Katarzyna Jagodzińska – författare

Museums and Centers of Contemporary Art in Central Europe is a comprehensive study of the ecosystem of art museums and centers in the Czech Republic, Hungary, Poland and Slovakia. Focusing on institutions founded after 1989, the book analyses a thirty-year boom in art exhibition space in these regions, as well as a range of socio-political influences and curatorial debates that had a significant impact upon their development. Tracing the inspiration for the increase in art institutions and the models upon which these new spaces were based, Jagodzińska offers a unique insight into the history of museums in Central Europe. Providing analysis of a range of issues, including private and public patronage, architecture, and changing visions of national museums of art, the book situates these newly-founded institutions within their historical, political and museological contexts. Considering whether - and in what ways - they can be said to have a shared regional identity that is distinct from institutions elsewhere, this valuable contribution paints a picture of the region in its entirety from the perspective of new institutions of art. Offering the first comprehensive study on the topic, Museums and Centers of Contemporary Art in Central Europe should be of great interest to academics, researchers and postgraduate students engaged in the study of museums, art, history and architecture.

Participation and the Post-Museum discusses the concept of participation in museum practice, as well as ideas that constitute the paradigm of the post-museum.Based on extensive empirical research conducted in thirty diverse Polish museums and drawing upon her own museum practice, the author considers whether museums are democratising, or whether this is an illusion that obscures the reinforcement of the authoritarian position that is historically inherent to museums. Referring to different areas of museum practice, the author analyses not only ‘how’ and ‘why,’ but mostly ‘if’ museums are capable and willing to share their power with the public – and how it affects their identity. Drawing on literature from the fields of political and social sciences, as well as cultural and museum studies, on participation and applicability of the term in museums, it becomes apparent that using participatory tools, even when they empower the public to co-author, collaborate, and take co-responsibility, does not necessarily lead to participatory museums.Participation and the Post-Museum argues that museums rooted in the modernist tradition are usually not ready to share power and responsibility with non-experts from outside the museum world. It will be of interest to academics and students of museum studies, museum professionals, culture management, and heritage studies around the world.

Participation and the Post-Museum discusses the concept of participation in museum practice, as well as ideas that constitute the paradigm of the post-museum.Based on extensive empirical research conducted in thirty diverse Polish museums and drawing upon her own museum practice, the author considers whether museums are democratising, or whether this is an illusion that obscures the reinforcement of the authoritarian position that is historically inherent to museums. Referring to different areas of museum practice, the author analyses not only ‘how’ and ‘why,’ but mostly ‘if’ museums are capable and willing to share their power with the public – and how it affects their identity. Drawing on literature from the fields of political and social sciences, as well as cultural and museum studies, on participation and applicability of the term in museums, it becomes apparent that using participatory tools, even when they empower the public to co-author, collaborate, and take co-responsibility, does not necessarily lead to participatory museums.Participation and the Post-Museum argues that museums rooted in the modernist tradition are usually not ready to share power and responsibility with non-experts from outside the museum world. It will be of interest to academics and students of museum studies, museum professionals, culture management, and heritage studies around the world.

This book provides a critical examination of the underexplored concept of academic heritage through a detailed case study of the Collegium Maius Museum at the Jagiellonian University in Kraków, Poland.The book examines the theoretical boundaries of academic heritage by exploring the collections and institutional narratives of university museums, comparing practices at the Jagiellonian University Museum with other prominent university museums. Chapters also explore storytelling and narrative construction at the Jagiellonian University Museum by outlining the museum’s role in shaping the university’s image and studying the politicization of the legacy of Nicolaus Copernicus. The book also addresses overlooked aspects of academic heritage, such as multisensory experiences and the interrelationship between university and urban heritage.This volume will be of interest of researchers and academics in museology, critical heritage studies, and the history of higher education, as well as practitioners working in academic museums.