DOI Artikel:
Suchan, Jarosław: Otwarte i krytyczne: Muzeum Ryszarda Stanisławskiego
Zitierlink:https://digi.ub.uni-heidelberg.de/diglit/fha2022/0058
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planned construction of a new seat of the Łódź museum,
in keeping with Stanisławski ’s conviction that only such a
new seat would provide appropriate conditions for fulfill-
ing the idea of the open museum.
The meanings that Stanisławski ascribed to this idea
changed over time, having been influenced by both the
evolution of his interests and the developments in the field
of art and museological thought. These changes resulted
in a shift from making the museum socially open - to the
needs of the broad masses - towards turning the muse-
um into a tool of smashing hierarchies and canons estab-
lished by the art market and westernised art history. This
evolution brought Stanisławski at the end of the 1970 s to
formulating a concept of the museum as a critical instru-
ment’. Chapter Three deciphers various meanings of his
concept, referring it, on the one hand, to assessing val-
ue as a procedure inherent to the idea of a museum of
modern art, and on the other hand, to postmodern criti-
cism which questions modernist narrations of art.
In the conclusion, I have tried to demonstrate that the
circumstances in which Stanislawskis museum project
was developed inevitably resulted in a need to amend the
initial model of the open museum. The most important of
the modifications he had made was at the same related to
his unarticulated but actually existing acceptance of the
modernist field of art, a field that would be blown up by
the concept of the open museum in various ways: by ques-
tioning the autonomy of artistic practice and the selfless-
ness of artistic experience, and by removing a distinction
between art and social work, by democratising the pro-
cess of imbuing an artwork with meaning and by activat-
ing and empowering the viewer.
planned construction of a new seat of the Łódź museum,
in keeping with Stanisławski ’s conviction that only such a
new seat would provide appropriate conditions for fulfill-
ing the idea of the open museum.
The meanings that Stanisławski ascribed to this idea
changed over time, having been influenced by both the
evolution of his interests and the developments in the field
of art and museological thought. These changes resulted
in a shift from making the museum socially open - to the
needs of the broad masses - towards turning the muse-
um into a tool of smashing hierarchies and canons estab-
lished by the art market and westernised art history. This
evolution brought Stanisławski at the end of the 1970 s to
formulating a concept of the museum as a critical instru-
ment’. Chapter Three deciphers various meanings of his
concept, referring it, on the one hand, to assessing val-
ue as a procedure inherent to the idea of a museum of
modern art, and on the other hand, to postmodern criti-
cism which questions modernist narrations of art.
In the conclusion, I have tried to demonstrate that the
circumstances in which Stanislawskis museum project
was developed inevitably resulted in a need to amend the
initial model of the open museum. The most important of
the modifications he had made was at the same related to
his unarticulated but actually existing acceptance of the
modernist field of art, a field that would be blown up by
the concept of the open museum in various ways: by ques-
tioning the autonomy of artistic practice and the selfless-
ness of artistic experience, and by removing a distinction
between art and social work, by democratising the pro-
cess of imbuing an artwork with meaning and by activat-
ing and empowering the viewer.