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| Inspirations and best practices |
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Museum
satellites / de-centralization
In several member states of the EU large museums have recently
been opening up branches, satellite museums or annexes; alternatively
they initiate long-term cooperation with regional museums in their
country. The question arises: is this a new practice? What prompts
museums to undertake such initiatives? What are the possibilities
and what the drawbacks for this type of collection mobility?
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New
types of collection exchange
New types of collection exchange have arisen over the past few years,
alongside the traditional methods of making loans for temporary exhibitions.
Some exciting examples illustrate just how inspiring this can prove.
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| London’s National Gallery and Amsterdam’s
Van Goghmuseum have had a loan exchange agreement in operation
for some years. Under this, a work of art from the permanent
presentation in each of the museums is exchanged for the period
of one year. The aim of the exchange is to strengthen and enrich
the permanent presentation in each museum. |
| Exchange of objects frequently implies
an exchange of personnel and their expertise. The Council for
Museums, Libraries and Archives (MLA) argues that both large
museums as well as smaller regional museums benefit from collection
and knowledge exchange. |
There is presently a growing number of
cross-border collaborations between large, medium-sized and small
museums in order to organize joint presentations, to exchange
collections on a regular basis or join forces in one way or other. A good example
of such a strategic alliance is Crossart, which is a collaboration between
several
medium-sized museums located near the German-Netherlands border.
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Museum
extra muros
The museum extra muros is a new and for many people daring policy: the
museum emerges from inside its buildings and the presentations are literally,
extra muros, outside the walls. Some museum directors have adopted this
policy because they are convinced that the objects in question are displayed
to far greater advantage in other locations, rather than, for instance,
languishing in a museum depot.
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Several examples of projects that have
been realized provide insight into the possibilities and the
limitations that arise when objects of cultural heritage are
placed outside the safety of the museum confines, and moved into
spaces that have a different function, under the care of a non-museum
supervisor.
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