Event activity as a tool for the development of museums (on the example of "Night of Museums"). "Museum and Communities

Museum as a tool to improve the quality of life Museum as meritorious benefit 119

Municipal, district, rural museums located in small settlements, where no one even thinks about the diversity of creative practices, often become the only option for local residents to access cultural benefits. The daily existence of small museums is fraught with many difficulties, their activities, as a rule, do not bring profit, the funds are small and practically do not contain rarities. Nevertheless, even in these difficult conditions, the museum continues to be an essential element of the quality of life, performing educational, communicative, recreational and other functions.

Small museums are closely connected not so much with the professional as with the local community. The first acquaintance occurs at an early age, in kindergarten, school, then it is the turn to bring their own children and grandchildren to the museum. Many local museums do not associate their activities with the tourism business, their expositions do not always shine with innovative ideas, and employees do not consider it necessary to promote the museum in the information space. At the same time, the potential of small museums in the matter of consolidation and self-determination of the local community is quite large.

The contribution of local museums to the preservation and reproduction of local historical cultural heritage meets the understanding of the most "advanced" representatives of the authorities. However, the museum sphere is not among the priorities for receiving state support in the next few years. In this situation, local museums compensate for the lack of funds with ideas, most of which are somehow related to the problems of the local community.

Of course, small museums in the provinces rarely make themselves known in the all-Russian information space; there is no unified statistics on their activities. It is impossible to reliably know even the number of existing museums, not to mention the specific facts of their work and the assessment of it by the local community. Compared to the scale of the country, the amount of information available about local museums is only a small fraction. Nevertheless, from her analysis it becomes clear that a museum in the Russian provinces is currently seen as a tool, if not for the restoration and development of the territory, then at least for improving the quality of life of the local population. In recent years, traditional museum institutions have been increasingly modernized, pre-revolutionary collections are being restored, new museums and expositions are opening.

In the city of Nyandoma, Arkhangelsk region, the museum appeared quite recently, in 2006, and has the status municipal institution culture. This is the first museum opened in a small town (population - 21.6 thousand people as of January 2009 120), which was formed at the end of the 19th century. during the construction of the Vologda-Arkhangelsk railway. Currently, there are two large enterprises operating in it - a locomotive depot and a poultry farm, but the population is declining 121 .

Nyandoma is on the way to Kargopol, but tourists almost always pass by. "Young" museum workers believe that the city has a rich historical and cultural potential. The name of the city is associated with a legend about a certain Nyan, whose hospitable house, located on a bustling highway, was constantly visited by travelers. When asked if the owner was at home, the wife allegedly replied: “He is at home, Nyan, at home” 122 .

The historical local history museum is called "Nyan's House". It is located in the wing of a historic building, which was empty before the opening of the museum and where repair work is still ongoing. Management and employees plan to open art gallery, a permanent local history exhibition related to the history railway station and the town, the traditions and customs of the northern home; to develop opportunities for ecological tourism; to build an inn for tourists, where one can spend the night on an old bed, taste porridge from a Russian stove, look into the stables… 123 In general, do everything so that passing tourists stay in the town for at least a day.

The newly appeared museum of local lore declares itself as a modern cultural institution capable of influencing the solution of socio-economic problems. Museum employees see the main goal of the work in building a partnership strategy with representatives of government and business, aimed at improving the living conditions of the local community 124 .

Sometimes a museum, realizing its beneficial influence, tries to extend it to areas that do not formally fall into its “service area”. Thus, the Kargopol State Historical, Architectural and Art Museum (Arkhangelsk Region) in 2008 launched the Living Village project. It involves the creation of a public initiative center at the museum, bringing together representatives of the local community interested in the preservation and development of their native places 125 .

Currently, the Living Village Center actively cooperates with the local community in several rural settlements. Living conditions in them, despite the geographical proximity, vary greatly, and the museum in each case develops a special strategy of action. Thus, in recent years, initiative groups from the village of Oshevensk have been actively developing its tourism potential, entering into cooperation with museum workers who organize excursion services on the territory. As part of the work of the Living Village center, an agreement was concluded between the museum and the municipality on organizing, together with the inhabitants of the village, an exhibition dedicated to the history of the region, Orthodox and traditional culture 126 .

The previous case can be considered successful, but the museum sometimes has to act as a savior of dying villages. For a few recent years the villages near the city were almost deserted. In the village of Kalitinka (16 km from Kargopol), even the elementary school was closed in 2006. The Kargopol Museum is actively developing the concept of a tourist route passing through the village and the project of organizing a museum on the territory of the village dedicated to the history of the region, including already lost objects of historical and cultural heritage 127 .

One of the most striking examples demonstrating the role of a museum in shaping and maintaining a local identity is the Museum of the Mologa Region (a branch of the Rybinsk Historical, Architectural and Art Museum-Reserve). Mologa is a small old town located at the confluence of the Mologa and Volga rivers and went under water during the construction of the Rybinsk reservoir. The depths at which Mologa is currently located are called "disappearing small". The level of the reservoir fluctuates, and approximately once every two years the city appears from the water: the paving of streets, the foundations of houses, the cemetery.

The Afanasievsky Monastery located in Mologa was also flooded. Since 1995, the Museum of the Mologa Region has been operating in his courtyard, located in Rybinsk, where you can see photographs of the city and its inhabitants, recreated interiors of houses, etc. The Museum of the Mologa Region is a state museum, but it was created at the initiative of the public - residents of the flooded cities, towns and villages. For the Mologa residents, the creation of a museum is not just a way to preserve the memory of the past, they also see its mission in the revival of the Mologa region as a cultural and historical community. Museum staff and Mologa community activists are working on the idea of ​​creating the Mologa administrative territory with its center in one of the settlements that were previously in the Mologa region 128 .

Museums located in small settlements, due to the compactness of their audience, perceive it as a whole and work with those segments of it that rarely become museum visitors. About 7 thousand people live in the village of Karagay in the Perm Territory (108 km from Perm). Once it was the possession of the Stroganovs, in Soviet time a large state farm "Russia" was created, now locals They live mainly by sawing forests and hunting. The village has a library, a house of culture with a song and dance ensemble and an academic choir;

The village is quite large by Russian standards, but the population is declining. There are about 1.5 thousand young people, including small children. Under these conditions, the museum in 2007 proposed the project "ArtPersonal: Museum of Others - Another Museum". The initiative of rural museum workers turned out to be unique for the entire Perm region. They decided to attract teenagers and young people by providing them with an exhibition space for the realization of their own ideas 130 .

The main objective of the project was to get to know each other local youth subcultures. During the work, the initial plans were greatly transformed: instead of the "School of the Young Guide", the idea was born to create an exhibition not from the museum's funds, but from the real life of young people who had not previously shown interest in museum activities 131 .

At the first stage, several groups went to a field camp, where, under the guidance of psychologists, they participated in game trainings aimed at identifying and rallying the creative “core” of the project and introducing representatives of youth movements to each other. As a result of joint discussions, an exhibition was created that contained two main components. A cube filled with electronic means of communication was placed in the center of the hall, on the edges of which, covered with a net, visitors could leave feedback and wishes. It was possible to write on balloons, then throwing them into the center of the cube (according to the idea, the exhibition was supposed to show how live communication replaces the virtual). Around the main exposition is located, which tells about different subcultures: poems, photographs, fragments of performances, posters, musical instruments, clothes, which have become sides of a common polygon 132 .

A rural museum with a poor exposition, a small staff and eternal underfunding, solving its problems, spoke to the “difficult” audience in its language, without fear of condemnation and conflicts. The project was implemented at minimal cost, but thanks to it, both museum specialists and the local community gained significant experience. The cultural institute made an attempt to integrate into real life their visitors, and representatives of various subcultures got the opportunity to feel part of a single whole.

It should be noted that under the described conditions, the activities of the museum affect various areas life, sometimes supplementing the work of other institutions. The two most frequently encountered functions of the museum within the broader “museum as meritorious” model of interaction between the museum and the local community – social protection and leisure – require more detailed consideration.

Museum as a means of social protection

The adaptation of a person to the conditions of modern life, especially vulnerable groups of the population, with the help of various cultural practices is increasingly understood by museums as one of the important areas of their activity. Every year, the winners of the All-Russian grant competition "A Changing Museum in a Changing World" in the nomination "Socially Oriented Museum Projects" are initiatives aimed at supporting people deprived of the opportunity for socialization, creative realization, and creating an atmosphere of informal communication in the museum environment. A large number of projects in this area are also being implemented at the expense of museums, with the support of local authorities, and various grants.

Many initiatives come exclusively from museum staff, some of the projects are created in partnership with the sphere of social protection, public organizations. At the same time, while taking on non-traditional functions, combining different areas of activity, museums do not replace other structures 133 . They complement them and their work using specific professional tools. It should be noted that activity in this area still faces certain difficulties: these are heightened emotions on the part of participants and the public, and numerous questions caused by the lack of established standards. Which groups to include in the field of activity, from whom should the initiative come? How far can a museum go beyond its walls: how to organize work in hospitals, prisons, orphanages? After all, doing work for others, even if it is very necessary and noble, the museum risks losing its specificity.

Despite the active activity in this direction, in Russia it still consists, for the most part, in project initiatives, without turning into permanent program actions 134 . At the same time, in Russia there is probably still room for project initiatives in this area. for a long time will remain virtually inexhaustible. However, thoughtful, stable and at the same time creative attempts to solve problems that have accumulated over the years can change the attitude towards them in the community, which in the future can affect the situation as a whole.

Traditionally, the socially vulnerable included such sections of society as the disabled, children left without parental care, migrants, pensioners, war veterans, drug addicts, terminally ill, etc. However, in the modern world, with its accelerated pace of life, daily changes, With the growing crisis in many areas, the circle of people who consider themselves unprotected and socially vulnerable is much wider: housewives, overly busy businessmen, teenagers, those who are experiencing a “midlife” crisis. The museum picks up their problems, changes the usual system of communication, tries to help.

In 2008–2009 in the museum of urban life "Simbirsk of the late XIX - early XX centuries." (part of the system of the State Historical and Memorial Museum-Reserve "Motherland of V. I. Lenin", Ulyanovsk) the project "To Us at the Light" was implemented, aimed at organizing creative workshops for elderly people with multiple sclerosis. With the help of museum facilities (conducting interactive classes in the exposition, folklore holidays, teaching traditional types of crafts), an attempt was made to promote the socialization of people who, due to health problems, were excluded from the process of normal communication. The classes were designed taking into account the needs of the participants: the development of fine motor skills of the hands has a beneficial effect on the condition of the patients, so they were offered workshops on embroidery, weaving, making small toys. In addition, an interesting move was the involvement of older people in the development of new technologies - part of the classes was devoted to working on a computer in the field of photo design 135 .

The project was implemented with the active support of the local department of social protection of the population and the department of the organization of disabled people with multiple sclerosis, but the initiative came from the museum. After conducting its own research, the museum found out that in Ulyanovsk there is practically no system for organizing leisure activities for the disabled 136 . About two thousand people with multiple sclerosis live in the city, and the project managed to involve several dozen. The museum turned out to be the only organization in the city that was willing to work with this audience. Museum specialists have developed events taking into account the characteristics of the audience: holidays and interactive classes are held with the involvement of family members of patients. In addition, the museum tried to give a sense of significance and relevance to people who have lost the opportunity for professional fulfillment 137 .

Ulyanovsk Museum announces its plans to continue activities designed for socially vulnerable categories of visitors, as well as for those who are simply deprived of the opportunity for full-fledged communication and creative realization 138 .

Socially oriented museum projects can be aimed not only at working with individual segments of the audience, solving their inherent problems, and providing appropriate services. All these are important and noble social tasks, but it is much more difficult and in modern conditions, perhaps more necessary, to try to influence the entire set of areas of “treatment” of society, and not on individual groups of the population.

In 2007, the National Museum of the Komi Republic (Syktyvkar) launched the Weaving of Words project. It envisaged the creation of an experimental site on the territory of the museum for organizing joint activities ordinary children and children with intellectual disabilities (as they say today, "other", "special" children). A fundamentally new approach for the museum, which has been working with children with disabilities for many years, manifested itself in the creation of a project not “for” special children, but “together” with them 139 .

In order to break stereotypes in the relationship between healthy and "other" children, they were given the opportunity to communicate and joint creativity. The main idea of ​​the project was reflected by its motto: “We are together!”. The project participants were pupils of the local boarding school and students of secondary schools. It should be noted that not all teachers agreed to join classes for children with different abilities, but a significant part of them still treated the idea of ​​the project with understanding and interest 140 .

During the creative workshops, which took place 1-2 times a week for several months of the academic year, special art objects - letters - were created from natural materials collected by the participants at the preparatory stage. Then they were woven (in the literal sense, since the main materials were grass, thread, birch bark) into words, phrases, proverbs and sayings, riddles in the Komi and Russian languages ​​and placed on the pages of voluminous "books". The classes were guided not only by museum specialists, but also by invited psychologists and art therapists. Before the start of the project, a “Volunteer School” was opened, where children were psychologically prepared for meeting “unusual” peers 141 .

An intermediate result of the project was the opening of the exhibition "Weaving words" in the museum, built by children under the guidance of a well-known artist in the republic. The project also included workshops on computer graphics, a workshop for making clay toys was opened, a round table was held on the topic “Our children: ordinary and others. Perception and Interaction".

After the completion of the project, the museum continues to actively cooperate with the project participants, schoolchildren, students, teachers, and children from orphanages. He took the initiative to improve the quality of life of some members of the community and to make people think about the moral standards adopted by others.

Naturally, socially oriented initiatives have a significant impact on the museum itself. They change the opinion about the museum as an exclusively protective and edifying institution, thus raising its status. Of particular value are the partnerships established during the implementation of projects with various structures: regional and city authorities, large enterprises, entrepreneurs, the media, foundations, departments of social protection of the population, public organizations, thanks to which the museum not only meets like-minded people, but also gets the opportunity to create an environment that supports its policy 142 .

Museum as a club

For a museum in a provincial town, which is not always attractive for tourists, it is very important to form a permanent audience. A small, rarely changing exhibition is unlikely to make a person turn to the museum again and again, so the museum offers the local population various forms of activity, inside and outside its walls, thereby raising the need for this kind of leisure. The development of this sector of activity is closely connected with the change in the concept of museum communication. The museum invites not to passive listening to his monologue, but to a dialogue, a conversation. In turn, the visitor turns from a spectator into an active participant, which can change his view of the essence and content of museum activities.

Concert and theater subscriptions, classes in circles, dance evenings involve not only the combination of educational and entertainment components, but also regular work with the visitor: studying his preferences, opportunities, etc. target audience museum-club, as well as the museum-school, in our country are children. In second place are the socially unprotected groups of the population, which were mentioned above. An able-bodied adult, devoid of pronounced health and mental problems, rarely becomes a regular and full-fledged participant in museum events, even in a small town. Of course, this part of the population in the province does not have much opportunity to think about their leisure, especially related to education. But it is this segment, as the most numerous and making the most significant contribution to the development of the territory, that is important in shaping ideas about the quality of life at the local level.

The museum as a community of interests in Russia is rather a rarity. There are practically no clubs of museum friends in the province that provide various support and receive certain services, and the volunteer movement is not developed. At the same time, in small settlements, this form of work with a visitor can be easily implemented and beneficial for both parties.

Of greatest interest to both museum professionals and members of the community are various practices related to the local context. In the National Museum of the Udmurt Republic in 2007, as a result of the implementation of the Happiness at Home.RU project, a museum club of interethnic families was created. 611 thousand people live in Izhevsk (according to January 2009, 143), who are representatives of more than 100 nationalities, of which more than half are Russians (58.9%), about a third are Udmurts (30%), the third largest ethnic group- Tatars (9.6%), another 2.5% of the city's population are Ukrainians, Belarusians, Maris, Chuvashs, Bashkirs, Kazakhs, Uzbeks, etc. 144

The partners of the museum project were the TV channel "My Udmurtia" and the non-profit public organization "Center for the Development of Tolerance". The project involved the creation and promotion of a new interactive form of museum work - a television club. Several couples were selected as its participants, in which the spouses are representatives different nationalities(Russian and Tatar, Udmurt and Russian, Udmurt and Hungarian, etc.). At the monthly meetings held within the walls of the museum, the couple shared their secrets of family happiness with the participants and spectators. At the same time, a kind of incentive for the beginning of conversations, memories were presented to members of the club museum exhibits or walks through the exposition 145 .

For the general public, television programs were prepared, broadcast on local television, dedicated to specific topics: marriage, parenting, national costumes, holidays, etc. In addition to a personal conversation with the participants, each of them included stories about the culture, traditions, customs and rituals of a particular nationality, created on the basis of the collections and expositions of the museum.

The created TV club made it possible to position the National Museum of the Udmurt Republic as a real center of the dialogue of cultures. In addition to the main staff and partners, representatives of the Ministries of National Policy and Culture of Udmurtia, the Administration of Izhevsk, the regional centers "Family", national-cultural public associations, psychologists and social pedagogues took part in its extended meetings. They discussed the problems of interaction between representatives of different nationalities, tolerance, intercultural dialogue, which are essential for the urban community, and specific proposals for its construction.

In 2008, as part of the European Year of Intercultural Dialogue, the Council of Europe's Intercultural Cities project was launched. The project is designed for 10 years, and its end result should be the development of new intercultural development strategies in the participating cities, as well as the development of mechanisms for their implementation. Of the 70 cities that submitted applications, 12 were selected, the only city representing Russia was Izhevsk. Among the events held within the framework of the pan-European program was the presentation of the museum project “Happiness at home.RU” 146 .

Thus, the museum, having assumed the mission of a cultural, educational and entertainment institution, touched upon one of the most important and painful topics for the urban community of Izhevsk. At the same time, his message was as positive as possible, as the very name of the project indicates. It offered ample opportunities for mutual study and enrichment of cultures, based on the research experience of such an authoritative cultural institution as a museum. At the same time, the project allowed the community members to move on to a serious discussion of the topic and the solution of possible problems.

As noted above, the relationship between the museum and the adult audience in our country is in its infancy. Majority interactive programs, creative workshops, lecture halls designed for children or the elderly. Nevertheless, initiatives that meet the needs of the “forgotten” visitor are finding a lively response and support.

Employees of the Kargopol State Historical, Architectural and Art Museum, having begun to solve the problem of increasing the audience and attracting it to active interaction with the museum, drew attention to the state of the leisure organization of the adult population.

In addition to museum specialists, volunteer assistants were involved in the project: students, schoolchildren, pensioners, teachers, students of the House of Creativity and the School of Arts. An indispensable condition for the implementation of the project was the involvement of an ordinary visitor: both as a spectator of staged scenes and "dance schools", and as a direct participant. The project turned out to be popular: every summer weekend for several years in a row, about 200 people gather at the renovated “frying pan” (as the residents used to call this dance floor). different ages, profession and wealth. The museum received offers of sponsorship and wishes to create a club association "Friends of the Museum Yard" 147 .

Many participants in the dance evenings are probably not very familiar with museum activities directly. The project was also designed to change the perception of the museum in the local community: an initiative, dynamic, forward-looking museum should evoke pleasant emotions not only during dances in the courtyard, but also when viewing the expositions.

In search of ideas for creating projects to attract an audience, establishing direct contact with it, introducing elements of entertainment and interactivity into the museum space, the museum starts, first of all, from the local context, aiming its actions at enriching it. As one of the few significant players in the socio-cultural and informational field of the territory, simultaneously performing educational, entertainment, communication functions, offering ways of social protection, the museum has a significant impact on the quality of life of the local community, creating a relaxed atmosphere and forming a sense of connection, unity with local context.

Naturally, the achievements of individual museums are unable to influence the situation in the province. First of all, it is necessary to change the idea of ​​the purpose of the museum and its capabilities in the professional community. In addition, it is important to overcome isolation and establish interaction with other institutions of culture and other spheres. The transformation of museum policy, in which special attention will be paid to working with the local community, will influence the forms of interaction that have developed to date, and will help strengthen the position of museums in local communication systems.

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 he would continue to be ordinary state museum, if in September 2012 Sharon Ament had not come to the place of the director, who proposed 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 VISION

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 them 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 continued support from the Greater London Authority, the City of London Corporation and other government agencies, the Museum of London will take a leap forward 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

GREAT PLACE TO START

We are building a new strategic development plan based on a rich and successful work experience. In recent 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.

Planned coverage:

• 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

What we have:

• 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

Educational Resources:

• Every year we host 10,000 preschoolers with their parents or caregivers and hold special classes for them.
• Children school age make up a high percentage of our visitors (15%) and this is more than in any other national museum in the UK
• 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.

Outside the walls of the museum:

• 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

Development of our assets

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.

Our employees:

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:

Our collections are officially recognized as internationally significant and are an integral part of the British heritage. We store over a million items, from ancient Roman bikinis to the swim trunks of young Olympic champion Tom Daley. 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.

Our information:

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.

Our buildings:

We have three very different buildings: the Museum of London (in the building of the city wall), the Docklands Museum and the Hackney Museum, each of which includes public spaces, green areas, 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.

CALL

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.

We accept the challenge in the social sphere:

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 expect through our activities to strengthen social cohesion, develop creative potential and improve the economic situation not only in London, but throughout the UK.

We accept the financial challenge:

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.

Infrastructure improvement opportunities:

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.

We take on the environmental challenge:

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.

Audience:

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.

Program activities:

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 collection tours. 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).

Exhibition spaces:

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.

Visitor Experience:

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.

Digital platforms:

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.

Volunteering:

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.

Communication:

How to be heard in such big city how is 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.

Central London:

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 talk about the current problems of the 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.

Face to face:

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.

Cooperation:

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.

Collection value:

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.

Scientific research:

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.

Development of contacts with schools:

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 syllabus Clore, and with the City of London Corporation we will develop our educational strategy.

Programs to attract families:

We want more families to come to our museum after school. 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 commercial activities and grants that will enable our strategic plan to be implemented.

Commercial aspect:

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.

Visitor role:

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.

Fundraising:

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.

Sustainability:

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.

The most significant problems of actualization of material and pictorial historical sources in social, including research, practices are considered, prospects for the development of archeography of a museum object as an actual direction are outlined, without the development of which historical knowledge is impossible on modern level. The necessity of expanding the empirical space of historical knowledge, the competent introduction into scientific circulation, along with written sources, of other types of historical sources is substantiated - material, pictorial, stored mainly in museums. For specialists in the field of humanitarian knowledge, history and historical sciences, museology.

Kopatskaya S. A. In the book: Experience and prospects for the development of tourism in large coastal cities: collection of materials of the II International Scientific and Practical Conference, December 6, 2011. St. Petersburg: SPbGUEF Publishing House, 2012. S. 179-184.

Foreign experience in the development of coastal areas suggests that cultural potential can play the role of a driving factor in the development of coastal regions. In our country, this practice has been addressed quite recently. Nevertheless, the rich cultural heritage of Russia makes the coastal areas an attractive target for tourists and investors.

The article is devoted to the exposition of two halls of the Armory Chamber of the Moscow Kremlin, which were of exceptional importance for the formation of the representative space of Russia in the 19th-20th centuries. The author demonstrates how the choice and certain arrangement of objects in the central hall of the first building of the Armory (architect I.V. Egotov) and the Crown Hall of the modern museum building (architect K.A. Ton) became a way of expressing certain state ideas and powerful contexts.

Margarita Kuleva. Working Papers of the Center for German and European Studies. Center for German and European Studies, 2014. no. 7.

The paper examines social features and cultural profile of the audience of Manifesta 10, first global scaled art-event ever hold in St. Petersburg Petersburg and Russia as well. Based on the empirical study of 400 formalized interviews with biennale visitors (July-September 2014), this paper compares the audience of Manifesta 10 with visitors of European art-events, firstly previous edition of Manifesta. Despite the democratization of the field of contemporary art (including the elimination of the financial barrier to access to the exhibition), the research shows that the majority of visitors are people with higher education and income slightly exceeding the national average. The significant differences were also found: Russian audience is biased towards younger visitors (more than 70% is younger than 35) and gender misbalanced. The study also shows the differences between the patterns of art-tourism in Russia and Europe: European event attracts larger flows from neighboring regions, in Russia there is a long tail: small groups from many distant locations.

"Kyn - a portal to the beauties of the Ancient Urals" is an overview of the historical and cultural potential and tourist routes with. Kyn. Kyn is an ancient Stroganov mining center, where factory buildings have been preserved. This place impresses with the beauty and power of the Chusovoy rocks.

Ivanenko A. A. In: ALL-RUSSIAN FORUM OF THE RUSSIAN LANGUAGE DEDICATED TO THE HERITAGE OF ACADEMICIAN I.I. SREZNEVSKY Collection of materials. 2016. Ryazan State University named after S.A. Esenina (Ryazan), 2016. S. 91-93.

The project was developed to stimulate the interest of the citizens of the Asia-Pacific region (APR) in the study of cultural heritage sites of our country. During the implementation of the project, four interactive excursions were held in the scientific museum of rare books of the Far Eastern Federal University (FEFU). Foreign students of FEFU became listeners of excursions.

T. 193. St. Petersburg: SPbGUKI, 2012.

The collection includes materials of the All-Russian scientific and practical conference "Second life of the museum: the revival of the lost and the embodiment of the unrealized", held at the St. Petersburg State University of Culture and Arts on October 12-13, 2006.

The materials presented in the collection are devoted to the creation, reorganization and revival of museums in the 19th-20th centuries. in Russia and abroad, the role of the museum in shaping the image of an institution and enterprise, the development and use of information resources in museum activities.

Nigmatullina G. R. In the book: Innovation Management: from theory to practice Proceedings of the VII annual (II international) scientific and practical conference of the Faculty of Management (April 3-4, 2012). SPb.: Department of Operational Printing NRU HSE - St. Petersburg, 2012. P. 231-234.

The article deals with the main issues of improving the management system in the museum, the key mechanisms for developing a development strategy and building a strategic planning system

Ivanova Yu. V. Bulletin of St. Petersburg state university. Series 6: Philosophy. Culturology. Political science. Right. International relationships. 2012. No. 2. S. 60-65.

This article is devoted to the analysis of the status of things in various cultures from antiquity to the present. Five types of things are distinguished: mythological, man-made, industrial, artistic and virtual. The analysis of these types of things allows us to trace the transformation of the meanings of things in different cultural epochs. The study of the status of a thing is carried out on the example of philosophical and artistic discourse.

In the modern world, a completely new view of what a successful museum should be is spreading more and more. Under certain circumstances, it can not only become a popular and visited place, but also give impetus to the development of the territory. Irina Ivanovna LASKINA, leading specialist of the Center for Strategic Research "North-West"

The great museums of the world, such as the Louvre or the British Museum, are traditional places of attraction for the public. Museums of this level are the main attractions of their cities, as they contain truly great collections. However, in recent decades, the world has experienced what the press calls a museum boom. At the same time, young museums often adequately compete with the great ones in terms of attendance and the impact they have on the environment. Is it only thanks to the masterpieces stored in them?

The factors that make museums influential1 include the architectural appearance of the building, the developed forms of museum activity, additional services, etc. Does this mean that it is enough for a particular territory to simply copy the architectural design and methods of work of one of the most sought-after museums in the world in order to millions of visitors rushed, and the territory itself got into the ratings of the most popular tourist destinations? Of course not. In order to interest the modern sophisticated public, it is necessary to propose such an idea of ​​a museum that will be truly unique both in content and material embodiment and will make the museum an example of high professionalism and creativity. The uniqueness of museums in the modern world is becoming one of the determining success factors.

A new look at museums

According to Mikhail Piotrovsky, General Director of the State Hermitage Museum, those who believe that one cannot live in a museum are wrong: it is quite possible in a modern museum. Continuing the theme, let's try to understand what a modern museum is like as a cultural and social phenomenon and one of the factors in the development of a territory, a city and an entire region.

For a long period of history, museums in Russia were seen primarily as institutions aimed at the accumulation, preservation and study of cultural heritage, and work with the audience was one of the most important, but equivalent to other activities. Meanwhile, an analysis of the experience of modern foreign museums shows that museums in Europe, the United States and other countries pay great attention to working with the audience, namely its study, marketing function, and other issues related to the promotion of their activities and ongoing initiatives. For modern Russian museum institutions, the issue of attracting visitors is also of paramount importance. In many ways, it is the foreign museum experience and modern development trends in global world museums prompted Russian colleagues to become noticeably more active in this direction.

An innovative approach to understanding the role of museums and their activities has been spreading in foreign countries since the 1990s. Thus, museums are now being created as cultural and educational centers, serving as a platform for dialogue between a wide range of specialists: museum curators, designers, artists, architects, photographers, scientists, etc.

The second conceptually important distinguishing feature modern museums from traditional ones lies in the change of priorities: now the focus is on the entertainment aspect and work with the mass visitor (without reference to his level of education and social status). The museum is currently acquiring more and more features of the attraction. This is expressed both in the appearance of buildings designed for the needs of new museums, and in the features of modern expositions, and in the various forms of museum activity, as well as in the quantity and quality of related services. New museum buildings (if they are not monuments of historical and cultural heritage) from a container of exposition items themselves turn into exposition objects. And additional services, such as a themed cafe, a cinema, a children's room, allow museums to become an alternative to other places of leisure. According to the director of the Pushkin Museum im. A. S. Pushkin, I. A. Antonova, now it is important not to try to fill museums with masterpieces, but to look for and develop new types and forms of cultural activity. Apparently, this remark reflects the policy of most modern museums in Russia and the world.

Museum and grounds

From the point of view of studying the significance of modern museums, it is important to get acquainted with the options for their influence on the development of the territory. In this regard, I would like to single out four variants of such influence and the corresponding incarnations of museum institutions of our time.

The first version of the influence of the museum on the territory lies in the very fact that the appearance of the museum building differs from the general architectural appearance of this territory, which cannot but affect the development of both the first and the second. In this case, we can talk about the museum as a foreign element in an environment with a well-formed architectural style. Examples here are the Center for Contemporary Art. J. Pompidou in Paris (France), Ozeaneum Aquarium Museum in Stralsund (Germany).

The second variant of the influence of the appearance of the museum building on urban environment it becomes iconic. The museum begins to be associated with the city, becomes its symbol. Here the museum functions business card territory. Examples include the State Hermitage Museum in St. Petersburg, the S. Guggenheim Museum of Contemporary Art in Bilbao (Spain).

The third option for the influence of a museum institution on the development of the territory is the placement of expositions and other museum services in objects of historical and cultural heritage. Such objects can be palaces and estates, castles and kremlins. Often such structures require partial or complete restoration, reconstruction in accordance with the needs of the museum, some of them lie in ruins. The decision to place a museum in these objects becomes an incentive for their restoration. Obviously, in this regard, the museum acts as a tool for recreating the historical appearance and cultural and historical heritage of the place. Examples of such museums are the Trakai Castle (Lithuania), the Magritte Museum in Brussels (Belgium).

The fourth option is to place the museum in unused industrial buildings, warehouses, former military facilities (lofts). Despite a certain fashion for such projects in recent years, their preparation and subsequent implementation require comprehensive study, since only in this case, objects of one purpose can perform the full range of functions of institutions of another purpose. An important feature of such museums is their ability to breathe new life into objects of the urban environment that are obsolete for any reason, as well as to include them in the surrounding space in an updated quality. The museum in this context acts as a tool for the preservation of industrial and military heritage, although the object itself acquires completely new functions. Examples: Can Framis Museum in Barcelona (Spain), which occupies two restored factory buildings, the Museum of the Warsaw Uprising (Poland), housed in a former tram depot.

Museums of all types affect the perception of the territory by its inhabitants, as well as citizens of their country and other states. Museums, organized in accordance with modern world trends, are in demand by visitors who see them as not only a worthy, but also an intellectually loaded alternative to traditional places for spending free time. Such cultural objects attract tourist flows to the region and have a positive effect on economic development indicators in general. In combination with the development of the territory and the development of other elements of the urban environment, such as transport and tourism infrastructure, business, hotel and retail and entertainment real estate, they are changing the image of the city, attracting investment and stimulating the development of new forms of economic activity. Thus, modern museums not only influence the general level of culture, but also become one of the factors of urban, economic and social growth.

Waiting for new ideas

Obviously, the implementation of large museum projects, especially those accompanied by infrastructural changes in the environment, is impossible without state participation. Such participation involves not only financing (or co-financing) the creation and subsequent operation of a new institution, but also assistance in resolving the issue of the rights to use a building, object, land plot in order to accommodate a new museum, media support for the project, acceptance of its status and mission at various levels of the state authorities. Practice shows that a modern museum can be a development factor as powerful as entities of a completely different order, for example, innovation centers being created, industrial and technological infrastructure facilities, such as industrial and technology parks, etc. Such, for example, is the often mentioned Guggenheim Museum in Bilbao, which turned the once important industrial center of the Basque Country into a popular tourist and cultural destination. An example from Russian reality can be the museum complex "Yasnaya Polyana" in the Tula region, which is a visible incentive for regional development.

It should be recognized that in recent years, individual examples of successful private initiatives in this area have appeared in Russia, but they still cannot compete with state institutions in terms of resources and influence. As an illustration, the Erarta Museum of Contemporary Art in St. Petersburg, the Museum of Kolomna Marshmallow in Kolomna are indicative. The peculiarity of these museums lies in the fact that they, being institutions of a cultural type, are organized to a large extent as businesses. This makes them actively operate and develop, offering the audience more and more diverse products and services.

A museum project that claims to be significant, in addition to a variety of resources, also needs an active manager, or, more simply, a leader. Such a leader will be able to attract additional funds for financing, whether it be grants or sponsorship, will not be afraid to experiment with possible directions for the development of the museum, and will establish cooperation with domestic and foreign colleagues and partners. S. G. Sivkova, General Director of the Museum of the World Ocean in Kaliningrad2, is now one of these leaders. Largely due to her active position for last decade the museum has grown qualitatively, has become comfortable, visible in the urban and regional socio-cultural space, expanded its presence, including a number of historical and cultural heritage sites that were previously in a dilapidated state. These are the restored Royal and Friedrichsburg gates, part of the fortifications, which housed the Poterna exhibition complex, a port warehouse of the mid-19th century. The Museum of the World Ocean is constantly changing, and this is perhaps the only true strategy in today's dynamic world.

In conclusion, let us return to the already mentioned and most important component of the success of the museum project. According to Vicente Loscertales, Secretary General of the International Exhibitions Bureau, large cultural objects and events influence the perception of cities and places on a global scale, so now even local centers are trying to find their niche in the cultural market. You can find such a niche, you just need to offer an unusual competitive idea. And here a simple question arises: are there any ideas left in our country to create truly successful, iconic, global museums?

One of the prominent trends modern culture is the design ideology. 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 system artistic culture museum - 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. You can also outline the typology of 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", 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 special project? 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 to ordinary museum affairs new technologies, methods and organizational formats are added? 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.