"virtual museum" in kindergarten as a tool for successful socialization and development of preschool children. Analysis of the implementation and role of museum projects on the example of the Federal State Budgetary Institution of Culture 'State Russian Museum' Project

OUR VISION

GREAT PLACE TO START

Development of our assets

CALL

Introduction

. Museum as a socio-cultural institution

.1 History of the first modern museum

.2 Development of museum business in Russia

.3 Classification of museums and their features

.4 Characteristics of the main areas of work of museums

.4.1 Research work of museums

.4.2 Scientific fund work of museums

.4.3 Exhibition work of museums

.4.4 Cultural and educational activities of museums

.5 Project approach in museum activity and its features

.6 Regulations

. Analysis of the implementation of museum projects on the example of the State Russian Museum

.1 Analysis of the stages of creation and development of the Russian Museum

.2 The Russian Museum in the Modern World

.3 Analysis of the main activities of the Russian Museum

.3.1 Exhibition activities, organization of exhibitions

.3.2 Publishing

.4 Project: Russian Museum: virtual branch

.5 Sources of funding for the activities of the Russian Museum and ways to increase the budget

. Analysis of the problems of museum activity and ways to solve them

Conclusion

Bibliography

Introduction

Conclusion

Bibliography

1.1 The history of the first modern museum

1.2 Development of museum business in Russia

1.3 Classification of museums and their features

1.4 Characteristics of the main areas of work of museums

1.5 Project approach in museum activity and its features

1.6 Regulations

.1 Analysis of the stages of creation and development of the Russian Museum

2.2 The Russian Museum in the modern world

2.3 Analysis of the main activities of the Russian Museum

2.4 Project: Russian Museum: virtual branch

2.5 Sources of funding for the activities of the Russian Museum and ways to increase the budget

Planned coverage:

What we have:

Educational Resources:

Outside the walls of the museum:

Our employees:

Our collections:

Our information:

Our buildings:

We accept the challenge in the social sphere:

We accept the financial challenge:

Infrastructure improvement opportunities:

We take on the environmental challenge:

Audience:

Program activities:

Exhibition spaces:

Visitor Experience:

Digital platforms:

Volunteering:

Communication:

Central London:

Face to face:

Cooperation:

Collection value:

Scientific research:

Development of contacts with schools:

Programs to attract families:

Commercial aspect:

Visitor role:

Fundraising:

Sustainability:

1.4.1 Research work of museums

1.4.2 Scientific fund work of museums

1.4.4 Cultural and educational activities of museums

.3.1 Exhibition activities, organization of exhibitions

2.3.2 Publishing

home › Light and glass › "virtual museum" in kindergarten as a tool for successful socialization and development of preschool children. Analysis of the implementation and role of museum projects on the example of the Federal State Budgetary Institution of Culture 'State Russian Museum' Project

The Museum of London was opened in 1976 and during its existence has become one of the main educational institutions dealing with the history of the city from ancient times to the present. Perhaps it would have continued to be an ordinary state museum, if in September 2012 Sharon Ament had not taken over as director, proposing to reorganize the familiar museum complex.

The strategic plan for the development of the Museum of London (Museum of London) published below is a description of the real actions of the museum team for the next five years. A clear understanding of the original context, awareness of all the complexities of implementation of the plan and the desire to change should help the Museum of London achieve its goals and inspire other public institutions to change by its example.

Our passion for exploring London is infectious and is born from the ever-changing history of this great city. We want to evoke the same feeling in every Londoner with early years life and teach him to think about London in a new way.

The strategic plan published below defines vector of our development for the next five years. It is a kind of map of our actions, including various outputs, but ensuring that the Museum of London presents only the best to its visitors.

Like London itself, our ambitions are great. The volatility of today's world requires us to have a clear vision of future plans that can capture the imagination of our partners, supporters and accomplices who share our courage and determination. With ongoing support from the Greater London Authority, the City of London Corporation and others government organizations, The Museum of London will jump ahead into a ‘long and secure’ future by 2018.

OUR STRATEGIC OBJECTIVES:

1. Attract more visitors
2. Become more recognizable
3. Expand your thinking
4. Involve every student in the museum
5. Get on your feet

BY 2018 WE:

We will welcome 1.5 million visitors annually to our two museums, the Museum of London at London Wall and the Museum of London Docklands
Let's be one of the ten hottest 'projects' in London - more people will know who we are, where we are and what our mission is
We will increase the number of studies that focus on exhibits from our collections and expand our research activities
We will bring over 850,000 schoolchildren to the museum and inspire them to explore
We will increase our total income to 100 million pounds

We are building a new strategic development plan based on a rich and successful work experience. IN last years we have been able to increase the museum's visibility, expand its content, create a range of professionally recognized curricula and ultimately make a real difference to London's economy and society.

600 thousand visitors per year
5 million per year Views Collections Online
17 thousand friends on facebook and 29k followers on twitter
400 thousand downloads of our app Streetmuseum

World renowned collection of over one million items
The Galleries of Modern London is the museum's most ambitious project, opening in 2010 at a cost of £20.5 million
The London Archaeological Archives and Research Center (LAARC) is the world's largest and premier resource on the early history of London
90% of all research on the early history of London is carried out with the assistance of our museum
66 thousand objects from the museum's collection are available thanks to Collections Online

Every year we host 10,000 preschoolers with their parents or caregivers and hold special classes for them.
School-aged children make up a high percentage of our visitors (15%) and this is more than in any other national museum Great Britain
We cooperate with 80 universities, interacting with 12 thousand students annually
Our online educational resources get 1.6 million views annually
Every year we process 6,000 requests and 2,000 research visits related to our collection.

As a main partner of the Arts Council of England, we are trying to innovate in the work of the museum sector
Our Volunteer Inclusion Program has helped 370 homeless Londoners develop job skills to integrate into society
We share our experience in creating an ideal model of a city museum with visiting delegations from Brazil, Korea, France and Australia
Our commercial revenue doubled from 2010 to 2013
Our green roofs, energy efficient lighting and rainwater harvesting have reduced our costs and environmental impact

Our people, our collection, the information we share, and our buildings will be key to the success of this strategic plan. We know that with sound management and smart investments, the Museum of London will be able to maximize all its advantages.

Being creative, entrepreneurial and ready to work in a team, our employees and volunteers will bring the necessary diversity to the work. They are specialists, fundraisers, curators and restorers who represent our ideas and are ready to bring them to life. Given the skills of each of them and the willingness to experiment, we can identify potential areas of innovation: digital technologies, commercial sphere and scientific research.

Our collections are officially recognized as internationally significant and are an integral part of the British heritage. We store more than a million objects - from ancient Roman bikinis to the swim trunks of a young Olympic champion Tom Daly. Thoughtfully adding to our collection and providing access to items are important elements of our strategic plan, so we are prepared to make some pretty tough decisions about streamlining and ensuring the collection has tested storage standards.

We know how to bring the value of the past into the present. This knowledge gives meaning to our collection, which should become an invaluable online resource for the modern world. We want to continue to be a research center for the history of the capital. By investing in information technology, from our website to commercial products such as ticketing and events, we will increase our efficiency and ensure that the Museum of London remains relevant in the future.

We have three very different buildings: the Museum of London (in the city wall building), the Docklands Museum and the Hackney Museum, each of which includes public spaces, green spaces, shops, offices and more. Our long term goal is to vacate the Mortimer Whitler House in Hackney and thereby reduce our number of buildings to two. By lowering operating costs, we will be able to expand the display at the London Wall building and present it in a new way to our visitors. To implement projects to improve infrastructure, we will conduct fundraising. This will help us offset costs that are not funded by the City of London Corporation.

We are fully aware of the limitations we will face in the next five years. Growing social and financial pressure creates difficult conditions for the implementation of our ambitious projects. But we can successfully achieve the planned results by adhering to a clear strategy that is open to and addressed to the general public.

In an era of rapid change in a society that constantly faces many challenges, we are determined to change the lives of Londoners. We will play a leading role in education in the capital; provide free admission to our museum; we will contribute to the process of understanding by the residents of the capital what it means to be a citizen, we will tell how our nation developed, and what impact it had on the world around.

We will promote the development of various skills from our visitors through the system of volunteer programs and projects. We will support to all London museums and archives in need of it. Ultimately, we hope to strengthen social cohesion, develop creativity and improve the economic situation, not only in London, but throughout the UK.

As we live in a financially constrained environment, we understand that we must maintain prudent and responsive financial policies that ensure the careful and respectful attitude to money. We will develop the commercial component of our activity, actively approaching fundraising and attracting new sources of income, including grants. We will ensure strict control over the expenditure of funds and human resources. We are ready to go to serious restrictions in order to stand firmly on your feet.

Like most museums, our buildings require a significant investment. Now we want to change the facade of London Wall, as its current state does not correspond to the rich interior of the museum. We want to create single cultural center with walking routes, uniting the Museum of London, the Barbican area and the Guildhall School of Music and Drama.

Until now, we have been innovators in the use of ecological systems in the functioning of buildings. We strive to be a model for environmental improvement in London. Now our main goal is to reduce energy consumption.

VISITOR ATTRACTION

We want people to be inspired by London, the greatest city in the world. Attracting more visitors will expand our impact on both individual Londoners and society as a whole.

In everything we do, we focus on our audience. Only this approach can provide us with an increase in the number of visitors to 1.5 million per year by 2018. As part of our We Are London visitor engagement strategy, we will keep the public informed about every aspect of our business. We need traffic growth to achieve our goals, and we will begin to build our activities, dividing the entire audience into several categories.

We plan to maintain and increase our audience by organizing innovative exhibitions and events related to contemporary art that could surprise the viewer. In our plans build a new space for temporary exhibitions, expand the permanent exhibition and develop various options for tours of the collections. We are currently working on organizing the first showing of the Cheapside Treasure, exhibitions about Sherlock Holmes (Museum of London) and contemporary art in London (Museum Docklands).

In 2010, we opened the hall of modern London that has become popular. Our focus now is on transforming the space on the top floor, which presents the history of London from prehistoric times to the fire of 1666. Its change is one of the central points of our program. The Roman Hall will present the results of the latest research on the history of London in the Roman era, and in the halls vacated as a result of the reorganization of the exhibition space, the era of Shakespeare's London and the Cheapside Treasure will be presented. The Docklands Museum will be expanded with the addition of a gallery, which will now be the starting point for exploring the renovated museum.

We want our visitors to have only the best impression of us, so our employees interact with guests throughout the entire visit to the museum. Despite the growing audience, we will maintain the high quality of work. We will create more spaces for informal communication and improve options for our youngest visitors.

The Internet provides museums with an opportunity to reach new audiences. Our Collections Online project is already attracting millions of visitors to the site, and the number of downloads of the Streetmuseum app is constantly growing. One of our priorities remains to provide online access to information about our collection. The development of a new website, support for mobile access to our resources and further development of our applications are the main points of our digital strategy.

We want to give volunteers the opportunity to learn new job skills, improve their career prospects and understand the city by making a real difference to the way the museum works with their energy and talent. With the financial support of the Arts Council, we will implement a new volunteer strategy, involving not only the LAARC program, but also the London Team (the mayor's volunteer program), consisting of ordinary citizens.

BECOME MORE RECOGNIZABLE

We want the public to know who we are, where we are and what we do. As the only museum about London, we want to create a place where anyone can get the information they need or participate in the discussion of city life.

How to be heard in a big city like London? We want to be more visible in the bustling cultural market of the city: to appear in familiar and unexpected places where we are not used to being seen. Such a policy would require significant investment, but it is necessary for us if we want to expand our audience.

We want to become a center of information about the city, a place where people turn for knowledge. We will establish a dialogue with the city authorities and we will talk about actual problems ah city. We will include in this conversation all the people who live here, work, and those who simply feel at home in London. We want to explore London, its unique ability to become an adventure and a discovery. We will talk about who a Londoner is and what it means to be one.

We are physically connected to London and we want this connection to become more visible. Since we are connected with the Barbican area and the school of music and drama, we have the opportunity to organize a cultural center. We plan to establish partnerships with St. Paul's Cathedral and Farringdon Station.

Collaboration with the Greater London Authority, the City of London Corporation, the Arts Council of England and other city organizations will raise our ranking in the cultural sector of London, the world's leading city. By establishing partnerships with all museums, we will be able to exchange skills with them, increasing the level of professionalism. This will allow us to further establish contacts with European museums, reaching the international level, and receive funding from the EU.

FLEXIBLE THINKING

We want to learn and teach to think big. How we present the collection to visitors, what it includes, all our research and actions must somehow be related to "serious" questions about London and its place in the world.

The new strategy for filling the collection will change our work. Since we want to primarily interact with modern London, the strengths and weaknesses in our collections will be clearly defined. We will be more deliberate in purchasing only those objects that can become the 'stars' of our collection in the coming years.

The information we present and discuss touches on almost every aspect of London life. We want to expand our intellectual impact by opening the collections to anyone who can help us create compelling, rich contemporary content. We need to have a much larger academic environment and find funding for research. To do this, we want to organize a highly qualified Academic Committee that will oversee research at the museum and involve more students from our partner universities in this work.

Immediate goal: Strategic partnership with MOLA, the world's largest archaeological museum, where we will look for new ways to connect people and London through archeology.

ATTRACT EVERY STUDENT

Our main social task is to work with young Londoners. We want all children to be fascinated by the history and heritage of their hometown.

Through the schools we can interact with every community in London. Our collections are real things available to every child, regardless of his age and physical abilities. When interacting with them in the museum, they acquire magic that is not found in school classrooms.

Since our main task is to attract the younger generation to the museum, we are ready to rethink the model of interaction with visitors that we are accustomed to, bringing to work more games. We want school teachers to bring their students to us and teach them here to understand the city and the country. With the help of the Greater London Authority we will develop the Clore curriculum and with the City of London Corporation we will develop our educational strategy.

We want, that more families after school they came to visit us at the museum. To do this, we need to create a place where the child could feel comfortable and his actions would be encouraged. We plan to refurbish Mudlarks, a space for schoolchildren and their parents in the Docklands Museum, making it useful for children under 5 years old.

STAND UP STRONGLY

We strive to create a self-sustaining museum, but state funding remains vital for us so far. Now our task is to increase the income of the museum through the expansion of commercial activities and grants that will allow us to implement our strategic plan.

Our finance departments are now focusing on allocating funds to the most important areas of work, but we could do things differently. With the introduction of commercial components in all areas of our activity, including trade and catering, we will be able to obtain new resources for the existence of the museum and create a new clientele.

We give every visitor the opportunity to contribute to the museum in various ways. Everything we offer in our stores, cafes and restaurants must exceed the expectations of our guests.

We have to explore their tastes, their desire and ability to support us. Ambitious plans for retail development, licensing and catering are lined up side by side with plans to attract new visitors.

Funders are critical to realizing the museum's potential, and we will not be able to put our plan into action without their support. Their love for the museum and their support for our ideas inspire us and give us a desire to expand: involve schools, introduce digital innovations, organize new exhibitions, open new exhibition halls. We will become more flexible and our ambitious projects will be able to attract even more funds.

Being more resilient means being less dependent on others. Working in line with initiatives from the Greater London Authority and the City of London Corporation, we have embraced green roofs and energy efficient lighting. Energy consumption remains by far our biggest problem, both because of the negative impact on the environment and because of the high costs. We want to seize every opportunity to improve our buildings by making the right sustainable decisions.

Our passion for exploring London is infectious and is born from the ever-changing history of this great city. We want to awaken the same feeling in every Londoner from an early age and teach him to think about London in a new way.

The Museum would like to thank Londoners, the City of London Corporation and the Greater London Authority for their support.

Translation: Polina Kasyan.

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When it comes to museums, we think of the Hermitage, the Louvre, the Tate Modern and a couple dozen other major museums. They have great potential, a large staff and, of course, are the most important social, tourism, infrastructural or even political institutions. The contribution of these museums to urban and world life is invaluable, as is the experience they give us to work with. However, there are still tens of thousands of small regional museums, whose role, albeit on a smaller scale, is important for their cities.

A few years ago at the Perm Economic Forum, I prepared the section "Internet as a tool for the development of the region." And even then, I could not imagine that I would be turned away from the Internet to the museum business.

A little over a year ago, I began to study the work of museums in Armenia and, most importantly, the life of a small, but very important from various points of view, house-museum of my great-grandfather S.D. Merkurov in the city of Gyumri with a population of 150 thousand people. Despite the scale of the personality, the impressive volume of unique exhibits and the role of the museum in the life of the city, the problems that the museum faces are more of a domestic nature than a cultural one. What is banal for the “monsters” of the museum business is the main thing here.

I don’t know if experience in other professions helped me in understanding the problems and prospects of local museums, but as a result of thinking about the future of the house-museum, theses emerged that are universal for most small museums.

Due to an understandable situation. Moreover, museum life does not involve millions, does not require large investments.

For two days, three Englishmen and one Dutchman told us how the museum could succeed in a state-free voyage; how not to drift, but consciously move from a culture of dependence to a culture of opportunity; how to make money by yourself national lottery whether museum shops, restaurants or hotels (for example, the Bodelvidan Castle Museum in Denbighshire, North Wales has long been hosting tourists who want to hang out with local ghosts, because the best time for ghosts, as you know, is “from dusk to dawn”); how to use “microphilanthropy” and not forget about partnership, because “it is impossible to become strong if everyone around you is weak”; how to get people to return to your museum, “after all, we return every day to the store for bread” (you only need to change the window more often) ...

The museum is an important part of any urban space. The task of the museum is not to store exhibits in dusty cabinets, but by any means to scroll through itself the maximum number of people.

This is, firstly, a tourist factor: museums occupy an important place among the possible means of leisure. Secondly, cultural and social: understandable employment of the population. And, thirdly, professional: museums, in any case, attract cultured people.

I started my journey through museums with the obvious - the Internet. It would seem that such a banal thing for a city dweller as WiFi becomes relevant outside of large agglomerations. Popular options for small towns are cafes. So why can't this place be a museum? For someone who came on purpose, it will be a pleasant surprise, for someone - a motivation to come. And it doesn't matter that the person came for WiFi. Will come to see next time. Yes, even if it sits like that. The museum and the walls help.

Taking pictures is a must. You go to the museum, you like something. At least the view from the window. Even with friends to remember. But it's scary to get the phone - someone will come running and yell that it's forbidden to take pictures. Today, when many people have a smartphone in their pocket, which is the main tool for communicating with the outside world, and, what is important in our case, the main camera, the task is to encourage museum guests to take photos. This is free advertising. This is an important step forward.

Exiting through a souvenir shop as a phenomenon is not only an element of entertainment, but also a source of income. As for large museums, you can most often leave it only through the store, that is, this exit is the only one. This should also be true for small institutions. No matter how cynical it sounds, at the point where the visitor leaves the museum space, it is necessary to provide an opportunity to spend money. But it often happens that you can’t even buy the notorious fridge magnet. The museum should be not only a distribution point for any thematic products, but also its customer. Even on a small scale of folk crafts, this has an economic effect both for the museum and for the local population.

The creators of the museum, while still students, drew attention to the old and seemingly useless slot machines scattered around recreation parks and children's camps. It was worth collecting, it would seem, rubbish in one place - and people were drawn to it. Even the fact that this place turned out to be an abandoned bomb shelter in their own institute did not frighten the creators of the museum, and the “trash” needed to be overhauled.

The museum is like a platform for events. Once again I remind you that the main task is to drag a person to you. A capital example of recent days: the birthday of the Ekho Moskvy radio station was held at the Zurab Tsereteli Gallery. Where, to my shame, I have not been before. I came, in fact, to a corporate party. Next time I'll take a closer look at the content. Museums should hold events and make money on it. Of course, do not shock the audience ... The rest is only for good. Both for themselves and for society.

The prospects for the development of the museum, increasing the coverage of the population and the tourist capacity are not only the growth of the museum itself, it is the impact on the entire environment. Despite the important role of museums in the tourism program, the question of daily bread arises quite quickly, because. no matter what the interesting content, a person wants to drink and eat. If the museum cannot provide this opportunity, which can be one of the sources of income, then at least it stimulates the surrounding business to develop the appropriate infrastructure. If there are people around the museums, restaurants and shops will appear.

Behind restaurants and shops there will be demand for hotels, demand for souvenirs, demand for tourism, and the growth of the city's popularity. A local museum can be a brand of a region, as are many American museums like the Zippo Museum. Today, it is small museums that can become a tool for the development of the city, its cultural environment, because the fate of today's museum is a creative and entertainment center, and not a dusty repository of exhibits.

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One of the expressive tendencies of modern culture is the ideology of design. The project as a discrete form of organization of activities aimed at achieving a predetermined result is widely demanded today. The word “project” itself, which is used to refer to virtually everything, has gained great popularity.

The project is a widespread phenomenon of contemporary museum culture in Russia. A “project” is also called the opening of a new museum, a museum building, a large-scale re-exposition, and individual actions, exhibitions, shows, and lunch in the halls of the museum, and advertising hanging photographs of exhibits on the streets of the city ... The meaning of the term is extremely broad and vague.

In theory, the project always characterizes the presence of a clear time frame, the boundaries of its beginning and end. In practice, the project has a complex relationship with time.

The financial side of the issue plays a key role in modern project activities. Strict planning and accounting of resources is important for the project. “The development of money” occurs precisely in the process of implementing the project, and not after its completion. Therefore, museums are interested in its continuation and repetition.

In the system of artistic culture, a museum is an institution whose activities are regulated and controlled by law. According to official documents, the project is a special form of organization of activities that allows cultural institutions to attract alternative resources, carry out decentralized cultural contacts, and establish partnerships between government agencies and non-governmental organizations. The project is legally supported as an effective modern model of management in the field of culture.

The work on projects is designed to actively supplement the existing museum management system and provide an opportunity to implement various creative ideas in the process of cooperation.

The reason for the state attention to project activities is connected with the realization that “in the process of decentralization, some key areas of museum activity, previously supported by the state, found themselves in a crisis situation.” The state did not timely form a system of its off-budget financing, conditions for investment by private capital. Today, hopes are pinned on project-oriented management as a universal mechanism for attracting the necessary resources to the sphere of culture. It is assumed that it will ensure the attraction of funds, both from the budgets of different levels, and from private investors, contribute to the development of the commercial activities of museums, and ensure control over the expenditure of funds.

Museum design has been successfully developing in Russia for several years now, going in all major directions. It is possible to outline the typology museum projects.

Transmuseum project- a major art forum involving a museum or several museums along with other institutions (libraries, concert and exhibition halls, educational institutions, commercial structures, etc.). As a rule, such projects are dedicated to significant anniversaries, public holidays or the “theme of the year”, and are held under the patronage of government agencies. In trans-museum projects, the museum acts as one of the many platforms on which a great state affair “rolls”.

Intermuseum project- events that unite a number of museums and are aimed at supporting museum culture, adapting the museum to new social conditions, and forming an inter-museum dialogue. Some of them are also coordinated by the authorities. These are the largest projects in Russia: organizational (All-Russian Museum Festival "Intermuseum") and informational (portal "Museums of Russia"). Domestic events of this series: the competition "Changing Museum in a Changing World", festivals " Modern Art in a traditional museum" and "Children's Days in St. Petersburg", the action "Night of Museums". These museum projects differ in scale and resources, focus on different aspects of museum life and certainly have an active influence on it.

Museum as a project. The opening of a new “own” museum is a particularly attractive and ambitious project. The current Russian economic situation in recent years gives active development to such initiatives. At the heart of such new museum creation may be a personal collection, the work of an artist, or simply a desire, a “will to a museum” of a private individual. There are many examples, a personal museum is actually a trend of modern culture. A special project? lifetime museum of the artist. Such a museum becomes a kind of new genre spatial arts, in fact, replacing the self-portrait or the genre of the artist's workshop that lost their independence in the last century.

Museum project. This is the main share of ongoing museum projects today. As a rule, within the framework of intra-museum projects, the traditional forms of museum work are updated and expanded. When new technologies, methods and organizational formats are added to the usual museum affairs? this activity is conceived as a project. Also, a “project” arises when a new, unfamiliar art is exhibited in the space of a museum.

Particular attention is attracted, of course, by large, bold in design projects of the country's leading museums. The most discussed was the Hermitage 20/21 project. Is it actually a separate type of project? "museum within a museum". Today, within the framework of the Hermitage 20/21 project, a number of ambiguous, controversial, but also very significant exhibitions are shown.

The hierarchy of museum projects is completed by "Exhibit as a project". Exhibit? museum unit. When an exhibit becomes a "project", this connection is broken. The "Exhibit-project" does not strive for structural unity with the museum, on the contrary, it actively violates, reshapes the museum space. So, for the last ten years, quite a significant number of sociocultural projects with the participation of museums, for museums, in museums have been officially carried out in Russia. Over the years, large project initiatives have actually turned into sustainable institutions, more stable and wealthy than the museums themselves, which they were called upon to support.

The development of culture is the most important factor ensuring a decent quality of life for the population. Currently, the museum is a cultural and leisure institution, recognized to serve the society and contribute to its development. The activities of museums are regulated and controlled by law.

History of development contemporary museums demonstrates varying degrees of project activity, there are periods of great conservatism, and periods of special attention to project activities

The relevance of the thesis is related to the increasing role of museums in socio-economic transformations, rethinking the goals and objectives of the ongoing cultural policy, its priorities and means to achieve them.

Today, the project, of course, continues to be an effective form of museum activity, becoming a form of search, experiment, alternative to the existing order.

Currently, the project approach is implemented in all activities.

The project, as a rule, should be based on innovative ideas and be aimed at achieving unique results (products, services, works).

Project activities are understood as organizational and managerial activities aimed at developing a set of measures that contribute to the effective solution of urgent problems in a certain time frame. Being a way of organizing, identifying and increasing the resource potential of museum activities, a means of interaction with authorities, the public and partners, the project approach is a specific form of regulation of socio-cultural processes.

Project management today enables museums, in cooperation with other cultural institutions, to implement a variety of creative ideas.

The object of the study is the Federal State Budgetary Institution of Culture "State Russian Museum".

The subject of the research is the implementation of museum projects.

The purpose of the thesis is to analyze the implementation and role of museum projects on the example of the Federal State Budgetary Institution of Culture "State Russian Museum".

This goal led to the formulation and solution of the following tasks:

ü reveal the concept of "museum", describe the history of the formation of the museum business;

ü analyze the main activities of museums;

ü study the project approach in the management system of museum activities, identify the main types of projects

ü analyze the implementation of museum projects of the State Russian Museum;

ü reveal the role of museum projects for the promotion of Russian national culture in modern conditions.

On the example of the Russian Museum, it is shown that the introduction of project activities is a support for cultural activity; drawing attention to topical issues of socio-cultural development; establishment of a new kind of relationship with various social, age, professional, ethnic target groups of the population. The sources for writing the work were legal acts, scientific literature, as well as sites on the Internet.

The purpose and objectives of the study determined the structure of the thesis, including an introduction, three sections, a conclusion and a list of scientific literature.

1. Museum as a socio-cultural institution

Leading specialist in the field of museology A.M. Razgon notes: “The museum is a historically determined multifunctional institution of social information, designed to preserve cultural, historical and natural science values, accumulate and disseminate information through museum methods. Documenting the processes and phenomena of nature and society, the museum completes, stores, examines collections of museum items, and also uses them for scientific, educational and propaganda purposes. At the same time, a museum object is understood as “an object of museum significance extracted from reality, included in the museum collection and capable of being preserved for a long time. It is a carrier of social or natural science information, an authentic source of knowledge and emotions, a cultural and historical value - a part of the national heritage.

The Federal Law “On the Museum Fund of the Russian Federation and Museums in the Russian Federation” adopted in 1996 states: “A museum is a non-profit cultural institution created by the owner to store, study and publicly present museum objects and museum collections.”

Finally, the “Museum Encyclopedia” notes: “A museum is a historically conditioned multifunctional institution of social memory, through which the public need for the selection, preservation and representation of a specific group of cultural and natural objects perceived by society as a value to be removed from the environment of existence and transferred from generation to generation of museum objects.

Similar definitions are well established in world museum practice. In 1974, the International Council of Museums - ICOM - adopted the following definition of a museum: “A museum is a permanent non-profit institution recognized to serve the society and contribute to its development, accessible to the general public, engaged in the acquisition, storage, research, popularization and exhibition of material evidence about man and the environment its habitat for the purpose of study, education, and also for the satisfaction of spiritual needs.

The same definition is repeated in the “Short Course of Museology”, compiled on behalf of ICOM in 1983 by K. Lapaire: “Museums are public cultural institutions that do not pursue commercial goals, have an unshakable status and cannot be abolished at the request of any person. Museum collections are of a scientific nature and are available for viewing by visitors under certain conditions, without any racial, social, cultural discrimination.

The word "museum" comes from the Greek mouseĩon, which means "temple of the muse". Since the beginning of the Renaissance (Renaissance), the word has acquired a modern meaning.

The first Mouseion as an educational institution was founded in Alexandria by Ptolemy I around 290 BC. It included living rooms, dining rooms, reading rooms, botanical and zoological gardens, an observatory and a library. Later, medical and astronomical instruments, stuffed animals, statues and busts were added to it, which were used as visual aids for teaching. Unlike other schools, Museyon was subsidized by the state, and the staff received a salary. The chief priest (director) was appointed by Ptolemy. By the 1st century BC e. Museyon's library contained more than 750,000 manuscripts. The Museion and most of the Library of Alexandria were destroyed by fire in 270 AD.

IN ancient Greece by tradition, the temples of the gods and muses housed statues, paintings and other works of art dedicated to these gods or muses. Later, in ancient Rome, paintings and sculptures were added to this, located in city gardens, Roman baths and theaters.

Guests at the villas of rich and noble people of that time were often shown works of art captured during the wars.

The Roman Emperor Hadrian ordered copies of the sculptures and other works of art that impressed him in Greece and Egypt to be made. Adrian's Villa, decorated with copies of Egyptian rarities, became the prototype of the modern museum.

From the very beginning of the second millennium AD, collections of works of local applied art began to appear in the temples of China and Japan. A particularly exquisite collection, Shosõ-in, developed over time at the temple in Nara.

In the Middle Ages, works of art (jewelry, statues and manuscripts) were sometimes presented for viewing in monasteries and churches. From the 7th century, items captured in wars as trophies also began to be exhibited. In wartime, ransoms and other expenses were often paid from these stocks. Thus, stores and storage facilities were reduced or replenished.

In the early period of the Renaissance, Lorenzo de Medici gave instructions for the creation of the Garden of Sculptures in Florence. In the 16th century, it was fashionable to place sculptures and paintings in the large and long corridors of palaces. In the 17th century, during the construction of palaces, they began to specially plan rooms for collections of paintings, sculptures, books and engravings. Since then, the concept of "gallery" has been applied also in a commercial sense. By this time, in the princely mansions, they began to specially create rooms for works of art. These rooms began to be called cabinets (from the French - cabinet: the next room). Galleries and offices at first served for personal entertainment, but by the end of the 17th and beginning of the 18th centuries they took on a public character.

All the most famous museums of the world arose on the basis of private collections and the collecting passion of specific individuals. In the 18th century, public museums became an integral part of public life in many European countries. In 1750, in Paris, the paintings in the Palais de Luxembourg were allowed to be shown to the public two days a week (primarily for students and artists). Later they were transferred to the Louvre collection, which contains exhibits from the personal collection of King Francis I of the 17th century.

The first museum of the new type was British museum in London (opened in 1753). To visit it, one had to first register in writing. During the French Revolution and under its influence, the Louvre (opened in 1793) became the first great public museum.

In Russia, the first museums appeared in the era of Peter I (1696-1725). The emperor founded the famous "Kunstkamera" in St. Petersburg. Its difference was indicated immediately - orientation to Western culture.

The first mention of the Armory Chamber of the Moscow Kremlin dates back to the 16th century. Catherine II played an important role in the creation of art museums. She purchased in Western Europe collections of classical paintings and established the Hermitage, which became a public museum.

In the first quarter of the 18th century, Russia victoriously participated in the Northern War in Europe. War trophies formed the basis of many private and public museums. marked by the appearance of museums of new types and profiles. The first can be attributed to departmental museums. First of all, those appeared in the military departments and institutions. made significant changes in the development of museum business in Russia. The formation of a museum need is evident, which is why the initiative to organize museums often belonged not to the government, but to society. In the 1st half of the XIX century. such initiatives rarely went beyond the scope of the project, remaining most often on paper. It is interesting that society often "intercepted" the highest ideas, trying to embody them in its own way. It is not surprising that the state authorities rarely supported such initiatives, being “jealous” of their ideas and not wanting to see their implementation if the leading role did not belong to the monarch. This was fully reflected in the "rivalry" in the organization of the Museum of the History of Russia.

In the post-reform period, a new stage in the history of museum business in Russia begins, work on the creation of new museums has significantly intensified, many previously initiated projects have received their practical implementation.

The development of museum work in the RSFSR and the USSR from 1917 to 1991 can be divided into periods in the development of domestic museum work and the main features of these periods.

period (1917-1918) - the main task is seen in the preservation of cultural and historical heritage, the protection of values, the search for organizational forms that can successfully solve these problems. The formation of Soviet legislation on museum business and the protection of monuments began.

period (1918-1923) - the activities of the All-Russian Board and the department for the protection of monuments of art and antiquity under the People's Commissariat of Education of the RSFSR. Legislative foundations for the regulation of museum work have been laid, and the first state programs for the development of museum work are being developed. Of the negative aspects of the development of domestic museology, it should be noted that it was during this period that the formation of ideas about the museum as a propaganda institution took place, first of all, this led to the unification, liquidation of some museums as of no value.

period (1923-1930) - the idea of the museum as an institution for the formation and promotion of the Marxist-Leninist worldview, an instrument of ideological influence, is consolidated.

period (1930 - 1941) - begins with the First Museum Congress. The museum business is developing as part of the nationwide and propaganda work, from which the requirements that are presented to the museum follow.

period (1941-1945) - the existence of museums is determined by the need to preserve funds and expand work in new territories in connection with the Great Patriotic War. The governing body of museums is changing: from February 6, 1945, it became the Department of Museums of the Committee for Cultural and Educational Institutions under the Council of People's Commissars of the RSFSR.

period (1945 - 1st half of the 1950s) - the revival of museums and the restoration of the main directions of their work after the Great Patriotic War. Strengthening the regulation in the activities of museums.

period (2nd half of the 1950s - 1st half of the 1960s) - increased interest in the historical and cultural heritage and the problems of its preservation, the development of new types of museums. Formation of the practice of museum reviews-competitions. Development of international relations of domestic museums, the beginning of membership in international organizations related to the protection, study and promotion of the world cultural and historical heritage.

period (2nd half of the 1960s - 1980s) - the time of searching for new ways, the active development of legislation on museum business and the protection of monuments. Since the mid 80s. the dismantling of the administrative-command system of managing museums began.

The entire period from 1917 to the early 1990s. the attitude towards the museum as a propaganda institution persisted, increasingly intensifying until the mid-1980s, which had a detrimental effect on the development of research, exposition, scientific fund work of museums.

With the collapse of the USSR and the ban on the activities of the CPSU, a new period in the development of domestic museology begins, associated with the rejection of the view of the museum as a propaganda institution, as well as the emergence of new forms in the organization of museum business.

The new stage was characterized by a change in priorities in the activities of museums. The display in the expositions of museums of the pre-revolutionary period of history is growing, which requires a reorientation of both stock and research work.

It is difficult to talk about any results of the development of museum work in the modern Russian Federation and to single out periods, because. its history spans a little over 10 years. These years have become a time of renewal of the domestic museum business, expansion of ties with the world systems for the protection of historical and cultural monuments, the creation of new legislation on museum business and the protection of monuments. At the same time, many trends are just beginning to take shape and it is difficult to judge whether they are positive or negative.

To date, there are about 2,000 museums in the Russian Federation, of which 86 are federal. For many state museums, the new period in the development of the domestic museum business turned into a kind of “ideological crisis” and the inability of many of them to fit into the new conditions: according to the Ministry of Culture of the Russian Federation, only 29% of Russian museums have their own concept of development, and only 8% of them are business plans.

Currently, museums can be classified: by the scale of their activities; by form of ownership; on an administrative-territorial basis, in addition, there is a classification by type. (Picture 1).

State museums are the property of the state and financed from the state budget. Most of them are under the jurisdiction of the Ministry of Culture of the Russian Federation. At the same time, there is a significant group of state museums that are not subordinate to the cultural management bodies, but to various ministries and departments, solving the tasks set by them. These are the so-called departmental museums; they are financed from the state budget through the Ministry of Finance and relevant departments.

The category of public museums includes museums created on the initiative of the public and operating on a voluntary basis, but under the scientific and methodological guidance of state museums. Public museums are funded by the institutions under which they were created.

IN Lately in Russia, conditions began to emerge for the revival of private museums, that is, museums based on collections owned by private individuals, but available for study and inspection.

The selection of the type occurs depending on the fulfillment by the museum of its social functions and their priority in its activities. In accordance with this classification, museums are divided into research, educational, educational. Research museums (academic museums) are most often created at scientific institutions.

Educational museums are aimed at solving, first of all, the educational function. As a rule, they are created at schools, universities and other educational institutions, sometimes at departments (especially paramilitary ones: customs, the Ministry of Internal Affairs, where there is a need to develop special skills among employees).

Educational museums (mass museums) are aimed at the visitor of all ages, social groups, etc. The main thing in his activity is the organization of work with the visitor (through expositions, organization of access for researchers to the museum's collections, recreational work, etc.). The activities of an educational museum, as a rule, are associated with the fulfillment of the entire variety of social functions of a modern museum. It is these museums that are fully public (publicly accessible) museums.

Fig.1. Museum classification

Museums, by their very nature, are part of the system of research institutions. The acquisition of a museum collection, if it is not replaced by a simple collection of exhibits for exposition, is necessarily associated with research. In the process of forming collections, the museum finds objects of museum significance that document the processes and phenomena taking place in society and nature.

Scientific research is also necessary for the successful storage of museum collections. In order to ensure their longest preservation, to carry out their conservation and restoration, it is necessary not only to use the principles of storage already known and tested in practice, but also to develop and apply new technologies.

The construction of an exposition, through which museum communication can be fully carried out, requires the identification of not only the informative and expressive properties of museum objects, but also the links existing between these objects. Special studies are also necessary in order to create the best conditions for the perception of the exposition by the museum audience. By identifying and collecting objects of museum significance, storing museum objects, creating expositions and carrying out cultural and educational work, museums cannot use only the results of research conducted by other organizations. They need to conduct their own scientific research, on which, ultimately, all the activities of the museum are based - scientific fund, exposition, enlightenment and education.

The concept of museum funds denotes the entire scientifically organized set of materials accepted by the museum for permanent storage. At the same time, they can be not only in the depository and exposition, but also be transferred for examination or restoration, as well as for temporary use to another institution or museum.

In Russia, there is a National Catalog of Museum Items, formed in the 1930s. The catalog of museum collections is constantly becoming outdated, as museums keep vigorous activity and do not submit information about these changes for timely introduction.

Museum collections are based on museum items - historical and cultural monuments, as well as natural objects removed from the environment due to their ability to document social and natural processes and phenomena. In addition to them, the collections include the so-called scientific auxiliary materials, which do not have the properties of museum objects, but help to study and exhibit them.

Accounting for museum funds is one of the main areas of stock work. Its purpose is to legally protect museum holdings and the museum's rights to data obtained from the study of museum objects and collections.

The tasks of storing funds are to ensure the safety of museum valuables, to protect them from destruction, damage and theft, as well as to create favorable conditions for the study and display of collections. The fundamental provisions on the organization of the storage of funds are determined by national standards, the observance of which is mandatory for all museums in the country. However, the funds of each museum have their own specifics; it manifests itself in the composition and structure of funds, in the number of objects and the degree of their preservation, in the design features of museum buildings and depositories. Therefore, in addition to the main regulatory documents, museums develop instructions for keeping funds for internal use.

In domestic museology, the following main methods of exposure are traditionally distinguished: systematic, ensemble, landscape and thematic.

The exposition is based on museum objects, as well as objects created for display - copies, reproductions, casts, dummies, models, layouts, scientific reconstructions, replicas, holograms.

The concept of "cultural and educational activities" has become widespread in domestic museology since the early 1990s, and its active use was caused by the emergence of new approaches to working with museum visitors.

The essence of the museum educational process is that the visitor was perceived not as an object of educational influence, but as an equal interlocutor, therefore, the museum's communication with the audience took the form of a dialogue.

The term "cultural and educational activity" implies education in the space of culture. At the same time, the concept of "education" is interpreted broadly and involves the development of the mind and intellect of a person, his spiritual and personal qualities, value relations to the world. The theoretical and methodological basis of cultural and educational activities is museum pedagogy; she creates new methods and programs of work with visitors, studies the impact of various forms of museum communication on them.

The term "cultural and educational activity" has replaced such concepts as "mass educational work", "popularization", "scientific propaganda". As for the concept of "scientific and educational work", it continues to be used in museum practice today, but it no longer has the former ideological component. At the same time, the coexistence of the terms "cultural and educational activities" and "scientific and educational work" to a certain extent indicates the lack of a common understanding in the museum sphere of why the museum meets with its visitors.

In theory, the project always characterizes the presence of a clear time frame, the boundaries of its beginning and end. In practice, the project has a complex relationship with time.

The work on projects is designed to actively supplement the existing museum management system and provide an opportunity to implement various creative ideas in the process of cooperation.

Museum design has been successfully developing in Russia for several years now, going in all major directions. You can also outline the typology of museum projects.

Intermuseum project- events that unite a number of museums and are aimed at supporting museum culture, adapting the museum to new social conditions, and forming an inter-museum dialogue. Some of them are also coordinated by the authorities. These are the largest projects in Russia: organizational (All-Russian Museum Festival "Intermuseum") and informational (portal "Museums of Russia"). Domestic events of this series: the competition "Changing Museum in a Changing World", the festivals "Modern Art in a Traditional Museum" and "Children's Days in St. Petersburg", the action "Night of Museums". These museum projects differ in scale and resources, focus on different aspects of museum life and certainly have an active influence on it.

Museum as a project. The opening of a new “own” museum is a particularly attractive and ambitious project. The current Russian economic situation in recent years gives active development to such initiatives. At the heart of such new museum creation may be a personal collection, the work of an artist, or simply a desire, a “will to a museum” of a private individual. There are many examples, a personal museum is actually a trend of modern culture. A particularly indicative project is the lifetime museum of the artist. Such a museum becomes a kind of new genre of spatial arts, in fact, replacing the self-portrait or the genre of the artist's workshop that lost their independence in the last century.

Museum project. This is the main share of ongoing museum projects today. As a rule, within the framework of intra-museum projects, the traditional forms of museum work are updated and expanded. When new technologies, methods and organizational formats are added to ordinary museum affairs, this activity is comprehended as a project. Also, a “project” arises when a new, unfamiliar art is exhibited in the space of a museum.

Particular attention is attracted, of course, by large, bold in design projects of the country's leading museums. The most discussed was the Hermitage 20/21 project. In fact, it is a separate type of project − "museum within a museum". Today, within the framework of the Hermitage 20/21 project, a number of ambiguous, controversial, but also very significant exhibitions are shown.

The hierarchy of museum projects is completed by "Exhibit as a project". An exhibit is a museum item. When an exhibit becomes a "project", this connection is broken. The "Exhibit-project" does not strive for structural unity with the museum, on the contrary, it actively violates, reshapes the museum space. So, for the last ten years, quite a significant number of sociocultural projects with the participation of museums, for museums, in museums have been officially carried out in Russia. Over the years, large project initiatives have actually turned into sustainable institutions, more stable and wealthy than the museums themselves, which they were called upon to support.

The activities of museums are regulated by a set of documents, the main of which are federal laws:

· “On archives in (historical and cultural monuments) of the peoples of the Russian Federation” (2002);

· "About folk art crafts" (1999);

· “On the Museum Fund of the Russian Federation and museums in the Russian Federation” (1996);

· “On Information, Informatization and Information Protection” (1995);

· “On librarianship” (as amended in 2004);

· “On the mandatory copy of documents” (as amended in 2002);

· “On the export and import of cultural property” (as amended in 2004) and a number of other legislative acts.

However, today there is no Federal target program for the development of culture in the long term. The basic program currently in force is the Federal Target Program "Culture of Russia (2012-2018)", which replaced the Federal Target Program "Culture of Russia (2006-2011)". In fact, this is a kind of palliative option that only partially solves the problems of the cultural sphere and does not allow for a comprehensive approach to their elimination.

St. Petersburg is a world-class cultural center that attracts the attention of professionals and millions of tourists.

In recent years, culture in St. Petersburg has been developing on the basis of a program document - "The Concept for the Development of the Cultural Sphere of St. Petersburg for 2012-2014." The main goal of developing the culture of the city is formulated in the Concept as follows: expanding the participation of the population in cultural life. This wording defines the cultural policy of St. Petersburg as socially responsible, oriented, first of all, to the interests of society and the interests of specific person consumer of cultural goods. Culture is recognized as the most important factor, without which it is impossible to create a high-quality living environment, such an environment where each person, in addition to social guarantees, has the opportunity to create and join culture, where cultural life tends to become part of his daily existence.

At the end of 2010, the “Law on Policy in the Sphere of Culture in St. Petersburg” was approved, which formulated and consolidated the foundations for the development of the cultural sphere in the new conditions. This law is largely based on the provisions of the Concept for the Development of the Cultural Sphere of St. Petersburg in 2006-2009.

2. Analysis of the implementation of museum projects on the example of the State Russian Museum

Organization idea state museum national art has been expressed and discussed in the educated environment of Russian society since the middle of the 19th century. Already in the late 1880s before Russian society the question arose of the need to create a museum of Russian national art, as required by the "modern prosperity of Russian art and high position occupied by Russia in the educated world ”(Note of the Chief Marshal Prince S. Trubetskoy to the Minister of the Imperial Court, 1889).

The historical peculiarity of the situation lay in the fact that the idea was "warmed up" by the coincidence of national-patriotic aspirations, both of the country's democratic public and of the ruling monarch himself. We can say that there was an objective need to create a new, state museum in the capital, which could be active both in the field of historical and in the field of modern art.

April 1895, Nicholas II signed the Nominal Supreme Decree No. 62 “On the establishment of a special institution called the “Russian Museum of Emperor Alexander III” and on the presentation for this purpose of the Mikhailovsky Palace acquired for the treasury with all outbuildings, services and a garden belonging to it.” The decree began with the words: “Our Unforgettable Parent, in wise concern for the development and prosperity of domestic art, foresaw the need for the formation in St. Petersburg of an extensive Museum, in which outstanding works of Russian painting and sculpture would be concentrated.”

From the day it was founded, the museum was under the jurisdiction of the Ministry of the Imperial Court. The manager of the museum was appointed by the Supreme Personal Decree and had to be a member of the Imperial House. In the newly established museum, Nicholas II appointed Prince Georgy Mikhailovich as Manager.

During the preparatory period, before the opening of the museum, a number of important issues related to its further activities were resolved, its priority goals and objectives were determined. Nicholas II instructed the Chief Treasury to open a special paragraph in the estimate of the Imperial Court for a loan for the Museum for the maintenance of the Mikhailovsky Palace. The Regulations on the Russian Museum of Emperor Alexander III stated that the museum was founded in memory of Emperor Alexander III, "aiming to unite everything related to His Personality and the history of His reign, and to present a clear idea of the artistic and cultural state of Russia ».

(19) March 1898 the opening of the "Russian Museum of Emperor Alexander III" for visitors took place.

The collection of the museum, which was based on objects and works transferred from the Imperial Palaces, from the Hermitage and the Academy of Arts, during this period consisted of 1880 works. According to the original structure, the museum had three departments:

department "specially dedicated to the memory of Emperor Alexander III",

ethnographic and art-industrial department,

art department.

The name "Russian Museum" was originally and traditionally assigned, in essence, only to the art department located in the Mikhailovsky Palace. Over time, the art department, gradually branching out, turned into a complex museum organism.

museum project exposition virtual

Currently, the Russian Museum is housed in four palaces (Mikhailovsky, Stroganov, Marble and Mikhailovsky (Engineering) Castles), which have exceptional historical and artistic value. The last three of these buildings were transferred to the museum in 1989-1994 in disrepair. In 1998, the museum complex included Mikhailovsky Garden and 2 squares near the Mikhailovsky (Engineering) Castle. In December 2002, the famous complex "Summer Garden and the Palace-Museum of Peter I" with the objects included in it was transferred to the Russian Museum. The total area of the museum is currently almost 30 hectares.

The full official name of the museum is the Federal State Budgetary Institution of Culture "State Russian Museum", abbreviated - Russian Museum.

In its activities, the Russian Museum is guided by the Constitution of the Russian Federation, federal laws, other regulations, as well as the Charter.

The parent organization is the Ministry of Culture of the Russian Federation in accordance with the order of the Government of the Russian Federation dated January 05, 2005 No. 5-r. (Picture 2)

The Russian Museum is the scientific and methodological center of art museums in Russia. It manages 258 museums, for which the researchers of the Russian Museum develop recommendations, including in the field of the effective functioning of museum complexes in a competitive market environment, the values of the reorientation of society and changes in the system of state funding of cultural institutions.

The museum is a complex branched system, which consists of departments, sectors, subdivisions and services (see Appendix 1).

The Museum Charter states that the State Russian Museum is a non-profit organization that carries out cultural, educational and scientific activities for the preservation, creation, dissemination and development of cultural values. (Figure 3). All activities of the museum are based on a project approach, where specialists from all sectors and departments are involved, as well as various museums and other cultural institutions interact with the involvement of commercial organizations.

Fig.2. Subordination of the Russian Museum to the Ministry of Culture of the Russian Federation

Carrying out scientific activities, the topics related to the study of museum objects and their environment, as well as topics that contribute to the constant replenishment of funds, the longest and most efficient use of the collected materials, are paramount.

The specialists of the Russian Museum are creative collaboration with employees of other museums, as a result of which they create a lot of scientific works.

Many scientific studies are carried out collectively by departments and sectors, and temporary teams are formed in the form of problem groups to develop specific projects. There are also special research structures in the museum.

All activities of the museum are directly or indirectly based on scientific research. Without them, neither the successful acquisition of funds, nor their maximum long-term storage is possible. Therefore, scientific research is a necessary condition for the normal functioning of the museum.

All scientific departments of the museum work with funds, and this work is focused on the preservation, research and use of museum objects. Their protection begins already at the stage of identification in the environment of existence and is the essence of the acquisition of funds. At the stage of selection of objects, the process of studying them begins, the purpose of which is to establish whether they have a museum value.

Rice. 3. The structure of the main activities of museums

Purchased items are recorded in the documents of the museum as state property. Thus, their legal protection is carried out - the accounting of funds. It is carried out on the basis of further study of museum objects, since only scientific data about them, recorded in the records, allow us to correlate the record and a specific object.

The main fund of the Russian Museum tends to constantly increase in units of storage, this is due to constant acquisitions, gifts and other receipts. (Figure 4). Every year the museum fund increases by 0.25% (by about 1050 items)

Rice. 4. The state of the museum fund at the beginning of 2010 - 2012

The museum has a system of open access funds, the purpose of which is: to provide access for viewers and specialists to museum funds without compromising the safety and security of collections.

At present, the Russian Museum pays special attention to cultural and educational activities, since over time, social function, despite the fact that the traditional functions of the museum are to store, restore, study and demonstrate cultural heritage to visitors. Gradually, in the minds of society, the museum is transforming from a place where various exhibits are displayed, into a place for full-fledged leisure. To attract visitors of different ages, to make the expositions more visual and exciting is one of the tasks that the museum faces today. To solve this problem, it is necessary constant search ways to optimize the management system and organization of museum work.

Over the past decades, the scope of educational and educational activities of the museum has expanded significantly, it manifests itself in such forms as one-time excursions and excursion cycles for all categories of visitors (preschoolers, schoolchildren, students, adults, foreign visitors), lectures, classes in studios, circles, creative groups , musical evenings, museum holidays.

Every year more and more people visit the museum (Figure 5). The effectiveness of the museum, one of the indicators of which is the number of visits in 2010, increased by 3.6% compared to 2009, and in 2011 by 2%.

The museum audience is divided by age into children and adults, as well as by social, professional, national and other characteristics (families, groups or singles, students, pensioners, visitors with disabilities, etc.). The Russian Museum carries out work in several sectors at once; a variety of programs for different groups of visitors.

Thus, in 2011 the excursion and lecture department conducted:

· 21,260 sightseeing, thematic excursions and cycle classes at the permanent exposition and temporary exhibitions;

· read 195 lectures;

· 183 lectures and creative workshops were organized in kindergartens, schools, military colleges and other organizations.

· 449 charitable excursions for disabled children, inmates of orphanages and boarding schools, cadets of the Suvorov and Nakhimov schools, military personnel and members of their families, employees of the Ministry of Emergency Situations and the Ministry of Internal Affairs of Russia, veterans of the Great Patriotic War and residents of besieged Leningrad. Of these, 56 excursions to the landscape design exhibition "Italian Noon" of the IV International Festival "Imperial Gardens of Russia" in the Mikhailovsky Garden.

Fig.5. The number of visitors to the museum in the period from 2009 to 2011.

Also developed:

× 17 lecture cycles, such as "Cities and Museums of the World", "Gardens of the Russian Museum: From the Past to the Future";

× The program “My Petersburg” (History of St. Petersburg in the Russian art of the 18th-20th centuries) was developed as part of the program of the Government of St. Petersburg “On the harmonization of intercultural, interethnic and interfaith relations, fostering a culture of tolerance in St. Petersburg for 2011-2015 ".

More than 3,000 children, teenagers and students study in the studios and clubs of the Russian Museum. More than 900 students of higher educational institutions of St. Petersburg and the Leningrad region, members of the Student Club, take part in creative workshops, seminars, conferences. Members of the "Club of Russian Art Lovers", which unites about 220 elderly listeners, organize meetings with leading specialists of the Russian Museum, scientists and cultural figures of St. Petersburg.

The creation of a modern exposition is a process in which the efforts of researchers, artists, designers, museum educators, and engineers are involved.

The design of the exposition requires a preliminary systematic development of scientific content, architectural and artistic solutions and technical equipment (Figure 6).

Fig.6. Stages of exhibition design.

The first stage is scientific design, during which the main ideas of the exposition and its specific content are developed; artistic design, designed to provide a figurative, plastic embodiment of the theme; technical and working design, fixing the place of each exhibit, text and technical means.

The second stage of exposition design is the development of an extended thematic structure - the division of the future exposition into sections, themes, exposition complexes.

At the third stage of scientific design, a thematic and exposition plan is developed. The essence of the thematic-exposition plan as a document is that it reflects the specific composition of the exposition materials with all their inherent scientific characteristics.

For exhibiting in the museum, the following are used: showcases of various designs and shapes - horizontal, vertical, desktop, wall-mounted, hanging, all-round showcases; podiums - elevations for open display of volumetric objects; universal modular systems - frame, frameless, combined, frame, space-rod.

The exposition is based on museum items, as well as items created for display - copies, reproductions.

The museum creates not only permanent, but also temporary expositions - exhibitions: thematic, fund, reporting.

The permanent exhibitions of the Russian Museum are:

· Konstantin Romanov - poet of the Silver Age (Marble Palace);

· Collection of St. Petersburg collectors brothers Yakov Alexandrovich and Joseph Alexandrovich Rzhevsky (Marble Palace);

Mineralogical Cabinet (Stroganov Palace);

· Open Sculpture Fund (Mikhailovsky Castle);

· Ancient Russian Art of the XII-XVII centuries (Mikhailovsky Palace);

Russian Art of the 18th century (Mikhailovsky Palace);

· Russian art of the first half of the 19th century (Mikhailovsky Palace);

· Russian art of the second half of the 19th century (Mikhailovsky Palace);

· Russian art of the late 19th - early 20th centuries (Rossi Wing, Benois Wing);

Russian art of the XX - beginning of the XXI century ( Benois Corps);

· Museum of Ludwig in the Russian Museum (Marble Palace);

Russian folk art XVII-XXI centuries (Mikhailovsky Palace, Rossi's wing).

The creation of exhibitions is an integral part of the exposition work of museums. Exhibitions increase the accessibility and social significance of museum funds, introduce monuments that are in private collections into scientific and cultural circulation; contribute to the development and improvement of the methods of exposition and cultural and educational work of the museum, expand the geography of its activities. At present, the international exchange of exhibitions is actively developing, which contributes to the mutual enrichment of various cultures.

The exhibition program of the museum is quite extensive. Every year, exhibition projects are developed on the stated topics during the Days of the Historical and Cultural Heritage of St. Petersburg, as well as within the framework of the international museum forum. The creation of thematic problematic, collection, anniversary exhibition projects is carried out on the basis of scientific research conducted by the museum staff.

The Russian Museum organizes exhibitions in the museum buildings, in museums in St. Petersburg and other cities of Russia and abroad. It also accepts invitations to participate in exhibitions from various institutions. Tables 1 and 2 show the exhibition activities of the museum, with the number of exhibitions and exhibits from the museum's fund that were provided.

In the period from 2009 to 2011, the number of exhibitions prepared by the museum decreased and the number in which he was directly involved increased (Figure 7). This may be due to the development of the economic situation, the features of which are the transition to market economic conditions, as well as the adoption of a new federal law.

Table 1. Exhibition activity in the period from 2009 to 2011

Table 2. Exhibition activities in 2011

On January 1, 2011, Law No. 83-FZ came into force, according to which cultural institutions, along with medical and educational institutions, are the most reformed, since they provide most of their services for a fee. Their activities fit perfectly into the system of budget planning based on the state task. With the adoption of this law, the main financial mechanisms for the functioning of the museum are changing. The Russian Museum is now a budgetary institution and has more opportunities to carry out independent activities, however, the founder (in accordance with the Charter - the Russian Federation) does not provide financial guarantees. In connection with these changes in legislation, exhibitions suffer the most: the museum has to save money on them.

Rice. 7. The trend of prepared exhibitions and exhibitions in which the museum participated

The Russian Museum has an official publishing house - Palace Editions, which publishes books, albums, catalogs of collections and exhibitions, reports and collections of scientific papers in Russian and foreign languages. The publications acquaint with the exposition and unique collections of museum funds, with the scientific, exhibition and educational activities of the museum.

In museum shops and kiosks, you can buy richly illustrated editions of high quality printing (Figure 8).

Rice. 8. Editions of the Russian Museum.

In modern conditions, the museum is becoming an information and leisure center capable of meeting the spiritual needs of society. The State Russian Museum is the guardian of the culture of Russia, therefore, today, more than ever, the importance of publishing is growing. Every year the museum increases the number of published publications in order to familiarize Russian and foreign citizens with Russian history (Table 3)

Table 3. Publishing activity of the museum in 2009-2011

The number of published publications in 2011 increased by 17.6% compared to 2010, this is due to the need to earn money on their own.

All activities of the Russian Museum are based on project work, which opens up a number of opportunities in the life of the museum. This includes additional funding for employees, and the possibility of realizing creative professional interests, and popularizing activities, and attracting new visitors, etc.

For several years now, the museum has been successfully developing design in all major areas.

Design innovations are aimed at innovation, and they change the life of the museum in accordance with the trends of socio-cultural reality.

One of the large-scale projects implemented by the Russian Museum is the Russian Museum: Virtual Branch project, which has existed since 2003. Its implementation is carried out in partnership with AFK Sistema. The general sponsor of the Russian Museum: Virtual Branch project is Mobile TeleSystems.

The Russian Museum: Virtual Branch is an innovative interregional and international project that embodies the idea of making Russia's largest collection of Russian art available to a wide audience far beyond St. Petersburg. The capabilities of modern computer technologies make it possible to realize the task set by creating information and educational centers "Russian Museum: a virtual branch" in Russia and abroad.

Project goals:

effective introduction of the modern viewer to the values of Russian culture;

expansion and deepening of knowledge about the history of Russian art, collections and activities of the Russian Museum on the basis of free access to digital materials;

creation of a single cultural and information space in Russia and abroad.

The Information and Education Center "Russian Museum: Virtual Branch" consists of a multimedia cinema and an information and educational class. The content of the center is the Media Library, which includes printed publications, interactive multimedia programs and films about the history of Russian art, the Russian Museum and its collections, collections of Russian museums.

In the information and educational class and the multimedia cinema, visitors are offered:

virtual tours and travel;

lessons and classes using the resources of the media library;

training seminars using modern communication tools and the latest methods of distance learning;

master classes and meetings with artists;

competitions and olympiads in Russian culture and art;

information service for individual visitors.

The local network that unites the project participants allows specialists of the information and educational centers "Russian Museum: Virtual Branch" to quickly exchange the necessary information, plan joint actions and projects, gain access to new educational and presentation multimedia programs, conduct remote training for employees of the centers.

As part of the Russian Museum: Virtual Branch project, various activities are being carried out to improve the efficiency of virtual branches, as well as to improve interaction between project participants.

By the end of 2011, the integrated network of Information and Educational Centers "Russian Museum: Virtual Branch" on the basis of scientific, educational and methodological developments of leading specialists of the Russian Museum united 98 museums, cultural centers, schools, universities, libraries, institutions of additional education in Russia and abroad.

In 2011, the virtual branches of the Russian Museum in our country and abroad were visited by about 250 thousand people. In total, 20 Information and Educational Centers "Russian Museum: Virtual Branch" were opened last year, 11 of them in the territory of the Russian Federation and 9 - abroad.

The State Russian Museum, like all cultural institutions, to one degree or another, lack the financial resources received from the state and receive income from their own activities.

IN general view Museum funding sources can be divided into two large groups:

the federal budget from which current funding is provided (Figure 9);

and extrabudgetary sources, including income from own commercial activities and funds from sponsors and philanthropists, which also provide funding (Figure 10).

Table 4 shows that receipts from the federal budget are greater than those from extrabudgetary sources.

To assess the level of self-financing of cultural institutions, a social index is used. If the index is zero, then the organization is fully self-financing. How more value social index, the lower the level of self-financing.

Rice. 9. Revenues from the federal budget in 2011

Rice. 10. Income from extrabudgetary sources in 2011

Table 4. Museum budget revenues from 2009 to 2012

The social index was calculated for museums in Moscow and St. Petersburg according to 2007 data.

The relatively high value of the social index (19) belongs to the Russian Museum, 95% of the proceeds of which in 2007 were budget funding, charitable contributions and grants.

Thus, the social index of the Russian Museum is 8.6 times higher than that of the Hermitage, which at the time of 2007 testified to the low level of its self-financing.

In carrying out its activities, the Russian Museum uses museum marketing, attracting resources in two forms:

Direct - through the sale to consumers of their goods and services;

Indirect - by attracting external resources: budgetary funds, grants, sponsorship, private donations. These funds are used to implement socially significant cultural projects and programs.

Both forms are closely interconnected: the higher the social significance of the museum and the public attractiveness of its programs and projects, the more opportunities it has to receive funds from "external" sources. Museum marketing always includes two strategic directions:

Presentation and promotion of the museum and its activities;

Presentation and promotion of specific goods or services.

One of the sources of replenishment of the museum's income is the sale of the right to produce reproductions. The museum also profits from renting out its premises for receptions and events.

A store offering gift and souvenir products not only generates income, but also attracts visitors.

An important element of the service infrastructure of the museum is a cafe and a restaurant.

For the Russian Museum entrance fee (price per admission ticket listed in Appendix 2) and the membership fees of "friends of the museum" make up the most significant part of the income earned, and reaches about 30% of the cost of maintaining the museum.

For such museum giants as the Russian Museum, the Hermitage, Peterhof, Tsarskoye Selo, Peter-Pavel's Fortress, for many years one of the main sources of income will remain the entrance fee from foreign tourists. The Russian Museum, unlike most of the listed museums, is far from the first place in this indicator. Sufficiently large areas provide a passable flow of tourists, so it is necessary to promote Russian culture and stimulate the development of interest in it.

3. Analysis of the problems of museum activity and ways to solve them

The problem of the functioning of museums in society began to become acute in the second half of the 20th century. This was due to the fact that the traditional forms and functions of the museum, which had finally taken shape in turn of XIX and XX centuries, ceased to correspond to the new social reality. In the early 1970s, both in our country and in the West, a museum "boom" was recorded, which led to quantitative and qualitative changes in museum work.

During this period, there was an increase in the number of museums, its traditional functions were transformed: acquisition, storage, exposition and interpretation. The museum "boom" has changed the ideology of museums: the latter increasingly began to be understood more than just a repository of artifacts. From the second half of the 20th century, the museum began to be regarded as an independent cultural symbol, authorized, firstly, to construct a specific socio-cultural space, secondly, to endow objects with symbolic value, and, thirdly, to organize exclusive leisure practices.

The problems of domestic museums were discussed in the upper house of the Russian parliament on March 20, 2012.

The Federation Council Committee on Science, Education, Culture and Information Policy supported the initiative of the Union of Museums of Russia on the consideration and approval by the Russian government of the Strategy for the Development of Museum Activities in the Russian Federation until 2030.

The most important problem is the legislative aspect related to law enforcement practice in museum legislation. Most of the stipulated norms, state functions and powers in relation to the Museum Fund of the Russian Federation are not fully implemented.

The reforms carried out are aimed at improving the efficiency of the public sector, which often creates additional barriers to the fulfillment of the tasks of institutions in the field of culture, due to the poor development of the proposed innovations, the complication of organizational and financial procedures, the increase in the bureaucracy, the presence of a corruption component and the practical impossibility of all the requirements set.

At the stage of completion of the reform of the public sector, it is necessary to fine-tune new tools and methods of its implementation to ensure the achievement of the goals and objectives of the reform. Only in this case it is possible to speak about the possibility of such changes, which has not yet occurred in real management practice.

Further development of museum activities in our country is impossible without the creation of a modern basic law "On Culture in the Russian Federation". law must be built on an understanding of culture, art, education, aesthetic education as the basis of the state and society.

The former Minister of Culture of Russia A. Avdeev identified a number of problems that have accumulated in museum activities:

First of all, it is necessary to resolve the issue of increasing the wages of museum workers, since today it is the lowest in the industry. For example, in the regions the salary of this part of cultural workers is from 4.5 to 10 thousand rubles, and at the federal level - 10-12 thousand. "Today, museums are supported by devotees," A. Avdeev noted.

In addition, one can note the fact of the lack of space for museum funds. However, the problem of storage facilities goes back to Soviet times. To resolve this issue, it is necessary to build new areas.

He also outlined a number of other problems in this area, such as the protection of museums, the restoration of cultural values.

President of the Union of Museums of Russia, General Director of the State Hermitage Mikhail Piotrovsky, points out that in recent years many fundamental things have been done to preserve Russian museums, and, above all, this concerns the inventory of the entire Museum Fund of Russia. According to him, museums in Russia should be inviolable, and in this regard, state guarantees and insurance are necessary.

Currently, there are many cultural institutions in St. Petersburg that provide a wide variety of cultural services, including: 148 museums, including 5 reserve museums, 62 theaters, 49 cultural and leisure institutions, 17 concert organizations, 47 cinemas.

But, despite the presence of cultural and historical potentials, the development of St. Petersburg culture and museums in particular is problematic.

The most significant problems in the museum activity of the city are associated with the low activity of the majority of Petersburgers in the consumption of cultural goods and services. Based on research data from 2008 and 2011. 60.5% of the adult population of St. Petersburg have never been to museums and exhibitions during the year, 66% - to the drama theater, 79.7% - to musical performances, 85.7% - at concerts of academic music. In general, 51.3% of the St. Petersburg residents surveyed visited any cultural institution less than once a year (excluding cinemas). At the same time, only 14.5% of the population visit cultural institutions 10 or more times a year. This situation is exacerbated by the fact that in the city there is a traditional isolation of the inhabitants of the sleeping areas from the main "centers" of St. Petersburg culture.

Museums, theaters and concert organizations, being unique institutions, are located in most cases in historical buildings in the central part of the city - 33 museums and 26 concert organizations and theaters are located here. While in the "sleeping" areas the picture is different. The development of culture in St. Petersburg is connected with the interaction of urban culture and tourism. During the high tourist season, many urban cultural institutions are under such a heavy load that they become practically inaccessible to citizens. Given the fact that due to the development of cruise tourism, the high season is significantly extended (up to about six months), this becomes a significant factor influencing the consumption of cultural goods by St. Petersburg residents. Tourist flow in St. Petersburg in 2011 increased by 5-7% compared to 2010 - up to 5.1 million people. Such a number of tourists can be considered as "another population of the city".

Attracting an audience largely depends on the organization of museum marketing. To increase the activity of the audience, museums need to reach a new level of their development and improve museum marketing.

Thus, the Government of St. Petersburg approved the Concept of social and economic development until 2025. This Concept refers to the strategic goals and priorities of the socio-economic policy of the city.

As a result of the implementation of this Concept, St. Petersburg will strengthen its role cultural capital Russia, venues for festivals, exhibitions and concerts, many of which will be of international importance. The tourist attractiveness of St. Petersburg will increase, which will allow it to become one of the leading European centers of international tourism. At the same time, the unconditional fulfillment of all international obligations in relation to objects located within the boundaries of the territory of St. Petersburg and included in the UNESCO World Heritage List will be ensured. Thus, St. Petersburg will become a world-class city.

Despite the presence of a wide range of problem areas in the development of the sphere of culture and museums in particular, the formation of new approaches to management practice will significantly improve the current situation in Russia. Innovation may be a response to problem situations that cannot be solved within the framework of existing management methods and procedures.

All the most famous museums in the world have arisen on the basis of private collections and the collecting passion of specific people. The first museum of the new type was the British Public Museum in London, the first large public museum was the Louvre. Museums appeared in Russia in the era of Peter I.

At present, the museum business is developing rapidly, as the social and economic role in the life of society is growing.

Now museums can be classified:

ü on the scale of activity;

ü according to the form of ownership;

ü on an administrative-territorial basis;

ü by types.

The main activities of modern museums are:

ü research work;

ü scientific fund work:

ü exhibition activity;

ü cultural and educational activities.

All museum activity is based on the project approach. For the last ten years, a significant number of sociocultural projects have been officially carried out in Russia with the participation of museums, for museums, in museums.

The practice of introducing and implementing projects in museums shows the effectiveness of this form of organizational and managerial activity.

Within the framework of this work, an attempt was made to consider the implementation of museum projects on the example of the activities of the Federal State Cultural Institution "State Russian Museum".

Currently, the Russian Museum implements its activities at the expense of budgetary funds and extrabudgetary funding, including through the introduction of partnerships with the public, non-profit and private sectors.

It can also be stated that extra-budgetary sources of funding, although they have become widespread, are still only being formed and do not have a noticeable impact.

Thus, using the State Russian Museum as an example, it is shown that the result of the implementation of project activities is the implementation of a large number of exhibitions in the museum, on the territory of the Russian Federation and abroad. In addition, the museum participates in various projects, carries out publishing work, and carries out cultural and educational activities.

The role of innovative design technologies used in the process of project implementation lies in the fact that it helps to identify cultural needs, expand the target audience, and, in general, improves the comprehensive efficiency of museum activities.

The paper emphasizes that, as in any field of activity, there are a number of problems in the museum, mainly related to changes in legislation, attracting an audience and organizing storage facilities. Not only museums in Russia are interested in resolving these issues, but also state bodies, since the preservation and popularization of culture are important for the formation of modern society.

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Receipts from the federal budget

Income from extrabudgetary sources

Regulations:

1. The Constitution of the Russian Federation (adopted by popular vote on December 12, 1993) of December 12, 1993 (as amended on December 30, 2008 No. 7-FKZ) // Rossiyskaya Gazeta. 2009.- №7.

2. The Civil Code of the Russian Federation (part one) (adopted by the State Duma of the Federal Assembly of the Russian Federation on 10/21/1994) dated 11/30/1994 No. 51-FZ (as amended on 12/27/2009) // Collection of Legislation of the Russian Federation.1994. - No. 32. Art. 3301.

3. Federal Law No. 125-FZ dated October 22, 2004 "On Archiving in the Russian Federation"

4. Federal Law of June 25, 2002 No. 73-FZ "On objects of cultural heritage (monuments of history and culture) of the peoples of the Russian Federation"

Federal Law No. 54-FZ of May 26, 1996 "On the Museum Fund of the Russian Federation and Museums in the Russian Federation"

6. Decree of the Government of the Russian Federation of December 7, 2005 No. 740 (as amended by the Decrees of the Government of the Russian Federation of June 14, 2007 No. 373, of December 29, 2007 No. 971, of January 14, 2009 No. 23) "On the federal target program" Culture of Russia (2006 2010)" .

Law of St. Petersburg "On the Policy in the Sphere of Culture in St. Petersburg" N 739-2 dated 11.01.2011

Scientific literature:

8. Apfelbaum S. M. Project management. State and prospects of project activities in Russian culture // Handbook of the head of a cultural institution. 2004. - No. 2. - S. 1318.

9. Bogatyreva T. G. Modern culture and social development. M.: Publishing House of the RAGS, 2001.-170 p.

10. Zhidkov VS New principles of distribution of budgetary money // Handbook of the head of the cultural institution. 2003. -№11. -WITH. 6-12.

Ivanov V. V., Belts A. V. Fundamentals of project management: Proc. allowance M., 2000. - 12 p.

Project competition. Support mechanisms for socio-cultural project activities. // Handbook of the head of the cultural institution. 2004. -№3. - S. 45.

Ways of Russia: existing restrictions And possible options// Under the total. ed. THOSE. Vorozheykina. M., 2004. - 245 p.

Sokolov A. Actualization of the sphere of culture and mass communications as the most important element of the strategy of socio-economic development // Public Service. 2005. - No. 4. -WITH. 5-13.

16. Krivoruchenko VK Museums of political history: past and present problems // Electronic journal “Knowledge. Understanding. Skill". - 2010. - №6 - History.

Websites on the Internet:

17. http://www.consultant.ru

18. http://www.rusmuseum.ru

Akhtyrskaya Yulia Viktorovna, Methodist, head of the information and educational center "Russian Museum: virtual branch", educator of the highest qualification category

Sections: Working with preschoolers , Working with parents , MHK and IZO

Museum pedagogy is special kind pedagogical practice, but in preschool education began to play a significant role only in recent decades. This form of organization of learning combines the learning process with real life and provides students with direct observation of familiarity with objects and phenomena.

Initially, museum pedagogy meant, first of all, the cooperation of the kindergarten and the museum, the organization of visits, excursions to museums of various subjects. Museum staff developed special excursions for preschoolers and organized various events. Currently, two major areas are actively developing in preschool museum pedagogy:

cooperation of the preschool educational institution with museums;
creation and use of mini-museums in kindergarten.

There are a number of characteristic differences between the children's museum and the traditional one:

Its main task is educational, which means that any objects can be collected in it, and not just originals and valuable copies.
This is a play or interactive space in which a child can do something independently, according to his own choice, taking into account his own interests and capabilities.
The museum is focused on children of a certain age, on the family and preschool educational institutions.

According to A.M. Verbenets, the museum plays a special role in introducing children to art, developing creativity and subjective manifestations of the child's personality.

The most famous and widely tested museum and pedagogical program at the moment is “Hello Museum!”, The authors of which are A.M. Verbenets, B.A. Stolyarov, A.V. Zueva and others. It is accompanied by notebooks for creative work “We are entering the world of beauty” (Appendix 1), focused on the artistic and aesthetic development of children aged 5-7 years. The system of tasks, games and exercises helps to prepare the child for the perception of the exhibits art museum, introduce the basics of the language of fine arts, teach how to create expressive and interesting images.

Museum educators are actively developing interesting shapes work with the audience, turning passive contemplatives into active figures:

museum lessons/classes and holidays in the museum, creative studios and workshops (for example, in such classes, children make toys together with their parents);
role-playing excursions and game methods;
excursion days as part of the traditional festival museum programs, which is based on the idea of museum space interactivity (children perform various tasks, discover the "secrets" of objects);
a variety of interactive programs offered by the largest museums in Russia and the world;
multimedia programs for children created by many Russian museums.

Currently, social partnership is an important aspect of the activities of kindergartens. Actively developing the ideas of museum pedagogy, the administration and teachers of GBDOU No. 62 of the Primorsky District of St. Petersburg "Golden Fish", with the support of the Administration of the Primorsky District, analyzed alternative museum and pedagogical programs offered by the State Hermitage Museum, the State Russian Museum, the State Tretyakov Gallery, which have extensive experience working with an audience of different ages, wide exposition opportunities, highly professional personnel and organizational and creative contacts with pedagogical institutions.

The choice was made on the project "Russian Museum: Virtual Branch". This is a large-scale international project embodying the idea of accessibility to the world's largest collection of Russian art. The geography of the project is constantly expanding and covers both Russia and foreign countries. The kindergarten in St. Petersburg became the first preschool educational institution among virtual branches. To date, 100 Russian Museum: Virtual Branch centers have been opened (68 centers in Russia, 31 abroad, and 1 at the polar station in Antarctica).

It is important to note that this form of cooperation with the Russian Museum is possible subject to a number of requirements:

availability of premises equipped computer technology;
high speed Internet;
accessibility for visitors.

An important part of the work of a museum teacher is:

reporting on the work of the information and educational center "Russian Museum: Virtual Branch" for the previous period (Appendix 2).
planning the direct contribution of the head of the information and educational center "Russian Museum: Virtual Branch" to the dissemination of the work experience of a museum teacher (Appendix 3).
report on activities within the framework of improving the quality of work of a museum teacher (Appendix 4).
clear long-term planning of the branch (Appendix 5).
organization of project activities for preschoolers (Appendix 6).

Organization of project activities for preschoolers:

Project "We love to draw!" (Appendix 7).
Children acquaintance project preparatory group with fine arts and the study of children's fairy tales by A. S. Pushkin "Journey through the works of A. S. Pushkin" (Appendix 8).
The project "The fable is short - the art is limitless" (Appendix 11).
Project "Book World" (Appendix 12).
Conducting open classes on museum pedagogy: "Images of winter" (Appendix 9).
Abstract of the lesson on the formation of universal prerequisites for the educational activities of older preschoolers, through the integration of artistic, aesthetic and cognitive-speech development "Great works of poets and artists" (Appendix 25).

Organization of children's activities on the playground of the kindergarten:

Theme "Let's color everything around" (Appendix 10).
Observation of children's reactions to the expositions of the Russian Museum (conclusions, recommendations) (Appendix 13).
Fixing observations of children's reactions during classes in a computer class (Appendix 14).
Formation advanced planning on the work of the information and educational center "Russian Museum: virtual branch" (Appendix 15).

Diagnostics at the beginning of the year:

Identification of developmental features artistic perception for preschoolers at the beginning of the year ( First level) (Appendix 17).
Observation in the conditions of the museum (monitoring results at the beginning of the year) (Appendix 18).
Observation of the manifestation of aesthetic attitude to the world around children preschool age at the beginning of the year (initial level) (Appendix 19).

Diagnostics at the end of the year:

Identification of the features of the development of artistic perception in preschoolers (monitoring results at the end of the year) (Appendix 20).
Observation in the conditions of the museum (monitoring results at the end of the year) (Appendix 21).
Observation of the manifestation of an aesthetic attitude to the world around preschool children (monitoring results at the end of the year) (Appendix 22).
Drawing up a summary table for comparing the diagnostics performed (Appendix 23).
Making a summary histogram for the diagnosis of children of senior preschool age under the program "We are entering the world of beauty" (Appendix 24).

Raising the pedagogical level: writing articles, participating in competitions, conferences, round tables.

The kindergarten has a conference room for master classes and classes, an equipped computer room with a separate entrance, a ramp and a special elevator for visitors with disabilities. There is every reason to believe that the new virtual branch of the Russian Museum will become an educational center for many residents of the Primorsky District.

The opening of a virtual branch of the Russian Museum on the basis of a kindergarten contributes to the upbringing of the younger generation, is a tool for the successful socialization and development of children and helps to strengthen the continuity between preschool and educational institutions Primorsky region.

Article "The use of gaming pedagogical technologies in the work of a museum teacher in a preschool educational institution" (Appendix 16).

Literature:

Verbenets A.M. The development of creative manifestations among older preschoolers by means of museum pedagogy // Kindergarten from A to Z. 2010, No. 6.
Garkusha S. Hello, Museum! Work with parents on the museum-pedagogical program // preschool education. 2012, №2.
We enter the world of beauty: a notebook for creative work of children aged 6-7: museum and pedagogical program "Hello Museum!" /Aut. comp. : A. M. Verbenets, A. V. Zueva, M. A. Zudina and others - St. Petersburg, 2010.
Ryzhova N.A. Mini-museum in kindergarten as a form of work with children and parents. - M., 2010.
Churakova N.A. In the museum with Krontilda. - M., 2011.
Churakova N.A. Krontik in the museum. History since magic wand. - M., 2009.
Churakova N.A. Krontik in the museum. How is it inside the paintings? - M., 2010.

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