Ijzeren viziermaskers van Romeinse helmen, gevonden op het Kops Plateau in Nijmegen, 1ste eeuw

foto: Museum Het Valkhof Nijmegen

Inhoud van een graf uit de Romeinse tijd, gevonden in Nijmegen, eind 1ste eeuw
(detail)

foto: Museum Het Valkhof Nijmegen

Romeinse helm met viziermasker, uit de Waal bij Nijmegen, ijzer, bekleed met verzilverd brons, gedeeltelijk verguld, eind 1ste eeuw, h. 24 cm

foto: Museum Het Valkhof Nijmegen

Nijmegen (Noviomagi) op de kaart van Peutiger, eerste gedrukte editie, Antwerpen 1598

foto: Museum Het Valkhof Nijmegen

De dingen
Toon Teeken
1987
acryl op doek

Traditionally museums are referred to as a symbol of power; the wealth of the elite or a temple of contemplation which is firmly rooted in the 19th century. With the exception of perhaps a few cases, museums by their very nature happen to look backwards rather than forwards. Yet rapid changes and the competition for the ever expanding choices of people's leisure time -- whether it is the latest computer game, a Sunday shopping trip or a visit to a theme park -- have left their mark on museums and their future planning for educational activities.

oday, it seems like museums must seek to offer experiences that are fun, entertaining and above all emotionally and physically challenging to their public. At times it seems that the new generation of educational spin doctors and pr-officers disregard the most defining feature of a museum: that of a public institution. That is; their ability to communicate an understanding of the past through display and interpretation of historical objects.



With the opening of the Museum Valkhof in Nijmegen, the Dutch museum world is once again reminded of the often misquoted yet time honored responsibility of all museums to collect, research and communicate to all (not just to school groups). Rather than extending an educational and sometimes quick roller coaster ride through history and art -- which is sometimes far away from the museum's goals -- staff at Valkhof offer visitors an anomaly but still a refreshing highly object-oriented experience. It is back to basics at Nijmegen where beauty and the historical voice of objects still run the show, more than the exhibitions design. As Maike Woldring said in a recent conversation: "At Valkhof we have chosen specifically to present only history, beauty and aesthetic ... a warm aesthetic ... without the frills."

In the exhibition rooms therefore, one will not find zillions of touchscreen computers or any other noisy high tech-gadgets which, according to educational wizards, should hold any visitor's interest in the object much longer than in the past. Nor is the visitor overwhelmed with highly overrated cluttered exhibits of dummies wearing artifacts to give the impression of how it was; at least according to our present history books. At Valkhof, visitors are not looked down upon and treated like a 10 year old ready to experiment and demolish art and history in one minute wooden puzzles and answering silly questions on sliding panels. The public is strongly encouraged to look at the ancient rings, Roman necklaces, and pottery pieces. Informative short texts elaborate on Modern paintings, Roman spoons, bones, knives, and silver wear throughout a time maze of A through Z which certainly connects the rich history of Nijmegen's past and present.

With events such as the edu-cart, a behind the scene lab for restorations and workshops geared towards the individual needs, the museum hopes to attract and establish a long lasting relationship with first time visitors. Most activities take place behind the scenes so that others in the galleries may enjoy the art at their own pace and time. Already the museum seems to be a hit with first time visitors and others.
Some might feel that Ben van Berkel's blue glass labyrinth might not be the right environment for the two former art and archeological collections (once both housed in separate historical buildings and after much deliberation joined together). Once inside the new museum however, skeptical visitors will be amazed by the calm and beauty and by Nijmegen's history and shall be ready to explore the architectural wonder.

With the planning of future exhibitions, such as Red, Nijmegen has again become a crossroad for art lovers and archaeologists from Holland and Germany. But, perhaps more important, the opening of Valkhof will be a reminder to our educational spin doctors that talking comes by nature and silence by wisdom. Indeed sometimes a warm, friendly yet serene and open, spacious environment can be just as educational inspiring as the highly technological and incompressible automated tours which seem to be a favorite in museums nowadays. While some might feel that the silent shuffling of feet and the hushed amazement is a step backwards for museum education, the more human approach will certainly welcome visitors to debate, interact and in time demolish the temple of the elite within.

Michèle Jacobs   

De rode wolk II
Alphons Freijmuth
1985
acryl op doek
1999 c/o Beeldrecht Amstelveen