How men use museums


Photo:By FilipVetter [CC BY-SA 3.0], from Wikimedia Commons

Museums’ statistics internationally show that men are under-represented as visitors in public museums, except for war museums and technical museums. Men are however statistically over-represented in museum collections and networks as e.g. artists, directors, benefactors and as re-enactors in historical re-enactments and living museums. The starting point for our interest is not that these statistics are necessarily problematic, or to identify ‘winners’ and ‘losers’ within museum use. Rather we wish to identify and discuss potential qualitative differences in how different sexes use museums and how museums communicate (intentionally and un-intentionally) with the gender of the visitor. By focusing on ‘how men use museums’ we want to draw attention to a hitherto neglected research area in regard to uses of the past and add to existing research results.

Confirmed speakers and discussants

  • Theano Moussouri, Senior Lecturer in Museum Studies, University of London, UK
  • John Falk, Executive Director, Institute for Learning Innovation, Sea Grant Professor Emeritus of Free-Choice Learning Oregon State University, USA
  • Svend Åge Madsen, psychologist, Head of research at Klinik for Psykologi, Pædagogik og Socialrådgivning at Rigshospitalet, DK
  • Julie Rokkjær Birch, Museum Curator, Kvindemuseet (Women’s Museum), DK
  • Marianne Grymer Bargemann, Head of Learning and Interpretation, ARoS Aarhus Kunstmuseum, DK
  • Hans Dam Christensen, Professor, School of Information Studies, Copenhagen University, DK
  • Camilla Skovbjerg Paldam, Associate Professor and project coordinator for the research unit on Sexuality Studies Aarhus University, DK
  • René Schrøder Christensen, Head of Research and Collections, PhD, Jernbanemuseet (the Danish Railway Museum)

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Konference: Museum: A Culture of Digital Copies


This conference takes its point of departure in the apparently obvious paradox: Museums are commonly described as storehouses for the real and authentic object, but have eagerly been embracing new copying technologies since the beginnings. On the one hand, digitalization can be seen in continuation of older practices. On the other hand, digital technologies apparently offer the possibility of reproducing, recreating, reconstructing, re-enacting, replicating and disseminating originals and copies in an abundance of new (and mixed) ways.

In order to unfold this paradox, we will address the following key questions: How can these changes in new reproduction technologies help us pose new questions to the history of museums and collections? Are they altering the status of objects and collections? Are the roles of museum users and the work of museum professionals being redefined as curatorial agency with digital copies is not limited to the latter? What are currently the best digital museum practises and how do they influence the museum institution and its users.

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