museum
Michael Govan describes how LACMA’s Fútbol exhibition reflects the universality of sport and the diversity of Los Angeles.
It is always heartening to hear discussion of historical artifacts not strictly as museum pieces but as instruments that can transmit other cultural messages and interpretations of identity. The Cyrus Cylinder is an example of ancient cultural heritage that resonates with new meanings today. Inspired by the blogs by Jay Wang and Naomi Leight my interest was sparked on this subject.
The Cyrus Cylinder, a small clay object dated from the sixth century B.C.E. and covered in Babylonian cuneiform script of an imperial decree by King Cyrus of Persia, is considered by many to be a powerful symbol of cultural and religious tolerance. Its international touring exhibition, spearheaded by the British Museum, has drawn broad global attention and is, by most measures, a resounding success.
This week the International Council Of Museums' sold-out conference Working Internationally shows how museums are looking out beyond the shores of the British Isles. The big nationals are, of course, doing extensive international work. The V&A tours exhibitions to India, China, Japan and the USA, amongst others.
Prof Davutoglu in effect argues that Turkey is able to exercise soft power in its region because of the very qualities the founders of the Turkish Republic in 1923 tried to cast aside. The nation’s first president, Mustafa Kemal Atatürk, famously tried to draw a line under a stale and unprofitable historical legacy in order to play catch-up with the west.
Despite the quality of the exhibition and the presence of the sculptor and painter himself, in reality this is not a common event. Not only is a Latin American art exhibition in China a rare occurrence but, sadly, this cultural exchange mirrors how little importance nations in the region give to a country that has already become their first or second trade partner.
How does culture sell a nation? Monocle and the V&A host a lively discussion on museums as soft-power ambassadors, with panellists including nation branding expert Simon Anholt, the senior French heritage curator Lurence de Cars and the Minister of State at the UK's Foreign and Commonwealth Office.
In its latest strategic move, billed smART Power, the State Department is sending abroad on Americans’ behalf not more Foreign Service officers but a cadre of elite artists. Their mission: to use visual arts as a medium for winning the hearts and minds of foreign populations all over the globe.