Challenges for museums and the creative economy
International standards, collection policies and regulatory frameworks
Few collections and acquisition policies formally consider gender (or other) representation in collections. Acquisition policies are restricted by low budgets for new acquisitions, limiting the representation of female and contemporary artists. Collections often grow from donations of work by already known artists, often men. Change in this sphere requires resource, leadership and motivation. Leadership exists, with some museum directors I interviewed stating that gender representation in collections and programming was now a consideration (informally if not formally).
Museums in the former Yugoslavia are required to raise and meet European-level standards in order to be part of European projects. The application of certain international museum standards was identified as a challenge, exacerbated by limited financial and human capacity. This is especially the case when specialist roles may not actually exist in some countries, for example, skilled conservateurs in Kosovo. This hinders the museum’s progress in adopting international standards and in preserving and expanding their collections. Nonetheless, collaboration and cooperation with other museums is valued for its contribution to raising exhibition standards.
Like in many museums, infrastructures are small and staff may cover multiple roles, without specialist skills and/or capacity to develop as professionals in specific areas. Again, as in most museum contexts, audience development and marketing are areas for future development. Audience development is a slow process and massive audience-generating exhibitions (‘blockbusters’) are often dependent on foreign partners.
Museum infrastructures may be reluctant to change practices and approaches, particularly if they are imposed by time-limited projects led by external partners. Any real change takes time and the long-term perspective is particularly important. Looking back, some of those I spoke to in the sector see demonstrable change taking place over the past five years.
Regulation, organisation and funding
Regulatory frameworks play an important role in setting the role of the museums in society and in determining its development. In the Kosovan case, legislation acts against the sector by restricting it from earning and redistributing earned income. Legislation also prevents the museum from controlling who and how many staff it hires.
Regulation also has an impact on import and export costs and other restrictions. In terms of touring exhibitions, for example, insurance can be nigh on impossible for artworks of certain value, limiting collaboration and exposure of the art to new audiences, as well as the opportunity for the institution to host high-profile international collections.
Multi-stakeholder perspectives and involvement is key — those interested in developing the creative sector should attempt to broker connections and dialogue between Ministries of Culture, funding bodies or investors (e.g. cultural institutes), and external collaborators. An acknowledged lack of long-term planning means that institutions may fail to capitalise on externally-available funding.
Challenges in the wider creative economy
There is a lack of funding and support for the creative sector, ranging from a lack of state support for individual artists and the absence of a creative economy in which to sell new work and thus support sustainable careers. The region’s human capital is depleted due to the emigration of artists and young people. Talent retention is a critical issue.
In terms of creative themes, an interesting perspective emerged from an artist who mentioned the challenge of presenting positive lessons from the Yugoslavan experience. Politics and social themes — as lived experiences — are inseparable from art. New perspectives can be encouraged and controversy managed.
View the whole series, Creative Collaboration in the Western Balkans
