National museums and civic patrons by Gabor Ebli

Author:Gabor Ebli [Ebli, Gabor]
Language: fra
Format: epub
ISBN: 9782140163715
Google: EisMEAAAQBAJ
Publisher: Harmattan Hongrie
Published: 2020-11-17T04:24:12+00:00

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24 Abridged presentation at the Academy of Fine Arts, Bratislava, in 2009, first published in Slovenian translation in the Ljubljana-based journal Likovne beside, 2010 (nr. 91), 12–23.

25 The museum had long been looking for a location, and although this monstrous palace is far from its ideal home, the director accepted it as a compromise, in order to finally have a permanent site. Opened there in 2004, the museum takes up a mere 3 % of the building, yet the vast complex determines its operation. Although the location in the heart of the city, and in a building known by locals, as much as foreign visitors, appears enviable, the dictator’s palace looms over the museum. Getting there by public transport is inconvenient, and because of the emptiness and concrete jungle in the huge square, the area is inappropriate as an urban forum. Armed guards make entering the complex from the square rather threatening; the museum could hardly be more isolated.

26 The Arsenal Gallery (1965), run by the municipality of Bialystok, 200 kilometres east of Warsaw, seized this opportunity to close its collection built so far as from today’s view it is more modern than contemporary, and as acquisitions were for a long time of compromised quality; a new Collection II is growing now.

27 The flop, aching still among art historians involved in the project, reminds us that bringing contemporary art and its institutions to success can not be reduced to scholarly qualities, but requires complex abilities, including those of persuading opinion makers. Management and curatorial performance should go hand in hand. One of the recurrent conclusions of our investigation points towards a multi-layered university training of art historians and the co-operation of practical and scholarly colleagues, still resented by many in the profession in our region.

28 In Ljubljana, Skuc Gallery began still under the old regime as an information and documentation centre, funded by public sources, and operated partly by leading intellectuals, and has since developed into a pivotal agent of art exchange between Slovenia and the world, although its premises are still very small.

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