ICOM

The debate on the museum definition undertaken at the 2019 Kyoto ICOM General Conference points to the role played contemporarily by museums and the expectations they have to meet. It also results as a consequence of changes happening in museums beginning as of the 19 th century until today. Extremely important processes took place in the past century. Initially, the changes covered the museum operating methods, mainly within museum education and display, however, they also had an impact on the status of objects in museum collections in the context of artistic and ethnographic collections. One of the most interesting ideas for museum's redefinition was that proposed in the 1 st half of the 20 th c. in the formula of Museums of Artistic Culture. However, the departure from the traditionally conceived museum towards a 'laboratory of modernity' proposed by the Russian Avant-garde was still too revolutionary for its times. Beginning as of the 1960s, next to the reflection on museums' operating modes, there increased the emphasis on the role they played and the one they should play in modern society. It was phenomena of political, social or economic character that had a direct impact on the transformation of the shape of museums, these phenomena appearing under the banners of globalization, liberalization, democratization, glocalization. Criticism of museums and their up-to-then praxes drew attention to the essential character of the relation between the institution and its public. The turn towards society allowed for such formats to appear as an ecomuseum, participatory museum, open museum. The solutions derived from the New Museology not only point to the necessity to move the level of the relationship between museum and society, but first and foremost to reflect on museum's activity which is assumed to create an institution maximally transparent and ethical. It is for various reasons that not all the solutions proposed by museums meet the criteria. Museums continue to face numerous challenges, yet they boast potential to face them.

In the past three decades, there has been increasing research carried out on the role of heritage and its processes in achieving broader sustainable development objectives beyond heritage conservation. As part of this movement, people-centered approaches and participation have been widely integrated into international regulations and guidelines on heritage management, stimulating the implementation of case studies-based research worldwide. Despite the wide advocacy of participatory heritage practices’ contributions to more inclusive and culturally sensitive local development in a great variety of projects, there is limited research into the roles these practices can have in addressing sustainability objectives. How are these roles addressed in international heritage regulatory frameworks, and what forms of participation are promoted for their fulfillment? This paper seeks to answer this research question through a content analysis of international declarations, conventions, guidelin...

In 2019, ICOM unveiled a new definition for consideration following a consultation with its members. The new definition states that: Museums are democratising, inclusive and polyphonic spaces for critical dialogue about the pasts and the futures. Acknowledging and addressing the conflicts and challenges of the present, they hold artefacts and specimens in trust for society, safeguard diverse memories for future generations and guarantee equal rights and equal access to heritage for all people. Museums are not for profit. They are participatory and transparent, and work in active partnership with and for diverse communities to collect, preserve, research, interpret, exhibit, and enhance understandings of the world, aiming to contribute to human dignity and social justice, global equality and planetary wellbeing.

Schoolbook on the importance of cultural heritage for civic education.
Among the topics: the importance of cultural diversity; cultural heritage in wartime, looting and destruction; opportunities and risks of reconstruction; cultural heritage and terrorism; clandestine excavation; the debate on museums' definition and role; ICOM Code of Ethics for Museums; restitutions and repatriation of ritual objects and human remains.

Art provenance databases: Are they fulfilling their promise? Comparative evaluation of ten major museum databases in the USA and the UK

Nearly twenty years ago, Museums committed to making Nazi-era provenance information more transparent and accessible. This paper applies the method of IT user tests to assess progress in collections databases. Findings include compliance statistics, best and worst practices observed, and recommendations. Testing focused on museums with the most NEPIP-listed items (Annex 1); museums mentioned in WJRO’s June 25, 2015 report (Annex 2); and two major UK museums as well as the UK Collections Trust (Annex 3). Provenance information was tested for: access, search, display, download, traceability and integration. (Quality as in accuracy of the provenance information content was not assessed.) Key findings: Of the 30 museums accounting for 75% of items on the AAM NEPIP list, more than half offered no provenance information search functionality for internet users. Various obstacles to search and display were observed, with Best Practices and Worst Practices showing a wide gap, despite similar technical platforms. Download functions and audit trail were not available for internet users. Little integration was observed, either between the NEPIP and member databases; or between collections databases and looted art data bases, such as stolen items, lists of victims, lists of red-flagged dealers, or dealer records; or between collections records and original source documents. Centralized progress reporting appeared to be publicly accessible in the UK but not in the US. Recommendations include implementing Best Practices across all collections, reevaluating integration goals to better target Nazi-era provenance needs, and systematizing regular evaluations and progress reporting.

Laurel Zuckerman  is an author based in Bry sur Marne, France. Zuckerman was introduced to provenance research techniques and museum practices when she began making inquiries about the ownership history of a painting that later became the subject of a Nazi-era restitution claim. A graduate of France’s HEC business school with more than a decade of professional experience in large scale information systems projects, she is exploring the potential benefits of applying techniques from domains outside art history to the challenges of Nazi-era provenance research

In 21st Century the museum field is being transformed and gains more and more social and
cultural functions: Grows role of museum not only in the protection of cultural heritage but in the points of social adaptation and cultural identification-oriented activities. Accordingly courses of museum policy, activity content, form and in fact the museum presents not only center of education and creative innovations but as reliable partner for the protection and interpretation of cultural heritage, and terms of cultural tourism development as well. The spectrum of forms and methods of museum activities for cultural heritage protection and development are as follows:
> Focusing on keeping and interpretation of local, tangible and intangible cultural heritage
with permanent and temporary exhibitions and cultural actions – the process must be
inclusive and accessible to the society;
> Revitalization of historical space (environment) and contribution to develop crafts and
local traditions in the regions.
> Strong partnership with the museum audience, encouragement to local population to
make evident their social activities and involving them while solving the problems of
cultural heritage protection.
> Keeping the honor to cultural diversity, promotion an encouragement of tolerant ideas.
> Active involvement in the issues of defining how to use historical and cultural areas,
historical cities and settlements, museum-reserves, national and historical parks, tourism
industry etc.

Un'analisi documentata e un commento critico sulla "riforma" dei musei statali italiani, introdotta dal DPCM 171/2014 e dal DM 23 dicembre 2014.
A documented analysis and a critical commentary about the "reform" of the Italian state museums, introduced by Prime Ministerial Decree 171/2014 and the Ministerial Decree December 23, 2014

Müller Florian Martin, Mader Sylvia, Tarmann Gerhard, Sossau Veronika (Hrsg.), Museumsdepots und Depoteinrichtung. Tagungsband zum ICOM-Österreich-Symposium vom 4.-5. März 2011 in Innsbruck, SPECTANDA – Schriften des Archäologischen Museums Innsbruck 2  (Innsbruck 2012), 77 S.

Erhalten und Bewahren von Sammlungsbeständen zählen zu den zentralen Aufgaben eines Museums. Die Errichtung und das Management von Depots stellen aber vielfach eine große Herausforderung für Museumsverantwortliche dar. Zu dieser Thematik und den dabei anfallenden Fragen und Problemen fand vom 4.–5. März 2011 in Innsbruck das ICOM-Symposium „Depot und Depoteinrichtung“ statt, bei welchem 13 Referentinnen und Referenten aus Österreich, Deutschland, Großbritannien und der Schweiz, darunter Leiter von Museen, Konservatoren, Restauratoren und Architekten aktuelles Basiswissen für die Errichtung und Einrichtung eines Depots lieferten. Weiters wurden anhand von best practice Beispielen, Erfahrungsberichten sowie Hinweisen zur Fehlervermeidung, Anregungen zur Lösung räumlicher, konservatorischer, struktureller und pekuniärer Depotprobleme geboten. Im vorliegenden Tagungsband sind diese Beiträge  zusammengestellt. Wenn die Depots auch das Herzstück eines Museums ausmachen, so ist die Außenwirkung dieses Bereiches der Museumsarbeit doch minimal. Dennoch sind es gerade die richtigen Maßnahmen im Depot, die den Kulturgütern eine unbeschadete langfristige Existenz ermöglichen. / The preservation and maintenance of collections are to be counted among the main tasks of a museum. Nevertheless, in many cases the construction and management of a museum storeroom are posing great challenges to the persons responsible. Concerning this subject and corresponding questions and problems, from march 4th to march 5th 2011 the ICOM-Symposium "Museumsdepots und Depoteinrichtung" was held in Innsbruck, at which 13 speakers from Austria, Germany, Great Britain, and Switzerland - among them museum's directors, curators, conservators, and architects - supplied their up to date basic knowledge about construction, layout and equipment of storage areas. Furthermore, based on best practice examples, reports as well as suggestions for preventing mistakes beforehand and propositions to find solutions for storage difficulties concerning space, conservational aspects, structure and financing were given. The conference proceedings put together all these papers. Storage rooms are a museum's core and centrepiece - the visibility of this part of museum work yet minimal. Nevertheless the appropriate actions taken in storage are what guarantees for an unscathed and long life existence of our cultural possessions.

Trafficking of cultural properties was and still is a psycho-social related dynamic steered and pushed by the collectors addictive behavior (Belk, R. W., 1994: pp.317-326). It is intimately related to the social status of the different players in the “chaîne opératoire” from extraction to exhibition. It is fed, in the lower social strata, by popular myth and the need for money. Popular myth of treasure hunting and tons of gold that will transform one’s life in a blink of an eye. As for the upper strata seeking to enlarge their antiquities collections, addiction is the major drive behind spending huge money in order to possess fossilized pieces of the past (Subkowski, P., 2006: pp.383-401).
The vicious mercantile players are the middle men or the dealers, who profit from the above mentioned dynamics and their “hostages” in order to make money – more money. They continuously push the excavators who normally are from poor backgrounds to hunt for more “treasures”, then they display their goods in front of the collectors to stimulate their Pavlov syndrome more and more each time. To these three players the smugglers must be added. They are usually related to the diggers, their job is to transport the excavated objects through the borders and get them to the local dealers.
Lebanon as many other countries, rich with archeological uncovered sites, was at a time and still is in many ways a playground for the looters and the collectors with all the middle men through whom the dynamic goes.

Conservators have long struggled to replicate original surface textures on leather objects without the use of noxious solvents, expensive materials, or fastidious techniques. A treatment technique, now common in the United States, creates textured compensation fills by drying colored acrylic media and a repair substrate on a reverse mold. The silicone rubber mold is formed on a surrogate texture that approximates the original surface of the leather object. Using a surrogate prevents possible delamination, staining, or other types of damage. With care, these flat and highly-detailed molds can be reused indefinitely. Acrylic media are carefully selected and mixed to provide high pigment load, match color saturation and sheen, hold peaks, and maintain flexibility. Substrates of fabric, paper, or non-woven polyester are easy to incorporate into the wet acrylic blend and dry on the mold at the same time, creating a very thin but flexible repair material. The dried material can be shaped to size and applied to the object using easily reversible adhesives. The technique is particularly effective for bound volumes where there is partial or no access to the reverse of the original leather. Though created for and predominantly used in book conservation treatments, this technique has been adopted for other kinds of compensation repairs requiring a detailed surface on objects like cased photographs, modern art, textiles, costume, and natural history collections. Overall, the technique is highly controllable, customizable, and cost-effective without sacrificing durability or strength. It is, however, not suited to leather objects with sueded nap or hair.

Müller Florian Martin, ICOM-Symposium „Museumsdepots und Depoteinrichtung“ 4.-5. März 2011, Innsbruck, H-Soz-u-Kult. Kommunikation und Fachinformation für die Geschichtswissenschaften, 03.06.2011 (https://www.hsozkult.de/conferencereport/id/fdkn-122303).

PRÓLOGO:
É com prazer que apresento o livro "O pensamento museológico
contemporâneo nos países de língua portuguesa e espanhola", produzido
com apoio do ICOM e resultante de uma iniciativa conjunta da Universidade
do Porto com o ICOFOM.
O livro traz um importante conjunto de textos inéditos, produzidos por
especialistas europeus e latino-americanos para o II Seminário de Pesquisa
em Museologia dos Países de Língua Portuguesa e Espanhola, realizado em
Buenos Aires, Argentina, de 27 a 30 de setembro de 2010. Os textos revelam
a importância das interfaces de pesquisa e desenvolvimento em Museologia,
nos países participantes do evento (Argentina, Brasil, Colômbia, Costa Rica,
Equador, Espanha, Guatemala, Portugal, Venezuela) - e comprovam a
qualidade do estado da arte do pensamento teórico no campo, nesses países.
Os temas apresentados para debate se desenvolvem em torno de questões
emblemáticas da Museologia contemporânea: o patrimônio imaterial, a ética, a
responsabilidade social dos museus e a inclusão social. Merecem especial
destaque as referencias à valoração, registro e salvaguarda do patrimônio
imaterial, bem como o debate sobre as estratégias para promoção e proteção
desse patrimônio; e a análise das responsabilidades e compromissos dos
museus frente às mudanças sociais - tendo como marco deontológico e
fundamento absoluto os valores éticos, aqui compreendidos de maneira
'integral'.
A teoria e a prática do Museu, hoje essencialmente influenciadas pelas
políticas e estratégias em prol do desenvolvimento sustentável das
populações, abrangem o compromisso com a redução de barreiras sociais,
econômicas e educacionais em todos os grupos sociais.
A proposta ética da Museologia contemporânea inclui a percepção do meio
ambiente enquanto patrimônio da Humanidade; o respeito pelas comunidades
e sociedades, como responsáveis pelos cuidados com seu patrimônio; a
ênfase na propriedade comum, sob a responsabilidade de grupos sociais
específicos; o respeito pela escolha comunitária sobre os destinos do
patrimônio; e uma idéia renovada de democracia, onde se considera
igualmente importantes os valores e crenças de todos os grupos e se busca,
como meta, a harmonia social.
Para que tal proposta se transforme em realidade é preciso que os museus
adotem o conceito de inovação (teórica e metodológica) e passem a atuar
como agentes efetivos de mudança, ocupando um espaço participativo na
arena dos interesses públicos, especialmente no que se refere às questões
sócio-ambientais. E isto só se torna possível quando se percebe teoricamente
o Museu em processo, como fluxo, espaço provocativo, instancia de cambio e
participação.
Esta nova maneira de pensar o Museu permite que a Museologia defenda,
como parâmetro para a prática, na contemporaneidade, a inclusão social: é
preciso que os museus se tornem verdadeiramente acessíveis a todos. Tornar
mais inclusivos os museus de todo o mundo, permitindo que atuem em
pluralidade, como agentes da diversidade cultural, contribuirá para que as
diferenças do humano subsistam na essência, e não mais no preconceito -
contribuindo para realizar, na prática, as propostas que fundamentam a
existência do ICOM.
9
Destaco o empenho dos colegas que organizaram o II Seminário e sua
integral dedicação à proposta, que ora se materializa, de realizar o registro
acadêmico desta produção e dos debates suscitados. Entre os muitos
profissionais que tornaram possível a realização do evento e a edição deste
livro, menciono especialmente a Nelly Decarolis, então Presidente do
ICOFOM e uma das criadoras do ICOFOM LAM, coordenadora do II
Seminário e desta edição; a Alice Semedo, Coordenadora do Programa de
Pós-Graduação em Museologia e Patrimônio da Universidade de Porto,
Portugal, e responsável pela produção em língua portuguesa; e Gimena
Dappiano, dedicada colega que tornou possível, ao largo de dois anos, toda a
dinâmica de organização prática e acadêmica do evento e também deste livro.
Finalmente, agradeço ao ICOM o apoio financeiro que tornou possível este
trabalho, que certamente ficará como registro marcante da produção de
profissionais de museus de língua portuguesa e espanhola.
Prof. Dra. Tereza Scheiner
Vice-presidente
Conselho Executivo do ICOM

Masyarakat memiliki pandangan tersendiri terhadap museum, sebagaimana survei (jajak pendapat) yang dilakukan terhadap salah satu museum di Indonesia, yaitu Museum Sonobudoyo pasca kasus kehilangan 75 koleksi emas dan sebagian besarnya adalah koleksi masterpiece. Pendekatan lain yaitu Focus Group Discussion (FGD) setelah sebelumnya peserta melakukan kunjungan terhadap pengunjung Museum Sonobudoyo, Museum Vreedeburg, Museum Keraton, Museum Kereta, Museum Biologi, dan Museum Bahari di Yogyakarta. Kasus-kasus pencurian seperti yang terjadi di Museum Sonobudoyo pada 11 Agustus 2010 dan di Museum Nasional Indonesia pada 11 September 2013 memiliki korelasi dengan pandangan masyarakat yang menggambarkan citra museum saat ini.

Lecture given in 2019 discussing ICOMs new definition of museums, please note it was written and given before the ICOM's conference in Kyoto that year, where the draft definition did not reach consensus. It's a speculative talk, discussing what a new definition MIGHT look like, not a judgement on what it ended up being.

This paper aims to present the educational programmes that have been taking place at the new Archaeological Museum of Pella (inaugurated in 2010), after the implementation of the new structure of the Ministry of Culture and Sports (2014), in an attempt to reach different social groups.
We have tried to lay the foundations so that the museum can: 1) contribute to the shaping of people’s cultural values and become a reference point in their lives;
2) perform, in a period of crisis, a civic role as a nonprofit institution at the service of society and its development, open to the public and aiming at education and entertainment (figs. 1-10); 3) contribute to social inclusion and to the offering of learning and social equity opportunities (fig. 4); 4) make the visit of individual visitors and families more enjoyable (fig. 5); 5) help adult visitors overcome the “threshold fear”; and 6) extend itself beyond its walls (figs. 8-10).
To achieve those goals, we turned to two types of storytelling, which are often absent in museum: first, the fairy tale that aims to offer visitors an emotional and embodied connection to museum objects by putting visitors into the story (figs. 6-7); and second,
the theatrical analogion, which by addressing universal issues, such as Eros, Lamentation, Outlands, both helps museums become better narrators and offers participants ways to see, listen and understand the world.
The paper reflects on the benefits and challenges of this process. The overall positive reactions of visitors suggest that the foundations for building a two-way relationship between the museum and visitors have been laid. However, this relationship needs to be maintained. And to be maintained, it must be continuously strengthened.

This paper presents a new definition of museum. In so doing, it departs from five principles: that the definition be short and simple; that it be relatively easy to translate into many languages; that it distinguishes museum from other collecting institutions; that it be flexible enough to allow room for local interpretation and local customs; and that it encompasses the full range of current museum ideologies. This definition seeks to identify the fundamentals of museums, the how, the why and the who, and eliminates the extraneous what and where. Resumen Definiendo Museo Este documento presenta una nueva definición de museo. Al hacerlo, parte de cinco principios: que la definición sea breve y simple; que sea relativamente fácil de traducir a muchos idiomas; que distinga al museo de otras instituciones que también coleccionen objetos; que sea lo suficientemente flexible como para dejar espacio para interpretaciones y costumbres locales; y que abarque la gama completa de ideologías actuales sobre museos. Esta definición busca identificar los fundamentos de los museos, el cómo, el por qué y el quién, y elimina lo extraño, el qué y el dónde.

Cuando se piensa en un museo, seguramente, la primera idea de colección que acude a lamente son cuadros, estatuas o reliquias, rara vez los instrumentos musicales serán los protagonistas de este pensamiento a pesar de su continua presencia en la historia de la humanidad.  Desde  hace  relativamente  poco  tiempo,  las  colecciones  de  instrumentosmusicales logran tal relevancia que consiguen completar por sí mismos museos o espacios expositivos, de ahí la aparición de museos específicos musicales.Los responsables de este tipo de colecciones entienden la «necesidad» del objeto de ser ejecutado para su completo conocimiento, es por ello por lo que resulta todo un reto para los técnicos y especialistas lograr presentar estas piezas velando por la integridad de esta. Es ahí donde los avances tecnológicos realizan una valiosa aportación al diálogo entre colección y visitante. Pero no son solo los museos de música específicos los que cuentan con colecciones de  instrumentos  musicales,  éstos  están  presentes  en  museos  de  diversas  temáticas completando  la  información  que  el  discurso  expositivo  intenta  mostrar,  lo  que  les  hace objetos clave en la contextualización de un escenario concreto. En este artículo se pondrán en valor distintos museos de la música, su aportación y peculiaridades, así  como  el  uso que  hacen  de  las  tecnologías.  Para  ello,  en primer  lugar  se realizará  un  recorrido  histórico  del  acopio  de  este  tipo  de  colecciones  a  modo  de introducción, después se presentarán museos de instrumentos musicales que han servido o sirven como referente, posteriormente se estudiará el uso de las tecnologías enfocadas a la investigación y la documentación, se continuará con las novedades expositivas para este tipo de colecciones así como asociaciones que se dedican a estudiarlas y ponerlas en valor y, por último, se mencionarán últimas tendencias que se están dando en museos que cuentan con instrumentos musicales.

Reflectindo sobre o trabalho e as profissões em museus num mundo em mudança, que competências são hoje necessárias e expectáveis? Podemos falar de competências ditas “tradicionais”, ainda que conscientes de que também estas estarão em constante desenvolvimento, mas também de competências que evidenciam outras necessidades resultantes de processos de mudança no campo social e das tecnologias, por exemplo. Como é que a oferta formativa, formal e não formal, tem respondido a estas mudanças? Que relação entre a oferta formativa, as necessidades do sector e a empregabilidade? Que diagnóstico podemos observar? Que desafios e perspectivas se identificam?

Es gibt Streit im Internationalen Museumsrat ICOM, dem mit rund 45000
Mitgliedern und 20000 Museen aus 138 Ländern größten Museumsverband der Welt. Ausgelöst hat ihn die Frage, was ein Museum ist.

Volltext (kostenpflichtig): https://www.blaetter.de/archiv/jahrgaenge/2019/oktober/politisch-oder-nicht-was-ist-ein-museum-im-21.-jahrhundert

Il contributo presenta le buone pratiche educative messe a punto dall'Associazione museale Am'Arte per la mediazione delle collezioni del Museo Civico R. Marrocco di Piedimonte Matese.
Vengono illustrate la prassi e la metodologia prescelte, elaborate a partire dal confronto con le direttive ministeriali (MIUR e MiBACT) e la letteratura internazionale in materia di didattica museale (ICOM; EMEE).

Here are presented our observations on the community development strategies, mechanisms and steps taken at the National Gallery of Armenia and its twelve branches. It covers also the results of the investigation on actual and potential visitors held for 3 years, the activities taken to involve the local communities and different groups of the society. Here are presented some examples about marketing actions taken to involve and engage different groups of the society for their museum education and cultural activities.

La UNESCO aprobó en su 38 sesión de la Conferencia
General celebrada el 17 de noviembre de 2015 en su sede de París la
Recomendación relativa a la protección y promoción de los museos y
colecciones, su diversidad y su función en la sociedad.
Esta recomendación se suma al único instrumento de este tipo aprobado
por el mismo organismo en 1960. Nada menos que cincuenta y
cinco años habían transcurrido desde que esa primera Recomendación
sobre los medios más eficaces para hacer los museos accesibles a
todos viera la luz.
At its 38th General Conference, held on 17th November
2015 at its headquarters in Paris, UNESCO approved the Recommendation
regarding protection and promotion of museums and collections,
their diversity and their role in society. This Recommendation
is added to the only other instrument of this type, approved by the
same body in 1960. No less than 55 years had passed since that first
Recommendation on the most effective means of making museums
accessible for all saw the light of day.

Desde hace más de 200 años la función central del museo -del museo público- no ha dejado de ser la misma, que es la construcción de ciudadanía. En el centro de todas las acciones que desarrolla un museo (coleccionar,  conservar, exponer, etc.) está -y sigue estando- el ciudadano. Es claro que el ciudadano del siglo XIX no es el ciudadano del siglo XXI, y el museo hoy no transmite narrativas de evolución y progreso sino de participación e inclusión; y es en este sentido que el museo no es el mismo: el cambio no está en su función central -construcción de ciudadanía- sino en las acciones del museo (gestión de colecciones, estrategias expositivas, etc) que se transforman en función de los conceptos de ciudadano y de ciudadanía vigentes. El museo privado, por su parte, se espeja en el museo público que, curiosa pero lógicamente, es históricamente posterior. Se exploran y amplían estas ideas, vinculándolas con los cambios en el capitalismo y en el complejo expositivo desde la Modernidad hasta la Ultramodernidad actual, con el museo como una de las instituciones centrales de disciplinamiento ciudadano hoy tanto como ayer.

" The book is wonderful, but it would be even more interesting if you could tell us all those stories at the places where they actually happened, " a lady commented in winter 2013 at the promotion of my book Treasure of Ser-bia, Cultural and Historical Heritage. In April of the same year, Artis Center launched a series of themed walks and day trips titled Tracing the Treasure of Serbia, in an attempt to create a unique concept of a national cultural tourism by linking cultural landscape with museums, galleries , archaeological parks and different narratives in the field of history, arts and culture in general. Due to great interest of the audience in spring 2014, the program was enriched with new themes: The Roads of the New Century and Li-bade 1 and Crinoline: The Women of Belgrade in the Past (1830-1914). In a slightly more than a year, Artis Center team guided thousands of visitors through various museum and gallery settings, exhibitions and programs, integrating the concept of themed walks and popular communication that combines proven facts with a dynamic method of presentation. We " walked " from royal assassination to the baking of a traditional gugelhupf with Bermet dessert vine and cinnamon, from the Roman legions at the Danube to the 19th century salons of Belgrade ladies. Thus, an integrated space of cultural landscape, museums and related institutions turned into a dynamic creative platform enabling a new kind of communication intended not only to spur interest and educate the audience, but also to create a sustainable product in the field of cultural and creative tourism. This paper presents the experiences gained through this specific process with special emphasis on the changes in perception and reception of the modern audience and the new role of the curator.

* * * * * * * * *

Apstrakt: : " Knjiga je divna, ali bilo bi još zanim-ljivije da nam sve ove priče ispričate tamo gde su se odigrale " , rekla je jedna dama na promo-ciji moje autorske monografije Blago Srbije, kul-turno-istorijska baština u zimu 2013. Već počet-kom aprila iste godine Artis Centar je pokrenuo ciklus tematskih šetnji i jednodnevnih izleta pod zajedničkim imenom Tragom Blaga Srbi-je, a u nameri da u okviru jedinstvenog koncepta u domaćem kulturnom turizmu poveže kultur-ni pejzaž sa muzejima, galerijama, arheološkim parkovima i različitim narativima iz oblasti is-torije, umetnosti i kulture uopšte. Zbog veli-kog interesovanja publike u proleće 2014. program je proširen novim ciklusima ~ Putevi novog veka i Libade i krinolina: Beograđanke u prošlo-sti (1830-1914). Integrišući koncept klasične šet-nje i popularne komunikacije koja kombinu-je proverene činjenice sa dinamičnim načinom prezentacije, tim Artis Centra je proveo neko-liko hiljada posetilaca kroz najrazličitije muze-jske i galerijske postavke, izložbe i programe u periodu nešto dužem od godinu dana. Na takav način smo " prošetali " od ubistva vladara do spremanja tradicionalnog kuglofa sa bermetom i cimetom, od rimskih legija na Dunavu do sa-lona beogradskih dama u 19. veku. Tako je in-tegrisani prostor kulturnog pejzaža i muzeja i srodnih institucija postao dinamična kreativna platforma koja omogućava uspostavljanje no-vog oblika komunikacije sa ciljem da se animira i obrazuje publika podjednako koliko i da se kreira održiv proizvod u oblasti kulturnog i kreativnog turizma. Ovaj rad se bavi iskustvima stečenim u ovom naročitom procesu s posebnim osvrtom na promenjenu percepciju i recepciju moderne publike i novu ulogu kustosa.

ICOM China and Museums Association of China requested the keynote speech on the ICOM's offered theme: I readily responded as China represents not only the grand culture but also a civilization in its own right. My Chinese experiences, be it from lecturing over-there or receiving their awarded projects in Dubrovnik (at The Best in Heritage conference) where always rewarding and it needed a gesture of thanks.
What I have to say is much explained in other texts on this site and my own www.mnemosophy.com where the video version of this lecture is recorded.