summary of the events surrounding the termination of the holograms of the Jewish Museum of the City Vienna
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The public discussion about the demolition of the first floor part of the permanent exhibition at the Jewish Museum of Vienna begins in early February. Three friends had almost the same time I sent photographs of the destroyed holograms, images of a - literally - scrap heap. Although I had long anticipated the removal of the permanent exhibition, because the statements made by Mrs Spera was clear, it (see post dated 03/29/2010) and also friends from the museum went out of it, shocked me these pictures. Shocking was not the fact of the degradation, shocking was the symptomatic quality of the photographs. I could not imagine that we would have no way to find, to salvage at least parts of the install and store.
So I put the pictures on 02.02.2011 with a comment and entitled "Renewal of destruction? The Jewish Museum of Vienna have destroyed the most important medium, the permanent exhibition "in my blog.
Unlike me, especially the onset of the criticism concerned soon began assumed to not yet what they would be "witch hunt" call (Peter Menasse in the mail to me dated 15/02/2011, by the way after I had invited him to all my blog to use for the presentation of his view of things and had sent to him for that purpose an account for the free and unlimited use of the blog). Because it required the media coverage, which in turn drew back the interest on the blog.
From that time the 'discovery' of the blog as a hub for information (on 4.2. And from February 7 and 8 quite heavily) and discussions, made themselves more and more people critical of the operations.
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I was interested in the Jewish Museum of Vienna in the phase prior to final start-ups and knew it from the beginning. I appreciate the permanent exhibition as well as furnished by the various curators exhibitions. More specifically, I learned to work gradually to know and appreciate better and because some of the exhibitions of the museum called and my ideas changed. Visits with friends, colleagues, seminars during my teaching, with guests such as Irit Rogoff, and numerous conversations with employees in the building and of course with Felicitas Heimann Jelinek, sharpened my knowledge of the specific tasks, challenges, where a Jewish museum had to work their way. Sharpened, the study of the history of theoretical and museological challenges of this type of museum and by dealing with the Jewish Museum Hohenems, which developed at the same time an equally important, far beyond regional radiating Museum and thankfully still is.
In light of this from a long involvement with the Vienna Museum grown esteem, I took the appointment of Daniel Spera as director of the museum, like many others, strange and incomprehensible. Someone in a public responsibility in trust directs an educational institution to ask about competence, responsibility or plans and concepts, is neither "intrigue" nor "Kampagnisierung" (Quotes from Thomas Trenklers article (online) Standard of 02/10/2011 ( here ) ) and no "abreaction primitive feelings," as Peter Menasse "subject to the people on the blog" mentioned in the mail to me and. It is difficult to argue in a media environment, the personalization lives and from that scandal 'of persons. However, it is therefore not simply renounce the right to raise the issue of professional competence.
But the political decision had now fallen to doubt even well-qualified candidates and for the ORF journalist Danielle Spera. Therefore, I had rather given up on the call reported 8.12.2009: Jewish Museum of Vienna - A victim of populist cultural policy? ( here ) \u0026lt;> and the \u0026lt;> 29/03/2010 rather just thought melancholy over the disappearance of a permanent exhibition, which I appreciated so much. (The permanent exhibition at the Jewish Museum Vienna will disappear - here ).
The questions I have (me) back then are still not answered: "With all due respect for the goals and aspirations of women Spera, their museological ideas are thin and conventional, and fall far behind the concept of the still existing permanent exhibition back. Of course it is legitimate to renew a permanent exhibition. But then there must be a compelling new concept. Only if it's better than the old, the renewal is reasonable. "
In May of last year I made some collages of photos of the hologram installation, a small personal farewell to the permanent exhibition (The true Picture of the past - amazingly, this is now one of the most retrieved Posts - here) and then I went back to the museum and took as many photos to document for me, which would probably disappear soon. These photos can be found as the accompanying picture commentary on top of the Sabine Offe and I wrote many years ago, and I recorded in full in the blog, to make clear, there are so many critics of the process what the Jewish Museum is where the unique quality of the permanent exhibition and the hologram was installed. (Slipping pictures, Post, 02/07/2011 - here ).
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When pictures in the blog and were then published in the media and the first, extraordinary meritorious report Duygu Özkan (destroyed Jewish Museum Exhibits 02/07/2011 in THE PRESS -. here) was published, many curators, museum directors and scholars to have your say, to lead precisely the factual debate began, which was taken up today by the media barely (instead, it sticks to the alleged adhesive of the holograms), or their existence is in dispute ("'I hope that now all parties back to the emotional level of discussion a constructive and to the future of the Jewish Museum Vienna can return oriented work ' says Wien Holding CEO Comm Council. Peter Hanke). Press release of the Vienna Holding, see post dated 02/03/2011 - here ). On
3.2. Martha responded wedge ( here), at 4.2. > Sabine Offe (renewal through destruction? "Recklessness towards aesthetic, social, political and ethical responsibility ..." ( here ), Heidemarie Uhl and Dirk Rupnow. ("The pictures scare me ...." ( here )
Sabine open and I> a few years our old essay on permanent exhibition at the Jewish Museum in the blog, as a further basis of his talk ("slippage in pictures. Of the permanent collection of the Jewish Museum of Vienna "- here )
Hanna Holt Schneider responded to the reports of the destruction of the holograms at 8.2. with a commentary titled "historical amnesia" ( here) and then signed up again with a summary in English posted on 15/02/2011, Recent events at the Jewish> Museum Vienna - a summary "( here ).
> Am 10.2. - "Speechless " - and wrote Heidrun 16.02.2011 Zettelbauer, in the second post on the occasion of the "replicas of the museum management of JMW on a critique of museological and scientific Museums-public "( here ).
Am 14.2. appeared "> values and skills. The Museo Login Roswitha Muttenthaler the importance of the holograms of the Jewish Museum ( here ).
And on> 16.2. was Gerald Lamprecht (first in ORF.at) only a " obituary of the holograms of JMW " Leave.
followed two days later, a very detailed discussion in English by Ruth Gruber ropes "Vienna - controversy over destroyed during renovations Holograms", in: jewish-heritage-travel on Thursday 17 February 2011 was published ( was here ).
the trial, the events at the Jewish Museum in the wider context of museum policy discussions and to place in Vienna, has so far, if I am right, only made the Wiener Zeitung. Brigitte Borchhardt-Birbaumer: little conversation culture in the museum. lies in the local museum scene despite new leaders a degree of chaos - a critical journey.
was the same time, a loose network of scholars, curators, museum curators, directors of major museums and science institutions, which finally turned in a joint letter to the museum and the public. The letter again brought the museum more in the media and made final clear that the museum had not only created with the demolition of the holograms opponents, but also communication with a defensive policy in which downgraded the importance of the holograms and the massive destruction was treated almost exclusively as a technical constraint. The damaged but again the already weakened position of director, but had justified their appointment to the museum with her from her former profession acquired communication skills.
"No, no, they've curated exhibition," says Spera. (...) And the museological qualifications? , I'm not just in my conversion worked intensively with Judaism. " Together with a group of dedicated women she visits each week, a session of the Chief Rabbi. Museums are for them in the first instance of communication. And communication is my strength. '"(Danielle Spera in an interview with Matthias Dusini in the local newspaper FALTER from 14/07/2010 (here).
What is visible in the criticism of the approach of the museum was, was on the one hand the high regard of the 'former' Museum and the other the harsh criticism of the new line, a loss of confidence that eventually the two material and moral support of the Museum, the Vienna Holding (responsible during the Cultural City Council, for the subsidy of the museum, according to for weeks almost speechless is) and called the Jewish Community on the scene and led to a board meeting.
I know of no comparable case is recalled that was where the circle each other closely related institutions and persons in such unvarnished criticism of the leadership skills of one person trained.
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Here is the letter of the museum directors, curators and experts on such documents at the Jewish Museum of Vienna (state of the signatures \u0026lt;> February 9, 2011, 13 clock). I add here I am again to all the names of the first signatories, and that is because these international response often in the media reactions bagatellisiert wurde.
Fritz Backhaus, Programmdirektor, Jüdisches Museum Frankfurt am Main - Monika Berthold-Hilpert, Jüdisches Museum Franken - Inka Bertz, Jüdisches Museum Berlin - Daniel Dratwa, Conservateur, Musée Juif de Belgique - Daniela Eisenstein, Direktorin, Jüdisches Museum Franken - Jutta Fleckenstein, Jüdisches Museum München - Michal Friedlander, Jüdisches Museum Berlin - Ulrike Heikaus, Jüdisches Museum München - Anne-Hélène Hoog, Musée d’art et d’histoire du Judaisme, Paris - Cilly Kugelmann, Programmdirektorin, Jüdisches Museum Berlin - Dr. Hanno Loewy, Direktor, Jüdisches Museum Hohenems - Dr. Tobias G. Natter, Direktor, Vorarlberg State Museum - Bernhard Purin, director, Jewish Museum Munich - Johannes Reiss, Director, Austrian Museum Eisenstadt - Dr. Benigna Schoenhagen, director, Jewish Cultural Museum Augsburg - Dr. Emile Schrijver, Director of the Bibliotheca Rosenthaliana, Universiteit van Amsterdam - Christiane Twiehaus , Jewish Museum of Franconia - Dr. John Wachter, Chief curator, Jewish Museum Frankfurt am Main - Dr. Mirjam Wenzel, Jewish Museum Berlin - Prof. Dr. Johannes Heil, director of the Institute of Jewish Studies in Heidelberg - Dr. Martha Keil, Director, Institute for Jewish History of Austria - Univ. Prof. Dr. Gerhard Langer, Vice Chair of the Institute for Jewish Studies, University of Vienna - Univ. Prof. Dr. Albert Lichtblau, University of Salzburg, Department of History - Dr. Sabine Offe, Institute of Religious Studies, University of Bremen - Dr. Dirk Rupnow, Director, Institute for Contemporary History, University of Innsbruck - Dr. Heidemarie Uhl, Austrian Academy of Sciences, Institute for Cultural Studies and Theatre History
The letter ended with an offer of talks to Danielle Spera, who accepted it with conditions, which in turn affected appeared unacceptable. Therefore, they reacted with this letter (to my knowledge, then no further response from the Directorate place.)
for the media's response to this internationalization and expansion of the criticism of the approach here , here and still here and here only some of the responses to many.
the Austrian media response stood out by their own profile by Marianne Enigl in research:
The board meeting did not clear assessment of the situation and no information on what is presented, the Supervisory Board for further development. This was evident from the differing assessments made by the two representatives on the supervisory board of interest groups, between the Holding Vienna and the Jewish Jewish Community. While the Vienna Holding (the 'economy mode' of the city, headed by Renate Brauner, is vice mayor, and financial and economic council, which is regarded as the one that Danielle Spera for the museum's director, made "has, the Vienna Holding operates four museums, the House of Music, the Jewish Museum Vienna, the Kunsthaus Vienna and the Vienna Mozart House, but not the oldest and most important, the Vienna Museum) envisioned the line and its the honest efforts accorded a receipt of the holograms, let the religious community with a number of 'expectations' - or should we say - support,' - sit up.
The Supervisory Board meeting in the mirror of ORF Radio Lunch Journal, 2/23/2011 and> which the newspaper PRESS , and the text of a public statement of the Jewish Community.
5 A note on development is a personally addressed to Danielle Spera mail. It manifests itself Wilfried Seipel, former Director General of the Kunsthistorisches Museum, having to take on the outraged criticism of the museum and to Mrs. Spera, which he says against unjustified attacks in protection. Seipel speaks not just as excited citizens, but as President of ICOM Austria, a club who, just like the other museum organization, the Austrian Museum Association, almost never gives its views on pressing public museum issues - and we both organizations hold benefit will that it will be settled only out of diplomatic consideration in saying that the noble public absence, the prerequisite is that out solving the most pressing problems Museum more prosperous in the secretive ministerial government offices to a solution.
The letter would be more not worth mentioning, if it does not already been edited for publication as a specific text, and then circulated by the Jewish Museum, similar to a press release, been handed out in an exhibition at the branch at Judenplatz to the visitors would be. This exhibition was an example of a series of scaled, working copies "of the destroyed holograms that were created at the time of the production process. The title of the exhibition "The Story of an Austrian excitement" (she was just days vom16. February to Sunday, see February 20, 2011) and the exhibition itself, many critics felt a mockery of their efforts to facilitate a factual discussion.
Here the "Media Information" of the museum, which was distributed at the exhibition together with the letter by Wilfried Seipel.
6 (Post, 21/02/2011) To understand why for nearly a month, the question is central to whether the destructive degradation of the holograms and their conservation are now been technically possible or not, we must look at that and how the management of the museum from the beginning, the issue became center of their justification was. Such as meaning: "We have always acted with care and maintenance to try to exhaust all possibilities to the best of my knowledge and belief, though it was - based on expert opinions and advice from relevant companies - the worse was wrong. "We can not reduce the holograms without their destruction. On 09.02.2011 the importance of the holograms is contested: "'These were not Exhibits' ". Danielle Spera responds to the criticism of the destruction of the holograms. The above mentioned" Media Information " (Post, 21/02/2011 ) of the Vienna Jewish Museum on the occasion of the exhibition" The Story of an Austrian excitement is "a very detailed representation, would like to quote from me, because the question of the credibility of the justification of the museum management in light of the recent statement of two in the production of holograms companies involved again, and sharper than previously ordered
Thus the statement said. "There is According to the Jewish Museum Vienna glass experts called in no way to process this type of glass. Applying mechanical pressure, the glass shatters into tiny pieces. > When trying the degradation beginning of January 2011 showed that the glass plates screwed not only in the soil buried steel trusses, but consider writing out or glued were. This fact was before anyone in the Jewish Museum known. The adhesive was after the long period of 15 years so hardened that you release it could not.
So there was no applicable method to solve the glass plates of the truss (problem of the adhesive) or cut them off above the truss (not editable safety glass) .
is to be subject to a . Expert opinion of the commissioned glass company Briza, Vienna, before "(. The company Briza will deny later that they have ever written an opinion See below) And again:" In Jour fixes with the scientific team discussed several times that the holograms in the middle of the largest room on the 2nd floor of the museum was set up, had to be removed during renovations
The holograms -. a technology for displaying content that has not, however, \u0026lt;> enforced - each consisting of two glass plates in their middle of a film is appropriate. "(After the board meeting, the ICG is known, inter alia, that the concept of the permanent exhibition of his time responsible chief curator of the forthcoming reduction of non-informed) was "(...).
" The film between the glass plates were damaged due to their already 15-year life and began to peel away. It was just a matter of time before the holograms had to be broken down museums, because they no longer issue were fit,. was, nonetheless, the Directorate with the utmost care for a way to keep the glass panels looking for. "(One of the one involved in the production of holograms company denies that holograms such, expiration date would have ', and estimates the state of the holograms on the basis of their relative or thing Shortly before her termination as an intact one.)
"After the holograms were anchored to beams below the floor level, could not be detected visually, as it were fixed. There are specialist companies (Glaser, steel) were invited to put their offer, and finally selected from this group, a specialized company. (It is not informed that the company who made the time to build, had put an offer to dismantle that was not considered and it is informed that of all this company was not consulted).
> "It is a standard operation in the museum that installations are planned so that they can be removed. This leads sometimes to situations such as a water you must try in which works of art are rapidly transported out of the house or the floor. That seems - would not happen at the holograms "(The later is called the company that has built up the holograms conflict: the construction provided for the biodegradability) - for any reason whatsoever..
"Probably because the glass plates were from the chief curator who had once planned to issue, not as art but as tools for the visualization viewed content, similar to today, usual technology such as I-pads, monitors, or display cases." This is a set of words (so) by false pretenses is said to have posed but obviously a second function. Namely, to imply that even the originator 'have this part of the exhibition in the holograms not seen anything else but she also sees the line as' instruments 'or' technology ', ie as something that, now out of date' well and happy . could be made with more modern media, that the holograms makes replaceable and expendable "
strange and rather embarrassingly, the sentence because he anyone who knows anything of museum work, shows that he clueless of a basic structure of exhibiting says, so good like everything, no matter how you call it, can become carriers of the Museum are meanings. It can be any, derived discrimination 'of the holograms. (.
Post, 12.2
) The standard was the position of museum director again> (as a defensive attack, and again. The direction of the Jewish Museum, tells us that all are wrong). > As it says there: "Only later, during the excavation works, have been found that the floor to ceiling glass windows were irretrievably with the hologram on film because of the massive anchor in the ground." (Both an employee in the construction of the holograms and the glass company Briza be later confirmed that the holograms together with their anchoring already dissolved from the soil have been his, that does not seem to have been the problem but that the very large and heavy parts - whether real or alleged, which is controversial - not further apart and thus were not abtransportierbar). "Danielle Spera and company secretary Peter Menasse stress that it is not, as the critics claim to" have art trade ": The holograms of portraits and objects were made in 1996 for the permanent exhibition - commissioned by the chief curator Felicitas Heimann-Jelinek and architect Kohl Martin Bauer (he is the man by Gabriele Kohl Fritz Bauer, a curator of the museum). The realignment would Heimann-Jelinek and Kohlbauer should serve. , At the talks the holograms and the demo days were never an issue, "said Spera. She is disappointed human. Heimann-Jelinek and cabbage farmers are now, after the incidents, only make the second floor. Thus it came as Menasse to further delays in construction. "
If it was determined now (in the aforementioned statement by the Jewish Community) that has not been informed Felicitas Heimann-Jelinek at the break of the holograms, as it could be the leader the museum, human disappoint 'by her impending problems during the demolition, concealed? And how then headmistress Spera goes off - one can understand the words differently - to remove their chief curator (and architects) with the withdrawal of the planning for the first floor and they blame for the delay in reconstruction?
modified A week later, the museum's management justified. Peter Menasse, the manager, no woman director Spera can be the first time recognize regret. The Jewish Museum of Vienna commented on the transactions - the first time, with regret> (Post, 18/02/2001 ). Also the 'To-Work register' on the website of the Jewish Museum, which was to be conducted during the renovation, is no longer performed for about 14 days.
Since then, I suppose it is true, there is no significant public statements of the museum more lines. The publicity seems to have temporarily pulled the Vienna Holding has been referred to the board meeting.
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with "It sucks," volunteered the first time an employee involved in the construction of the holograms ( Post from 11.2 )> denied and that should not be the holograms have been degraded. Fully unbeindruckt of its information, that we of course had the holograms together with their anchorage in the soil can detach, which was further debate. Despite the confirmation by the degradation involved Briza glass company that the holograms have already been released from the soil. However, they could not break down further, because the glue was not solved.
contests with different professional backgrounds and the owner of a hologram company, which was involved in the production of the holograms of the Jewish Museum and the extent is also informed about the construction, the impossibility of dismantling. Post, 02/23/2011, \u0026lt;> "blow up". If you can get the holograms?
Heinz Haring, allowed Responsible for the installation of the holograms, owner of the Fritsch Stiassny Glass Technology, now the publication a mail to Director Spera, which prompted a sudden many of their comments in a new light. He clearly states that the company had put an offer to dismantle that he had been notified on 25.1.2011 but that would be offered to complete. Four days after the termination of the hologram is made.
The design had already been chosen on the condition that they may be reduced once again, an adhesive was not used. ( Post, 02/03/2011 ) The informed and clear presentation of Mr. Haring to me after two phone calls, which he took kindly to me seems absolutely believable, shaken the representation of women in central director Spera two points: 1) The holograms were designed so that they could break down again and they also have the time of its destruction have been degraded 2) His company, the ones with the best construction of the hologram holder was familiar was not enough consultation, yet despite quotation charged with the loss.
There was just that not what the Vienna said Holding, as they have certified woman Spera "meticulously examined all variants removal" to.
Wien Holding has known about the Circulating-mail from Mr. Haring and his explosiveness have judged correctly, because even before his letter published somewhere was it reported in a press release of one, relieving ', depicting an opponent Mr. Haring's (till then unknown, that is obviously very short notice obtained) report of 28.2. ( blog from 2.3.).
you really have to take the trouble to keep an eye on the time to understand the explosive nature of the whole process over the blatant contradiction between the information the company and the information from the museum director can. > On 12 Mrs. Spera February announced that it would open in June 2011 because of renovation house again closed to visitors. Because of their bids, it will come to a visit by the company Stiassny, but the proposed dates, either 20th or 21 1, the company can not perform because of their commitments. (See article by Thomas Trenkler from 02/03/2011 in The Standard online). On 21 writes the museum to the company that it would just requested for a postponement. The 21st
But the day of the termination of the holograms ...
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