oe that have to be taken fo =s= 7s into account. First, é NOt all Che alterma —|sies wore mye caranecarcin mn Soa tea tive exhibitions have) ?rs: 11. 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