‘Islamic Art Curation in Perspective: A Comparison with East Asian Models through the Case of the Leeum Samsung Museum’

Abstract

The present essay offers a viewpoint on the topic proposed that will not achieve unanimity among the scholarship, nor does it aim to do so. The intention instead is to open a debate and propose new ideas about the presentation of objects of artistic heritage, such as ceramics, in twentyfirst century museums and galleries. Indeed, owing to the global phenomenon called ' curationism' by David Balzer, today world-class sites of art display showcasing rich historical holdings significantly contribute to reshaping perceptions and relationships between peoples, communities, and nations. 1 One of the latest instances of this phenomenon is the Louvre Abu Dhabi, built by Jean Nouvel. The East-West axis of cultural interface, the magnitude of which is manifested by this Emirati museum, has had a major impact in the past decade: the unprecedented global exposure and visibility of the Islamic arts. Suffice it to mention, there is also the Aga Khan Museum in Toronto, the Museum of Islamic Art in Doha, the bigbudget re-installations of the famous collections of this material in the Metropolitan Museum of Art (Met) in New York, and in the Louvre in Paris. The present essay discusses this area of museology in the light of global contemporary museum practices. 2 It does so, however, by basing the discussion on a museum event experienced by its author. Below is an account of this event. Two Contrasting Experiences of Ancient Art Displays Museum Studies deal with experiences in what Gernot Böhme calls 'perceptual contexts'. 3 My own experience took place in two such contexts that I visited within a short period of time: the renovated Ashmolean Museum of Art and Archaeology in Oxford, and the Leeum Samsung Museum in Seoul. 4 In the former, I went to visit the gallery of Islamic Art with the expectation of a modernised presentation after a big-budget campaign of refurbishment, while in the latter, I came across displays of ancient Korean art during a leisurely visit of cultural landmarks in Seoul. Less known in the West than the Ashmolean, the Leeum necessitates a brief introduction. 5 Inaugurated in 2004, it consists of three edifices built by Mario Botta, Rem Koolhaas and Jean Nouvel: Museum 1 presents a collection of traditional Korean art; Museum 2 features national and international contemporary art; and the third is a Child Education and Culture Center (Figures 1-3).

Between Ethics and Aesthetics: A Curation Method for Contemporary Islamic Paintings in Indonesia

“…The aesthetic aspect is also essential in curating contemporary Islamic art. Necipoglu (2012) and Gonzalez (2018) argue that the visual language of Islamic art can be a powerful tool to transcend cultural and religious boundaries. In the Indonesian context, where diversity is celebrated, understanding the aesthetic preferences of different communities is crucial to creating an inclusive exhibition that can reach a broad audience.…”

The Religious Plot in Museums or the Lack Thereof: The Case of Islamic Art Display

“…The ontological line separating art from artifacts is, however, mobile and often blurred. This issue has been discussed in a variety of publications: in the paragraph entitled "Social-historical Background of Islamic Art Curation," in (Gonzalez 2018;Demerdash-Fatemi 2020, pp. 15-30;Shatanawi 2012a, pp.…”

“…html (accessed on 8 March 2022). See also my references to some powerful religious installations in East Asian museums, in particular in Korea, in (Gonzalez 2018). This article critiques some key museums and galleries of Islamic art.…”

“…129-31). About the Museum of Islamic art in Doha, see my critique in (Gonzalez 2018). For a collection of concisely critical essays on the museums in Qatar and the Arabian Peninsula, see the (Journal of Arabian Studies 2017).…”