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    Aluminé Rosso
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    © All Rights Reserved
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    19 views14 pages

    Huyssen Memories

    Uploaded by

    Aluminé Rosso

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 14
    it. Twilight Memories Marking Time in a Culture of Amnesia Andr: 2 Haysson Routlodge New York L Escape From Amnesia The Museum as Mass Medium ‘The battle against the museum has been an enduring trope of modernist culture. Emerging in its modern form around the time of the French Revolution that first made the Louvre into a museum, the museum has become the privileged insti- tutional site of the three centuries old “querelle des anciens et des modernes” (quarrel of the ancients and the moderns). It has stood in the dead eye of the storm of progress serving as catalyst for the articulation of tradition and nation, heritage and canon, and has provided the master maps for the construction of cultural legitimacy in both a national and a universalist sense.!In its disciplinary archives and collections, it helped define the identity of Western civilization by drawing external and internal boundaries that relied as much ‘on exclusions and ‘arginalizations as it did on positive codifications.? At the same time, the modern museum has always been attacked as a symptom of cultural ossification byall those speaking in the name of life and cultural renewal against the dead weight of the past. ‘The recent battle between moderns and postmoderns has only been the latest instance of this querelle But in the shift from modernity to postmodernity, the TwiicHT MeEMontEs. 1" ‘museum itself has undergone a surprising transformation: perhaps for the fst time in the history of avant-garde, the museum in its broadest sense has changed it oe from whipping boy to favorit son in the family of clturalinsti- tutions. This transformation is of course most visible in the happy symbiosis between postmodern architecture and new museum buildings. The sicces of the museum may well be one ofthe salient symptoms of Western culture in the 190s: ever more muscurs were planned and built asthe practical corollary to the “end of everything” discourse? The planned obsolescence of consumer soci- «ty found its counterpoint in a relentless museummania, The museums role as site ofan citist conservation, a hattion of tradition an high cultare gave way to the museum as mass medium, as a site of spectacular mise-en-séne and oper atic exuberance. This suprising role change cl for reflection, 3 it seems to havea. profound impact on the poli of exhibiting and viewing. Put more concretely: the old

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