新冠疫情专刊 | 为未来重构博物馆

Sharing the latest articles of the UNESCO Courier with you.

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COVID-19疫情加剧了气候紧急状况，财富分配不均，社区、国家和地区之间的分歧，同时造成了所谓自二战以来最严重的全球危机。在全球进入COVID-19疫情紧急状态后，许多女性的呼吁都未被我们所听到。因此，教科文组织《信使》杂志在本年度第三期杂志（7-9月刊）以“一个全新的世界，源自女性的构想”为主题邀请全球的女性发出自己的声音，以帮助我们了解这场全球性的危机正在如何影响着我们的社会，又将带来什么后果：我们可以从中吸取什么教训？危机之后的世界又会是什么样子？

Adding to the climate emergency, unequal distribution of wealth, and ever-deepening divides between communities, nations and regions, COVID-19 has created what some are calling the gravest global crisis since World War II. The next issue of the UNESCO Courier, under the theme of “A Whole New World, Reimagined by Women” will give voice only to women, many of whom have gone unheard since the start of the COVID emergency, to help understand how this crisis is affecting our societies and explore the possible consequences: What are the first lessons we can draw? How will the world look like after?

为未来重构博物馆 

Reimagining museums for the future

莎莉·塔兰特 Sally Tallant

皇后区博物馆主席兼执行馆长 

President and Executive Director, Queens Museum

受到COVID-19疫情的影响，世界各地的博物馆纷纷关闭。这意味着这些机构必须在没有参观者能够进门的情况下快速学会如何远程运营、如何持续保持自身的现实意义和影响力。文化和博物馆在当代社会中的作用已经有了很大变化。现在，要留住那些待在家里不能出门的参观者，数字化内容必不可少。适应观众人数的减少、在博物馆中保持社交距离、确保工作人员和公众的安全，所有这些挑战都要求必须从根本上改变文化体验。波谲云诡的特殊时期需要人们在各个层面上快速作出决策。 

Across the globe, museums have been closed due to the impact of COVID-19. This has meant that these institutions have had to learn quickly how to operate remotely and to remain relevant and visible whilst their buildings remain out of bounds. The role of culture and museums in our society is already going through rapid change. Digital content is now essential for maintaining audiences confined to their homes. The challenges of adapting to reduced visitor numbers, social distancing in the museum, and ensuring staff and public safety mean that the experience of culture will be radically changed. These unpredictable times necessitate quick decision-making at all levels. 

人人都面临挑战，但就在此时此刻，全球文化界的领导者们体现出了真正的集体观念和互助协作精神，他们正在携起手来，共享信息和知识。纽约的一些小团体和规模较大的联盟会定期召开会议。来自不同文化机构的200多人每日聚在一起，一方面收集和分享信息，一方面四处游说。我们正在摸索创新方法，帮助机构度过这场难关，同时鼓舞地方和全球同业者。 

Globally, cultural leaders are working together to share information and knowledge at this time and there is a real sense of community, support and collaboration in spite of the challenges we are each facing. In New York, there are regular meetings of small groups and much larger coalitions. Over 200 people from cultural organizations meet daily to gather and share information and lobby together. We are finding innovative ways to keep our institutions afloat and to inspire our communities locally and globally.

必须改变模式 

A need to change models

©️Shutterstock 皇后区艺术博物馆

在全面恢复常态之前，拥有大笔捐赠和馆藏丰富的博物馆比小型博物馆的处境会好一些，后者全靠支持者的捐款，而这些支持者本身很可能损失惨重。所有博物馆都将分析各自的收入来源。仰仗旅游业和门票收入的大型博物馆必须调整运营模式。小型博物馆的优势将显现出来——行动敏捷，习惯于用少量预算开展工作，更能满足邻里和社区的需求。

Until there is a complete recovery, museums with large endowments and collections to draw from will be in a better position than small ones, that rely on contributions from supporters, who themselves will likely experience deep losses. All museums will be analysing their income streams. Large museums that depend on tourism and admission fees, will need to change their models. Small museums will have the advantage; we are nimble, used to working with small budgets and more attuned to the needs of our neighbours and communities.

COVID-19疫情彻底搅乱了这个世界，就在我们疲于应对各种挑战的同时，我们也在考虑博物馆的未来发展。博物馆所在的皇后区是纽约市的疫情“震中”，同时也是最多元化的城区。在五个城区当中，皇后区的居民可以说是最脆弱的。他们当中有许多人属于必要工作者——出租车司机、超市备货员、食品工人和外卖小哥，有很多人靠打零工度日。这些工作通常不提供医疗保险、福利或就业保障。还有很多人是非法移民，他们走投无路，只能外出打工。

As we navigate the challenges of a dramatically altered world due to the impact of COVID-19, we are thinking about the future of the museum. Queens, the city’s most diverse borough, where the museum is located, was at the epicentre of the pandemic in New York. Its neighbourhoods are among the most vulnerable in the five boroughs. They include many of our essential workers – they drive cabs, stock supermarkets, make and deliver food, and work in the gig economy. Often, their jobs do not offer health insurance, benefits or employment protection. Many are undocumented immigrants and do not have the luxury of staying home and not working.

在提供公平资源和医疗保健方面出现的系统性政治失误，导致这个社会缺乏同情和关爱，不懂得尊重他人，不重视多样性。社区中的劳工阶层苦难深重。

There has been a systemic political failure to provide equitable resources and health care, and this has led to the development of a society that lacks empathy, care and respect for people and for diversity. Working class communities in our neighbourhoods are suffering disproportionately. 

我们目前的生活显然充满了不确定性，并且面临着许多问题：我们如何才能回归博物馆？能够再次相聚在公共场所，对民众来说意味着什么？为保障我们的博物馆、员工和公众的安全，我们需要采取哪些措施？我们正在与皇后区的同事合作，深入社区了解具体情况和需求。我们必须恢复元气，修补裂痕，治愈伤痛，重建联系；我们必须学会如何在满足社区对于关爱的诉求和实际需求的同时，打造出富有成效和令人愉悦的空间。

Now we are living with a palpable precarity. We are faced with many questions: How will we make our way back to the museum? What will it mean for people to gather once again in public places? What measures will we need to take to make our spaces safe – for our staff and for the public? Together with my colleagues in Queens, we are working with the community to understand what is relevant and what is needed. We will need to recover, reconnect, repair, heal; we will need to learn together how we can generate productive and joyful spaces, while responding to the care and practical needs of our communities.

展出现有藏品 

Showcasing existing collections

©️Shutterstock Turin, Italy

皇后区博物馆的历史和位置，可以帮助我们了解如何设计未来的博物馆模式，如何制定艺术家、教育工作者和社区支持方略。这里有13000多件藏品供我们讲述过往，用历史的断章启迪未来。我们将邀请艺术家、策展人和公众来共同设计展示和陈列方式，在碰撞中激发出这些藏品的生命力。

The history of the Queens Museum, and its location, can provide a guide to understanding how we might create a relevant model of a Museum for the future, and develop strategies to support artists, educators and our communities. The collection of over 13,000 objects enables us to tell stories that will help us to inform our future, using the fragments of the past. We will invite artists, curators and the public to agitate and activate its content to make exhibitions and displays. 

皇后区博物馆成立于1972年，位于纽约市大厦内，这里曾是为1939—1940 年世界博览会特意建造的纽约市展馆。当年那场博览会是在大萧条（1929—1939年）时期举办的，旨在激发公众信心和重振经济。博览会的主题——“明日世界”突显了对于未来的乐观与期盼。1946至1950年，成立不久的联合国大会就设在这里，后来才迁至曼哈顿的办公地点，并沿用至今。

Founded in 1972, the Museum is located in the New York City Building, which was built to house the New York City Pavilion at the 1939-1940 World’s Fair. The Fair was planned during the Great Depression (1929-1939) and intended as an uplifting project for the public and for the economy. The theme, The World of Tomorrow, emphasized this optimism and hope for the future. From 1946 to 1950, the building housed the General Assembly of the newly-formed United Nations until the site of the UN’s current home in Manhattan became available.

这里曾发生过很多重要决定，包括设立联合国儿童基金会（儿基会）。大厦里还曾建有一座溜冰场。为纪念这段历史，凭借这些来自周边公园和大厦内部关于休闲娱乐的记忆，我们正在着手建立一个儿童博物馆。

Many important decisions were taken  there, including the establishment of the United Nations Children’s Fund (UNICEF). By way of honouring this history, we are developing a Children's Museum, which is inspired by the history of recreation and play in the surrounding park and in the building, which was also once used as an ice rink.

以往的做法是聘请艺术家进驻机构，并与社区合作。这种做法可以指点我们再次确立文化艺术的必要性，肯定文化艺术对于社会及其复兴具有重要意义。为推动复兴，我们需要采用新的财务模式和新的税务计划。

The strategies of the past – of employing artists to work together with communities and in organizations – can provide us with inspiration for how we might once again assert culture and the arts as an essential industry and central to society and its recovery. We will need new financial models and new tax initiatives to aid recovery.

邀请作家、设计师和建筑师献计献策 

Writers, designers, architects, invited to contribute

1939年，正值富兰克林·D. 罗斯福总统推行“新政”，为筹办世界博览会，“新政”中的以工代赈方案出资兴建了许多项目，创造了大量就业机会，包括在大萧条过后鼓励艺术创作。通过多种方案，艺术家们为政府大楼、社区中心和机构创作艺术作品并获取酬金，在那些年里，数以千计的艺术家获得了就业机会。这些做法和传统为美国的几代艺术家和策展人提供了依据。

For the 1939 World’s Fair, many projects were produced through President Franklin D. Roosevelt’s New Deal work-relief programmes, which created employment, including artistic production in the wake of the Great Depression. Artists were paid to create work for government buildings, community centres and institutions through various programmes, which created employment for thousands of artists over the years. These initiatives and histories continue to inform generations of artists and organizers in the US.

我们如今面临的前景一片黯淡——大规模失业，经济衰退，难民危机日益严重，全球陷入公共卫生危机。我们必须明白，在这个瞬息万变的世界中该如何生活和工作，该如何承受共同的伤痛——失去挚爱，因气候紧急事件而丧失栖息地，永诀某种生活方式。

Today, we face the prospect of mass unemployment and an economic recession, a growing refugee crisis, as well as living in the midst of a global health crisis. We will need to develop an understanding of how we can live and work with a constantly shifting world and how we can together face collective grief – grief for the loss of loved ones, loss of habitat due to the climate emergency, and grief for the loss of a way of living. 

我们从中学到了什么？重新构建博物馆意味着什么？我们需要掌握哪些工具才能创建既相关又实用的机构？在皇后区博物馆，我们坦然接受当前的不确定性，并且相信艺术家、作家、设计师、诗人和建筑师可以帮助我们重建博物馆。我们正在探索一种新的博物馆模式，将艺术家、教育工作者和组织者作为博物馆的核心。我们将与当地文化界、教育界和社区伙伴携手并进，创造条件来支持艺术创作、创意和协作。我们将聘请来自本地社区的艺术家，提供工作空间、支持、资源、技术辅助和辅导，开展代际对话和国际对话。我们还将重新规划博物馆的运营方式，将重点放在现场展示和社区展出。

So, what have we learnt, what does it mean to reimagine a museum and what tools do we need to be able to create relevant and useful organizations? At the Queens Museum, we will embrace the uncertainty of this moment and trust that artists, writers, designers, poets and architects can help us to remake the museum. We are developing a model of a museum that puts artists, educators and organizers at its centre. We will work in coalition with cultural, educational and community partners locally and create the conditions to support the production of work, ideas and collaboration. We will employ artists from our communities and will provide studio space, support, resources, technical support and mentors to create intergenerational and international conversations. We will reimagine how the museum can operate and focus on production on-site, and in our neighbourhoods.

教育是我们开展工作的核心。我们将继续开发数字内容，向外广为传播，为公众彼此联络和亲密接触创造难得的机会。我们将坚定地立足本地，同时将业务拓展到国际范围。

Education is at the heart of our work and we will continue to develop digital content and will broadcast from the museum as well as convene and create much needed moments of connection and intimacy. We will be hyper-local and international in our reach.

以艺术为桥梁

Connecting through art

©️Shutterstock 纽约市皇后区

皇后区拥有多元文化传统，这里的居民使用着160多种语言。这种多样性将体现在艺术创作、教育和社会习俗中。另一方面，在能够展现皇后区社群背景的不同领域，或是在与世界各地多元文化社区和城市开展对话的过程中，关于创作内容的讨论和关于本地生活的描述都将通过数字方式呈现给全球观众。

Queens is multicultural in its traditions, and over 160 languages are spoken in the borough. This diversity will be reflected in the art that is produced and education and social practice that takes place. At the same time, the dissemination of what is produced, and descriptions of what takes place in the borough, will be communicated digitally to a global audience – both in places that reflect the backgrounds of the Queens communities, and in dialogue with other culturally diverse neighbourhoods and cities around the world.

美国女作家厄休拉·勒古恩（Ursula K. Le Guin）在1969年发表的科幻小说《黑暗的左手》中写道：“永恒而难以承受的不确定性，是成就生命的唯一真谛；你永远不知道接下来会发生些什么。”

“The only thing that makes life possible is permanent, intolerable uncertainty; not knowing what comes next,” wrote the American author Ursula K. Le Guin in her 1969 science-fiction novel, The Left Hand of Darkness.

勒古恩如椽巨笔之下那个曾经令我们忧惧的反乌托邦时代是否已经来临？我希望能够回归社区，恢复和重构文化空间，再次通过文化艺术实现创作和建立联系。我希望这段经历让我们学会了如何克服距离，如何为交流、协作、建立亲密关系和社区建设找到新的方法。

Are we living in the dystopian future we feared and that was described so eloquently by Le Guin? I hope that we can find our way back to our communities. I hope that we can recover and reimagine our cultural spaces and once again create and connect through art and culture. I hope that this experience has shown us how we can overcome distance and find new ways to communicate, collaborate and build proximity and community.

我知道，在今后持续数月，乃至数年的愈合与恢复过程中，博物馆和文化都将起到重要作用，并将为所有人提供必要的支持。我期待着皇后区和世界其他地方的同业者都能够找到适合自己的位置。

I know that museums and culture have an important role to play in the healing and recovery that we will all need in the coming months and years, and look forward to us finding our place together with our communities – in Queens and elsewhere.

 “坚韧艺术”是联合国教科文组织发起的一项全球运动，旨在提升受危机重创的创意产业和文化机构的抗冲击力与可持续性。

Discover ResiliArt, a global movement initiated by UNESCO. It aims to increase the resilience and sustainability of the creative industries and cultural institutions, which have been hit hard by the crisis.

“坚韧艺术”运动 相关信息：

https://zh.unesco.org/news/mian-dui-xin-guan-yi-qing-jiao-ke-wen-zu-zhi-fa-qi-jian-ren-yi-zhu-yun-dong-zhi-chi-yi-zhu-jia

新冠疫情专刊 | 一个全新的世界，源自女性的构想

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