000			01946nam a22002537a 4500
003			ZW-GwMSU
005			20221024160041.0
008			221024b |||||||| |||| 00| 0 eng d
040			_aMSU _cMSU _erda
100			_aSTRACHAN, Aileen
245			_aVeiled practice _breflecting on collaborative exhibition development through the journey of one potentially contentious object
264			_aPhiladelphia _bRoutledge _c2013
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
440			_vVolume , number ,
520			_aThis paper examines work with a potentially contentious object – a sculpture called Veil, as part of the Curious project at St Mungo Museum of Religious Life and Art in Glasgow, Scotland. We will analyse why the kind of conflict which Bernadette Lynch sees as central to democratic practice in the dialogic museum did not occur in this collaborative exhibition development work. The model of museum as democratic space focuses on process, issue-based working, community knowledge and the curator's role as facilitator. These are often theorised as being in opposition to product, an object focus, curatorial knowledge and the curator's role as expert. The article analyses the ways in which we have embraced complexity to negotiate between: museums as safe spaces for discussion and museums as a coercive authority; object and issue focus; community and curatorial knowledge; process and product; and the curator as expert and the curator as facilitator. We highlight that embracing complexity has led to richer interpretation, greater representation of a range of voices and participants, audience development and candid debate around a contentious issue.
650			_a Islam
650			_acomplexity
650			_acollaborative exhibitions
700			_aMACKAY, Lyndsey
856			_uhttps://doi.org/10.1080/09647775.2012.754981
942			_2lcc _cJA
999			_c159873 _d159873