From 31 May, one of the world’s largest art and design museums is offering the public not just a rare peek behind the curtain, but a chance for visitors to poke about, see up close — and touch — historical and culturally significant pieces. The V&A Storehouse East — a new museum-grade storage facility turned exhibition and research space in London — is a project over 10 years in the making, and one that aims to reframe the traditional museum experience. Spread across four mighty floors (though only three are accessible to the public), there are over 250,000 objects, ranging from Roman frescoes and an early 14th century Simone Martini painting to avant-garde fashion and couture from the likes of Schiaparelli, Comme des Garçons and Vivienne Westwood. The open access offered to visitors turns museum conventions on its head, where works on display are usually roped off, guarded and therefore only admired from a distance. “This is real back-of-house museum work,” said the V&A East Storehouse’s senior curator Georgina Haseldine, standing in front of rows and rows of priceless objects — from paintings by Margaret Sarah Carpenter to 18th century hunting swords — ahead of its public opening. “We want visitors to learn what a collection is, how we store it… How colleagues work across the museum, from conservators to the technical service team.” Designed by American interdisciplinary design studio Diller Scofidio + Renfro, the space includes a central hall reaching 20 meters high. From all directions, rows of metal shelves housing furniture, artworks, mannequins and more stretch outwards. Here, visitors can peer up or down from the upper floors. With so much to see, it is easy to feel engulfed by the sheer volume of items in possession. “On average, only 3% of a museum’s collection is on display at any given time,” estimated Diller Scofidio + Renfro co-founding partner Elizabeth Diller at the Storehouse’s opening. “The other 97% is hidden away in the basement, or off-site in a warehouse. As museums accumulate more and more collections, the proportion of works on display is just going to diminish over time unless we build new wings to accommodate more stuff.” For the V&A, thousands of artefacts previously relegated to deep storage are now finally seeing the light — with some works, as is the case with the awe-inspiring Altamira ceiling (a gilded softwood ceiling originating from Toledo, Spain and dating back to the late 15th century), they are being seen for the first time in decades. Similarly, the dazzling 10-meter-high recreation of Picasso’s “Two Women Running along the Beach (The Race) (1922)” painted by Prince Alexander Sharvashidze is being shown for the first time in over 10 years. The front cloth, used by a travelling ballet company in 1924, was even signed by Picasso himself. The result is akin to a big, artisanal IKEA (unmissable is the pleasant smell of wood, likely emanating from one of the many ancient chest of drawers — the oldest dating back to 1410) or in the eyes of Diller, a cabinet of curiosities. “The V&A’s collection is eccentric in the first place,” she said. “Where else would you encounter suits of armors, stage cloths, biscuit tins, building fragments, puppets, thimbles, chandeliers, motorcycles next to each other?” Instead of alphabetising, or organizing based on strict chronology, Diller decided to “lean into the delirium” — placing items that spanned across medium, time periods and geographical location right next to one another. “It’s a 16th century form of display,” she explained. “Which was more for private collections, but (they) also would put delirious things together.” As expected, lifting the menagerie of items right off the shelf is prohibited — this is not actually an IKEA, after all — but touching, surprisingly, is not entirely off-limits. Visitors keen to hold a centuries-old shoe in their own hands need only take the time to log on and book a slot at the Storehouse’s on-site Research Center . There, invigilators and conservationists are on-hand to teach the public how to properly handle culturally significant works. The online booking portal has been open since 13 May, with the V&A already reportedly receiving requests from curious members of the public, ranging from avid researchers to brides-to-be looking for wedding dress inspiration. So far, the most requested item is a fuchsia 1957 Cristobal Balenciaga gown. Laid out in the Research Center, the frock’s silk taffeta looks almost iridescent up close. Breathing near it feels inconsiderate — but Kate Parsons, director of conservation, collections care and access at the V&A, reassured there is climate control across the facility, keeping the Storehouse at between 16 and 25 degrees centigrade and 40-60% humidity, as per international standards, along with a variety of methods that tie down or secure items to the viewing table. Still, is she nervous about putting these invaluable items in the hands of the public? “No. Not at all,” she told CNN. “We’ve thought very carefully about the robustness of the object.” “These collections belong to the public. And it’s just incredible that we can enable access.”
In this museum space, the objects are yours to touch
TruthLens AI Suggested Headline:
"V&A Storehouse East Opens to Public, Allowing Touching of Historical Artifacts"
CNN
7.5
TruthLens AI Summary
Starting from May 31, the V&A Storehouse East in London, one of the largest art and design museums globally, is set to revolutionize the traditional museum experience by allowing visitors not only to view but also to touch historical and culturally significant artifacts. This innovative project has been over a decade in the making and features a museum-grade storage facility that has been transformed into an exhibition and research space. With over 250,000 objects spanning various periods and styles, including Roman frescoes and modern fashion from renowned designers such as Schiaparelli and Vivienne Westwood, the Storehouse aims to provide an immersive experience. The senior curator, Georgina Haseldine, emphasizes the importance of educating visitors about the collection and the museum's operational processes, highlighting the opportunity to engage with the items more intimately than traditional museum practices allow. The facility, designed by the American studio Diller Scofidio + Renfro, boasts a striking central hall and multiple floors filled with diverse artifacts, challenging the conventional notion that only a small fraction of museum collections is accessible to the public.
The V&A Storehouse East also addresses the growing concern regarding the underutilization of museum collections, as only about 3% of items are typically on display at any given time. The facility brings thousands of previously hidden artifacts into the light, including remarkable pieces like the Altamira ceiling from the 15th century and a recreation of Picasso's painting, which have not been exhibited for decades. While visitors are not permitted to lift objects off the shelves, they can touch certain pieces through a booking system at the on-site Research Center, where conservationists guide them on handling the items properly. This initiative has already generated significant public interest, particularly for iconic items such as a fuchsia gown by Cristobal Balenciaga. The V&A's commitment to making these collections accessible to the public marks a significant shift in museum practices, with a focus on engagement and education rather than mere observation, fostering a deeper connection between visitors and the cultural heritage represented by these artifacts.
TruthLens AI Analysis
The article presents an innovative shift in how museums engage with the public, particularly focusing on the V&A Storehouse East in London. By allowing visitors to touch and explore a wide array of historical artifacts, the initiative aims to enhance public interaction with art and design.
Intent and Impact on Public Perception
The intention behind this initiative seems to be promoting a more inclusive and participatory approach to museum experiences. By breaking the traditional barriers of "do not touch" policies, the museum seeks to foster a deeper understanding and appreciation of its collection. This approach could lead to a more engaged community that feels a sense of ownership over cultural heritage.
Hidden Agendas or Concerns
While the article highlights a positive shift in museum culture, it may mask underlying challenges, such as the logistics and costs associated with maintaining such an open-access model. Additionally, it does not address potential concerns regarding the preservation of delicate artifacts when they are made accessible to a broader audience.
Manipulative Aspects
The article does not overtly manipulate the reader but frames the museum's actions in a highly favorable light. The language used emphasizes accessibility and engagement, which may lead to a biased view of the initiative. However, the lack of critical analysis or dissenting opinions may limit the depth of the narrative.
Authenticity of Information
The information presented appears credible, especially given the involvement of well-known designers and curators. Still, the enthusiasm surrounding the project could overshadow potential criticisms regarding the feasibility and sustainability of such a model in the long term.
Social and Economic Implications
This initiative has the potential to positively impact the local economy by attracting more visitors to the museum, thereby fostering a vibrant cultural scene. Additionally, it may encourage other museums to adopt similar practices, leading to a broader trend in the cultural sector.
Target Audience
The project is likely to resonate with various community groups, particularly those interested in arts and culture, education, and social interaction. It aims to attract families, students, and art enthusiasts who value hands-on experiences.
Market Reactions
While this news might not directly influence stock markets, it could positively affect companies involved in cultural tourism and related sectors. Businesses that thrive on foot traffic in cultural areas may see increased patronage as a result of heightened interest in the museum.
Geopolitical Relevance
The article does not directly address global power dynamics, but the emphasis on cultural accessibility could reflect broader movements towards democratizing art and culture, aligning with contemporary discussions around inclusivity and representation.
Use of AI in Writing
There is a possibility that AI tools were utilized to craft this article, especially in structuring the narrative and presenting facts. The clear organization and engaging tone may suggest assistance from AI models designed for content generation, although there is no explicit indication of this in the text.
In conclusion, while the article reflects a fresh perspective on museum engagement, it does not fully explore the complexities involved in implementing such an open-access model. It presents a largely positive narrative that may lead to a skewed perception of the initiative's challenges and potential downsides.