Kulturne ustanove ili sredstva zarade?

Kulturne ustanove ili sredstva zarade?

Kategorija misc., stručni članci | 24/01/2017 110

 

Od početka razvoja muzeja i muzeologije, odnosno od 19. stoljeća pa sve do danas, muzeji se dijele u kategorije, ovisno o njihovoj tematici, geografskom području, veličini i statusu. O tematskoj raznovrsnosti muzeja raspravlja se još od 19. stoljeća kada su uspostavljene tri osnovne kategorije podjele muzeja: umjetnički muzeji u kojima se izlažu slike, kipovi, starine i odljevi; muzeji prirodnih znanosti koji imaju prirodne zbirke, herbarije, fosile, živi biljni i životinjski svijet; povijesni muzeji u kojima se najčešću izlažu portreti i povijesne slike. Navedenu podjelu nisu prihvatili svi muzeolozi te su tijekom godina kategorije proširivane ili smanjivane, ovisno o subjektivnom mišljenju onih koji su o ovome problemu pisali. Danas je najprihvaćenija podjela na umjetničke i znanstvene muzeje.

Međutim, ovakva podjela isključuje muzeje kojih je svakim danom sve više, a koji izlažu građu koja ne pripada niti jednoj niti drugoj spomenutoj kategoriji. Radi se o muzejima koji su posvećeni najrazličitim pojavama, a u kojima se izlažu predmeti različitog karaktera koji ne moraju nužno imati umjetničku, znanstvenu, arheološku ili povijesnu vrijednost, odnosno koji u materijalnom smislu mogu biti potpuno bezvrijedni. Samo neki od tih muzeja su: Muzej erotike u Bonnu, Muzej psećih ogrlica u Kentu, Muzej smrti u Los Angelesu, Muzej kobasice u Berlinu ili, u našoj neposrednoj blizini, Muzej prekinutih veza, Muzej pošte, Muzej turizma itd. U ovome su tekstu ti muzeji objedinjeni pod nazivom neumjetnički muzeji, ali važno je napomenuti kako su oni međusobno toliko različiti da se i ne mogu svrstati pod isti nazivnik.

S obzirom na to da, uz dobru ideju i zanimljiv narativ, u njima može biti izložen uistinu bilo koji predmet, ne treba nas čuditi što broj neumjetničkih muzeja svakim danom sve više raste, kao ni to što je, zbog njihovog različitog karaktera, teško dati neki okvirni broj koliko tih muzeja danas ima u svijetu. Neumjetnički muzeji svojom građom svakim danom privlače sve više ljudi pa tako Muzej prekinutih veza bilježi oko 90 000 posjetitelja godišnje, dok je Muzej suvremene umjetnosti u 2014. godini posjetilo oko 105 000 ljudi.1

U Hrvatskoj “boom” neumjetničkih muzeja započinje 2000-ih godina, dok u inozemstvu, osobito u Njemačkoj, on kreće ranije, već 90-ih. Kako bih istražila način rada tih muzeja (način izlaganja predmeta, način financiranja, ulogu kustosa itd.), odlučila sam se uputiti u tri relativno nedavno otvorena neumjetnička muzeja u Zagrebu koji su ujedno i najposjećeniji muzeji takve vrste.

 

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Nacionalni muzej senfa, Wisconsin, USA

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Muzej kosilica, Velika Britanija

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Prvi je od njih Muzej prekinutih veza koji je nastao kao umjetnički projekt filmske producentice Olinke Vištice i akademskog slikara Dražena Grubišića koji, nakon prekida veze 2003. godine, nisu znali što činiti sa stvarima koje su im preostale. Tri godine nakon prekida počeli su aktivno moliti i prijatelje i nepoznate ljude da im doniraju predmete koji su im ostali nakon njihovih prekida te su svoju kolekciju, koja će kasnije postati muzej, prvi puta predstavili na izložbi u Gliptoteci HAZU 2006. godine. Prihvaćenost ideje i koncepta bila je izrazito dobra te je sljedećih godina zbirka bila na svjetskoj turneji. U međuvremenu su autori projekta pronašli prostor za stalno izlaganje u Zagrebu te su ga iznajmili i postali vlasnici prvog zagrebačkog muzeja u privatnom vlasništvu. Radi se o baroknoj palači Kulmer na Gornjem gradu koju su vlastitim financijama pretvorili iz restorana u izložbeni prostor. Muzej je otvoren u listopadu 2010. godine, a otada se profilirao kao jedan od najpopularnijih zagrebačkih muzeja. Funkcionira na način da se osobno donesu ili pošalju predmeti koji su vezani uz prekide i tekstove koji na neki način objašnjavaju donirane predmete. Kolekcija trenutno broji oko 1700 predmeta, a u muzej se prihvaćaju svi predmeti koji nisu uvredljivog ili diskriminirajućeg karaktera te koji svojom veličinom stanu u izložbeni prostor.

Otvorenje stalnog postava nije značilo prestanak putujućih izložbi, već autori i dalje inzistiraju na suradnji sa drugim svjetskim institucijama koje su zainteresirane za izlaganje kolekcije. Tako su do sada predmeti iz zagrebačkog postava putovali u pedesetak zemalja diljem svijeta u kojima su dobivali novo značenje pridruživanjem predmeta koji su sakupljeni u sredini u kojoj je izložba bila. Muzej je 2016. godine obogaćen za još jedan stalni postav koji je otvoren u samom srcu Hollywood-a.

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Muzej prekinutih veza, Zagreb

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S obzirom da muzej ima jako velik broj doniranih predmeta, javlja se potreba za promjenom stalnog postava te se tako u Zagrebu trenutno može razgledati drugi po redu. Ipak, stalni postavi se ne mogu mijenjati prečesto iz poštovanja prema ljudima koji su predmete donirali, ali i zbog vremena koje je potrebno da veći broj posjetitelja vidi određeni postav. Koncepciju stalnog postava potpisuju Grubišić i Vištica, a on je osmišljen tako da su odvojene cjeline koje određuju predmeti koji na neki način imaju sličan karakter (npr. sportska oprema ili predmeti vezani uz neku vrstu igre) ili koji simboliziraju sličan tip prekinutih veza (ljubavne, obiteljske, veze završene prevarama i slično). Na samom kraju postava nalazi se simbolička cjelina u kojoj se nalaze predmeti ljudi koji na kraj veze gledaju optimistično, a doniranje predmeta muzeju kao zadnji korak u svom oslobođenju od druge osobe.

Izložbeni prostor formiran je na postulatu white cubea, sa bijelim zidovima lišenim direktnog utjecaja vanjskog prostora. S obzirom da su izloženi predmeti uglavnom mali i nemaju materijalnu vrijednost, ne moraju biti posebno zaštićeni, osim s video kamerom koja se nalazi duž cijelog izložbenog prostora. Papirnati izlošci (knjige, pisma, crteži itd.) nalaze se u visećim regalima koji omogućuju prilagođavanje svijetla za svaki rad posebno, dok se figure i drugi samostojeći predmeti izlažu na visokim bijelim postoljima i uglavnom su direktno osvijetljeni žaruljama koje se nalaze iznad svakog predmeta. Veliki predmeti, kao što je naprimjer vjenčanica ili plastična kašeta, stavljeni su u kutove prostorija kako ne bi previše dominirali i oduzimali pažnju s drugih predmeta. Uz svaki predmet nalazi se tekst koji su napisali donori predmeta, a u koji kustosi stalnog postava ne interveniraju. Tekstovi su objavljeni na hrvatskom i engleskom jeziku što nas ne treba čuditi s obzirom da veliki broj posjetitelja čine turisti.

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Dio 1. stalnog postava Muzeja prekinutih veza u Zagrebu (Foto: Ana Opalić)

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Dio 2.stalnog postava Muzeja prekinutih veza u Zagrebu (Foto:Mare Milin)

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Kao što je već spomenuto, kustosku koncepciju potpisuju vlasnici muzeja, a zbog njegove specifičnosti nije im potreban zaposlen kustos u muzeju. Vodstvo kroz postav nije potrebno zbog tekstova koji dovoljno govore o izloženim predmetima, a informiranje posjetitelja riješeno je kroz tablet koji je postavljen na samom kraju izložbenog prostora, a u kojemu se nalaze dodatne informacije o nastanku i razvoju muzeja, kao i o predmetima koje imaju u kolekciji.

S obzirom da se radi o privatnom muzeju, način financiranja je drugačiji od drugih muzeja u njegovoj okolini. Muzej prekinutih veza ni na koji način nije ovisan o sredstvima grada Zagreba ili ministarstva kulture, već se financira od prodaje ulaznica, ali i kroz museum shop i caffe bar koji se nalazi u sklopu muzeja.

Muzej je prilagođen za posjete osoba s invaliditetom, no s obzirom na izložbeni prostor koji je relativno uzak i skučen, nešto je teže zamisliti posjet većih grupa.

Muzej prekinutih veza jedinstveni je umjetnički projekt kakav ne postoji nigdje drugdje u svijetu (izuzev Muzeja u Los Angelesu), a o njegovoj važnosti najbolje svjedoči prestižna nagrada Kenneth Hudson koju dodjeljuje Europski muzejski forum, a koju su Vištica i Grubišić dobili za najinovativniji europski muzej 2011. godine

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Museum shop u Zagrebu (Foto: Mare Milin)

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Pet godina nakon Muzeja prekinutih veza u Zagrebu se otvorio i Muzej Iluzija. Osnovali su ga Tomislav Pamuković i Roko Živković koji ne dolaze iz svijeta umjetnosti, već se bave marketingom i medijima, a na otvaranje muzeja potaknula ih je turistička ponuda grada Zagreba za koju su mislili da ne nudi dovoljno. Muzej je, kao i prethodni primjer, otvoren vlastitim financijama, no sudeći prema broju posjetitelja investicija im se isplatila. Osim kroz prodaju karata, profit ostvaraju i kroz prodaju umanjenih eksponata i didaktičkih igračaka u museum shopu.

Smješten je u glavnoj zagrebačkoj ulici Ilici, a prostire se na dvije etaže unutar kojih posjetitelji mogu vidjeti iluzije koje se temelje na biologiji, optici, psihologiji i znanosti. Za obilazak se potrebno popeti na prvi kat zgrade, tako da obilazak nije prilagođen osobama s invaliditetom. Na prvome katu nalaze se tri manje prostorije u kojima se mogu razgledati iluzije u manjim formatima (hologrami, fotografije), dok je veći dio izložbe smješten na katu više.

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Hologrami, Muzej iluzija u Zagrebu

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Tamo se nalaze i najatraktivniji eksponati – četiri različite sobe u kojima posjetitelje dočekuju različite iluzije. Tako u ames sobi postaju patuljak ili div, u kosoj sobi im se vrti u glavi, u sobi ogledala postaju beskrajni, a u obrnutoj prostoriji je sve naopako i posjetitelji imaju osjećaj kao da stoje na stropu. Osim toga, i na gornjem katu se mogu vidjeti fotografske iluzije i hologrami. S obzirom da su eksponati interaktivni, svaki od njih sadrži dvojezično objašnjenje i upute kako da ga posjetitelji koriste.

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Obrnuta soba, Muzej iluzija u Zagrebu

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Muzej osim spomenutih eksponata ima i pametnu igraonicu u kojoj su postavljene drvene zagonetke i igre koje potiču kognitivne sposobnosti, a koja je namjenjena i najmlađima i odraslima. U Muzeju se posjetitelje potiče na interakciju, na dodirivanje eksponata, a postav je, u skladu sa inovacijama u vidu društvenih mreža, složen tako da posjetitelji mogu kao uspomenu imati izrazito zanimljive fotografije. Kao i u prethodno spomenutom muzeju, nema izoliranja predmeta u velike staklene regale kojima se posjetitelji ne mogu približiti, već im je sve izloženo što bliže, a pozornost je pridana tome i da eksponati nisu previsoko kako bi ih mogla vidjeti i djeca. Stručno vodstvo muzeja ne postoji, s obzirom da je on vrlo indikativan sam po sebi.

Kao što je već spomenuto, čitav niz sličnih muzeja postoji u svijetu, no svi se oni razlikuju po kvaliteti i zanimljivosti eksponata. Neki se od njih više bave znanstvenim i psihološkim pristupom percepciji, pa tako recimo posjetitelji Muzeja percepcije u Grazu imaju prilike iskusiti stanje uravnoteženog uma (Samadhi) kroz bestežinsko plutanje u kadi sa soli. Zajedničko im je što od posjetitelja traže aktivni pristup, interakciju sa eksponatima, kao i slobodu u muzeju poput diranja predmeta ili hodanja po njima.

Zagrebački muzej se u tom moru muzeja iluzija u svijetu ne izdvaja ni po čemu previše, no u sredini u kojoj se otvara predstavlja jedno potpuno novo viđenje muzejskih institucija od strane publike. Osim toga, u njemu se nalazi i najveća zbirka holograma u ovom dijelu Europe, što također svjedoči o njegovoj važnosti.

Koliko je Muzej Iluzija zapravo uspješan govore nam veliki redovi koji se gotovo svaki vikend stvaraju ispred ulaza u njega, ali i činjenica da su, zbog velike potražnje javnosti, vlasnici u dvije godine otvorili još dva muzeja – u Zadru i Ljubljani.

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Pametna igraonica, Muzej iluzija u Zagrebu

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Otprilike istovremeno kada i Muzej iluzija, u Zagrebu se otvorio i Muzej torture. Otvoren je na inicijativu IT stručnjaka Vladimira Vranića koji, jednako kao i vlasnici Muzeja iluzija, nema prethodno iskustvo rada u muzejima. Ideju o Muzeju torture preuzeo je iz stranih inačica toga muzeja te je uspješno prenio u Zagreb. Muzej se nalazi u centru grada Zagreba, u Tkalčićevoj ulici, a prostire se na 85 četvornih metara koji su raspoređeni u tri prostorije. Nalazi se na prvom katu zgrade, tako da nije omogućen pristup osobama s invaliditetom ili roditeljima s djecom u kolicima, a zbog manje kvadrature gotovo je i nemoguć posjet većih grupa.

Jedna od tri prostorije pretvorena je u tamnicu koju dočaravaju popratni audio-vizualni sadržaji, dok se u ostale dvije prostorije nalazi 75 eksponata vezanih uz egzekuciju i mučenje kroz povijest. Iako bi se muzej tematski i mogao svrstati u povijesne, on je prije svega neumjetnički iz razloga što eksponati nisu originalni predmeti, već replike koje su posebno rađene za ovaj muzej.

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Eksponati iz Muzeja torture u Zagrebu

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Stalni postav potpisuju Ana Dana Beroš i Želimir Laszlo, a on je potpuno suvremen, sa prostorijama u potpunom mraku i jedinim izvorom svjetlosti koji dolazi iz izložaka koji su samostojeći ili vise na zidovima. Tama posjetiteljima dočarava mračnu atmosferu povijesti mučenja. Samo neki od izloženih predmeta su maska srama, giljotine, stolac za mučenje i “kruna” Matije Gupca. Osim toga, postav je interaktivan, te se velik broj eksponata može isprobati i dotaknuti. I u slučaju ovoga muzeja stalni postav se ne mijenja, stoga nije potreban zaposlen kustos. Ipak, činjenica je da ako nema novog sadržaja, posjetitelji najčešće neće doći više od jednog puta.

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Dio stalnog postava Muzeja torture u Zagrebu

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Vodiča u zagrebačkom Muzeju torture zamjenjuje tablet kojeg posjetitelji dobivaju na ulazu u muzej te uz pomoć kojega mogu skenirati svaki eksponat i saznati više o njemu. Informacije na tabletu su na hrvatskom i engleskom jeziku, a osim teksta objašnjenja su dodatno dana kroz videozapise. Iako je takva metoda vodstva kroz postav izuzetno popularna kod mlađe publike, ona donosi sa sobom i neke probleme. Tako u slučaju većeg broja ljudi u muzeju (otprilike oko 10 ljudi) dolazi do gužve oko eksponata, a ukoliko se tome pridoda i audio vodstvo koje neki posjetitelji uključe, stvara se pomalo kaotična atmosfera.

Unutar samoga postava nalazi se i blagajna koja istovremeno funkcionira i kao suvenirnica. S obzirom da je i ovo privatni muzej, način financiranja je također kroz prodaju ulaznica, ali i suvenira koji stoga imaju nešto višu cijenu.

Muzej torture u svijetu nije novost, ima ih mnogo, a najpoznatiji je onaj u Pragu. Ipak, Muzej torture u Zagrebu prvi je na našem prostoru, a unatoč tome što su eksponati replike, bilježe dobru posjećenost i popularnost kod posjetitelja. Osim redovnog posjeta, nude i specijalne ture za Noć vještica, a veliku pažnju posvećuju i reklamiranju putem društvenih mreža.

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prague_402Muzej torture u Pragu

 

Iz tri obrađena primjera vidljive su određene zajedničke karakteristike neumjetničkih muzeja i u Hrvatskoj i u svijetu. Ono što ih uglavnom sve odlikuje je činjenica da su u privatnom vlasništvu i samim time financirani privatnim sredstvima. Takav način financiranja donosi im određenu prednost, u smislu da njihov rad ne ovisi o natječajima i sredstvima ministarstva kulture, no kako bi opstali moraju imati dodatne sadržaje uz prodaju ulaznica, kao što su kvalitetan museum shop, organizacija radionica i raznih događaja, caffe bar u sklopu muzeja itd. Iz tog razloga su uglavom u svim neumjetničkim muzejima cijene ulaznica nešto više negoli u drugim muzejima, a vrlo je teško dobiti ikakav popust. Zagrebački muzeji još uvijek nemaju problema zbog toga, no za razliku od njih Washingtonski Muzej zločina i kazne morao se zatvoriti jer posjetitelji nisu dolazili zbog previsoke cijene karte od 21$.

Vlasnici i pokretači neumjetničkih muzeja uglavnom nemaju prethodno iskustvo upravljanja muzejskim institucijama, nisu čak niti kustosi niti povjesničari umjetnosti, već su često poslovni ljudi koji razumiju marketing, turističku potražnju i načine na koje se posjetitelje može privući.

Zajednički im je i nešto slobodniji pristup reklamiranju muzeja. Naime, umjetnički i znanstveni muzeji svoju stalnu publiku uglavnom imaju i prilično rijetko se oglašavaju putem interneta, no za neumjetničke je muzeje to primarni način privlačenja novih posjetitelja od kojih će zaraditi.

Kao što sam istaknula u uvodu, u neumjetničkim muzejima izlažu se predmeti koji nemaju osobitu materijalnu vrijednost. Iz tog razloga su predmeti izloženi vrlo otvoreno, bez posebnih modela njihove zaštite, a u velikom broju tih muzeja su postavi interaktivni i pružaju posjetiteljima mogućnost dodirivanja eksponata. Koliko je to različito od postava drugih muzeja svjedoči nam razlika postava Muzeja suvremene umjetnosti u Zagrebu i Muzeja iluzija. U stalnom postavu Muzeja suvremene umjetnosti postavljen je niz op-art djela koja se također poigravaju našom percepcijom, kao i ona u Muzeju iluzija. No, približite li se previše i dotaknete li ta djela u Muzeju suvremene umjetnosti, bit ćete opomenuti ili će zazvoniti alarm, dok ste na sličnu radnju u Muzeju iluzija potaknuti. Naravno, razlika je u tome što se u Muzeju suvremene umjetnosti radi o originalnim djelima koje su napravili umjetnici, dok su u Muzeju iluzija eksponati koji mogu biti umnožavani i kod kojih nije bitan odnos originala i kopije.

S obzirom da se radi uglavnom o stalnim postavima, uloga kustosa svedena je na minimum jednom kada je postav složen jer nema potrebe za njegovom promjenom. Slična je i sudbina vodiča koji najčešće nisu potrebni jer su eksponati i postav jasni i čitljivi i odraslima i djeci. Također se negiraju i legende kakve poznajemo iz umjetničkih muzeja koje se često ne stavljaju jer su eksponati indikativni sami po sebi ili su postavljeni u jednoj drugačijoj, slobodnijoj formi.

Za kraj treba spomenuti da ciljana publika neumjetničkih muzeja nisu stručnjaci, već ljudi željni zabave, obitelji s djecom, školske grupe i turisti. Kako bi bili što dostupniji svima, uglavnom je prilagođeno radno vrijeme pa u neumjetničkim muzejima nema pauze ponedjeljkom, već rade svaki dan i to i u večernjim satima.

Ipak, ono što nekako najviše obilježava neumjetničke muzeje jest otpor drugih muzejskih institucija prema njima. Naime, mnogi stručnjaci, ali i šira javnost, smatraju da oni ne bi trebali nositi naziv muzeja te da služe samo za zaradu, a ne za educiranje javnosti. Svoj stav najčešće podupiru činjenicom da se u neumjetničkim muzejima izlažu predmeti bez materijalne vrijednosti koji ni na koji način ne doprinose našoj kulturnoj baštini. Da budem posve iskrena, prave presude u ovom slučaju nema – sve ovisi o subjektivnom doživljaju svakoga od nas! Za mene osobno ovi muzeji imaju svoju vrijednost, osobito su važni zbog privlačenja publike koja inače ne bi došla u muzeje, ali i u kontekstu obrazovanja djece o različitim fenomenima koji nas okružuju. Kakav god bio naš stav o neumjetničkim muzejima, ono što je neosporno je njihova sposobnost privlačenja velikog broja posjetitelja!

Literatura

Antoš, Z. (2011). Aktivno sudjelovanje građana u skupljanju predmeta – Muzej prekinutih veza. Informatica museologica, 42(1-4), 101-104.

Gob, A. ; Drouguet, N. Muzeologija : povijest, razvitak, izazovi današnjice, Zagreb : Izdanja Antibarbarus, 2007.

Maroević, I. Uvod u muzeologiju, Zagre: Zavod za informacijske studije Odsjeka za informacijske znanosti, Filozofski fakultet Sveučilišta, 1993.

Vištica, O., Museum of broken relationships, Zagreb: Hulahop, 2009.

https://brokenships.com/

http://muzejiluzija.com/

http://tortureum.com/

http://www.museumtortury.cz/en/

Bilješke

Naslovna fotografija: Muzej kobasice, Berlin

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