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März / 2020
EXPOTIME! March 2020
The author's intro A new social role for the virtual museum Everything changed for us all, and for museums in Europe, America and many parts of Asia ‒ within a few weeks. On February 28, 2020 the WHO declared the risk of the new Corona virus on global level as very high, on March 11 the spreading officially as a pandemic. The exponentially growing deadly virus spreads much faster than museums, known as not the fastests, can adjust their daily working structures. By the end of January, the virus was still news from Wuhan province in China, a few days later it reached Shiite pilgrims in Iran, and by the end of February it knocked down Northern Italy. By the mid of March 2020 it was spread is the northern hemisphere: in Europe as the new epicentre, in Australia, Asia and America and the first countries in Africa. At the beginning of March, museums in Italy closed to the public, while at the same time in Germany it was still thought to be good official advice to avoid infection visiting rather a less frequented museum than a soccer game. At the same time when China, South Corea, Iran and Italy were already infection centers, some museums and zoos in the USA, Germany, Belgium, France or UK closed at the times with most visitor traffic or limited the access to a number of persons. Today, on March 22, 2020 museums all around Europe, America, Australia and Iran are physically closed until further notice ‒ which applies to the Vatican museums in Rome, the British Museum in London, the Louvre in Paris, MoMA in New York, Melbourne Museum in Australia or Berlins Museum Island. Never before, whole mankind tumbled in such a crisis that fast. The light in the darkness is digital and shines through the internet: many museums offer virtual tours and digital exhibitions, some became leading video producers. At the Bode Museum in Berlin, you can take part on a complete 360° panorama tour, in the British Museum or the Louvre you can explore great exhibitions online. In countries like Spain, France and Italy were the citizens have to stay at home, virtual museum tours are getting more important than ever before: they make it possible to participate joyfully in culture and knowledge, science and arts while practicing social distance. In the British Museum, the number of digital visitors exploded after Italians had to stay at home ‒ now virtual museums satisfy a need for millions worldwide while real visits of museums and exhibitions were classified as a health risk. Reducing social contacts to a minimum (even if it hurts) and extensive frequent handwashing (old hygienic advices since WWI) has replaced the normal human contacts. While the media are full with terrific news, museums have replaced the glass panels of their display case by a video for laptop screens to fight our gloomy hours. This digital museum magazine serves the same purpose as well. Take care and enjoy! Utz Anhalt Content Top stories 6-12 Utz Anhalt Byzantium, lost in Istanbul. The concealed history of a glorious civilization, part 2 13-18 Anette Rein Confusing actual and target: ICOM between definition and mission Helping to build up a new collection 19-21 Michael Eisner; Anna Fras Austria transfers the Lukesch collection to the Brazilian National Museum in Rio de Janeiro 22-25 Alexander W. A. Kellner The reconstruction of the Museu Nacional in Rio is going forward! What shall we do with the Brown Cruiser? 26-31 Michael Stanic The House of German Propaganda and Re-education: Demolition, architectural estrangement or infinitely expensive restorations for the Brown Cruiser? From the newsdesk 34-36 Repair your network! 37-40 A schedule for activists Conservational projects 42-45 Daria Gorbaczewska-Kuźniak The Why of a Conservation Treatment: Conservation and restoration of the painted wooden sculpture of a St Jerome (17th cent.) The dark side 47-51 Christian Mueller-Straten Myths and hard facts: How the world deals with the pandemic. An interim report Titel page: The Viennese Dioskurides (Austrian National Library, Cod. Med. Gr. 1) is a late antique collective manuscript with a picture herbarium, figurative paintings and zoological illustrations. Constantinople, approx. 512. Our cover picture shows the second picture of the so-called doctor group from the codex, including Galenos. The page is named after the physician Galenos shown top center. Clockwise: Pedanios Dioskurides, Nikandros (with snake), Ruphos (Rufus) from Ephesos, Andreas (personal physician from Ptolemy IV Philopator), Apollonios (identification unclear: either Apollonios of Pergamon, Apollonios of Kiton or Appollonius Mys) and Krateuas (fol. 3 verso). Source: Pedanius Dioskurides - The Viennese Dioskurides, Codex medicus Graecus 1 of the Austrian National Library. Graz 1998 (= Glanzlichter der Buchkunst; vol. 8), fol. 3 verso. We have chosen this representation of famous ancient physicians because its form of presentation reminds us how much we all (including our politicians) depend on the knowledge of experts. Incorrect risk assessments or hesitant actions by our politicians can result in the death of hundreds of thousands of fellow citizens. |
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