{"id":14497,"date":"2025-03-11T10:11:23","date_gmt":"2025-03-11T10:11:23","guid":{"rendered":"https:\/\/www.galerijamaticesrpske.rs\/?p=14497"},"modified":"2025-03-11T10:11:23","modified_gmt":"2025-03-11T10:11:23","slug":"the-museography-of-thematics-at-the-national-gallery-of-serbian-art-in-novi-sad","status":"publish","type":"post","link":"https:\/\/www.galerijamaticesrpske.rs\/en\/news\/the-museography-of-thematics-at-the-national-gallery-of-serbian-art-in-novi-sad\/","title":{"rendered":"The museography of thematics at the National Gallery of Serbian Art in Novi Sad"},"content":{"rendered":"

A Serbian museum, the National Gallery of Serbian Art in Novi Sad, recently rearranged its collections no longer in chronological order, but on a thematic basis: here’s how.<\/em><\/p>\n

The\u00a0stereotypical version of<\/strong>\u00a0the\u00a0museum<\/strong>\u00a0or\u00a0art gallery<\/strong>, the one often recognized by the public, would be about\u00a0a<\/strong>\u00a0permanent<\/strong>\u00a0chronological<\/strong>display<\/strong>, with an exhibition itinerary matching a timeline, often not all-encompassing, made up of autograph works, school of, circle of or sphere of–a list as long as art historical spheres need. One could thus summarize the experience as a journey not unlike what a\u00a0time machine<\/strong>\u00a0could offer us, albeit hypothetically. But\u00a0does chronology still work for a non-expert audience<\/strong>? Less and less so for the\u00a0younger generation<\/strong>. For those who care only about the pleasure of experience, chronologies often matter little. In fact, the museum\u2019s coveted enjoyment goes far beyond dates and chronologies and can vary greatly depending on how we interpret it.<\/p>\n

As the\u00a0magazine \u2019<\/u>Drawing<\/u>\u2019 in a recent article<\/u><\/a>: \u201cChronological displays are not really chronological at all, in the sense of a rigid sequence from oldest to newest. Numerous other variables–starting with purely physical considerations such as size and shape of the works–come into play.\u201d Then there would be to consider the museographic concept of the\u00a0“<\/strong>white cube<\/strong>,”<\/strong>\u00a0often associated with\u00a0a chronology of a subjective<\/strong>, albeit scientifically correct but\u00a0ever-changing art history<\/strong>, where works are displayed in a neutral space with white walls that create an unobtrusive frame to make them stand out.\u00a0Brian O\u2019Doherty<\/a><\/u>\u00a0tells us this very well\u00a0in a series of essays first published by Artforum magazine in 1976<\/a><\/u>. It is a widespread concept, to such an extent that it is often recognized as the only exhibition model to be considered. In the case of the Mediterranean museum, however, with an often historical container equivalent to the musealized content it often holds, the \u2019white cube\u2019 becomes a problematic concept not only in application. The white walls, often lacking windows, which often lead museums to blur the architectural language of the container, do not represent a choice of balance between content and container. Moreover, in trying to present art as a luxury good, to be collected even as a potential investment, the museum increasingly approaches a\u00a0theoretical disconnection of<\/strong>\u00a0works from their\u00a0rich historical, cultural and social context<\/strong>, promoting a poor understanding of the \u201ccontext of production.\u201d As\u00a0Whitney Birkett\u00a0<\/u>in an essay she published in 2012<\/u><\/a>, the white cube can sometimes \u201cexcessively elevate art, distancing it from its origins and making it less accessible to those who do not know it thoroughly, risking unintentionally reinforcing traditional power dynamics.\u201d\u00a0But are there alternatives? Yes, and they have been experimented with for quite a while.<\/strong><\/p>\n

Thematic<\/strong>\u00a0would be one of the possible alternatives. It would be\u00a0a display made in response to a choice of themes or topics<\/strong>, and there are not a few museums that have chosen this approach: significant recent examples we could cite would include the\u00a0Ateneum<\/a><\/u>\u00a0Art Museum\u00a0at the Finnish National Gallery in Helsinki<\/a><\/u>, the\u00a0Stedelijk in Amsterdam<\/a><\/u>, and theHunterian Art Gallery in Glasgow.<\/a><\/u>\u00a0But what might be glimpsed as recent experimentation is actually not so! As early as 1982, more than forty years ago, the Tate Gallery in London experimented with thematic\u00a0exhibitions<\/strong>, then consolidated the choices pioneered at that early time in 2000, with a choice of themes under the banner of\u00a0Landscape, Matter, Environment<\/em>\u00a0and\u00a0Still Life, Object, Real Life<\/em>. It is also worth mentioning\u00a0Aby Warburg\u2019s Bilderatlas Mnemosyne\u00a0<\/a><\/u>, which uses thematic as a creative and non-chronological mode in exploring the \u201csurvival of the ancient.\u201d In the case of Aby Warburg\u2019s project, we are in the late 1920s. The last institution to undertake this initiative is the\u00a0Galerija Matice Srpske in Novi Sad<\/a><\/u>, the most important metropolis in the north of the country, often dubbed \u201cthe Athens of Serbia.\u201d<\/p>\n

The new exhibit, which opened last November, was built around\u00a0thematic narratives<\/strong>\u00a0by making positive use of the\u00a0strengths of the museum\u2019s collection<\/strong>. On the second floor of the museum, the exhibition itinerary presents the history of the collection as\u00a0the outcome of Serbian art history over a\u00a0<\/strong>five-century<\/strong>\u00a0span\u00a0<\/strong>, with the masterpieces of the collection brought together in a particular room flanked by thematic narratives about\u00a0artistic materials and techniques<\/strong>. The exhibition itinerary on the second floor goes further, with a choice of very current themes and topics, always keeping public enjoyment in the foreground. The choice covers themes with titles such as \u2019Refuge: man and the environment,\u2019 \u2019Taboo: body and mind,\u2019 and \u2019Pleasure: rituals and habits.\u2019 Prominent is \u2019Sculptophilia,\u2019 a tribute to sculpture in all its forms up to the contemporary.<\/p>\n

The layout offers various dialogues between artworks displayed in a varied manner, often in groups, but sometimes also in isolation serving as a gateway to the theme of the room. The\u00a0curatorial choices<\/strong>\u00a0made mean that chronology becomes a\u00a0much less frequently used ingredient even if traceable<\/strong>\u00a0in some parts of the exhibition itinerary. It becomes, for example, an iterator to present stylistic changes and turning points regarding aesthetic taste and collecting. In fact, the history of the collection, rather than the history of art, is one of the narratives that the new layout presents to the museum audience. An arrangement, then, that seeks to transform the museum into a relevant and accessible institution for the museum public in the twenty-first century.<\/p>\n

The exhibition project at Galerija Matice Srpske in Novi Sad represents a valuable opportunity to deepen the discourse around thematic displays that are increasingly found in museums around the world.<\/p>\n

Prof. Dr Sanro Debono,
\nUniverity at Malta
\nOriginal text is here.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A Serbian museum, the National Gallery of Serbian Art in Novi Sad, recently rearranged its collections no longer in chronological order, but on a thematic basis: here’s how. The\u00a0stereotypical version of\u00a0the\u00a0museum\u00a0or\u00a0art gallery, the one often recognized by the public, would be about\u00a0a\u00a0permanent\u00a0chronologicaldisplay, with an exhibition itinerary matching a timeline, often not all-encompassing, made up of<\/p>\n","protected":false},"author":2,"featured_media":14489,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[55],"tags":[],"class_list":["post-14497","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"\nThe museography of thematics at the National Gallery of Serbian Art in Novi Sad | The Gallery of Matica srpska<\/title>\n<meta name=\"description\" content=\"A Serbian museum, the National Gallery of Serbian Art in Novi Sad, recently rearranged its collections no longer in chronological order, but on a thematic basis: here's how.\" 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