Spermaceti is a waxy substance found in the head cavities of sperm whales (Physeter macrocephalus and P. catodon). This substance had a variety of commercial applications from the end of the 18th to the beginning of the 20th century, such as candles, soap, cosmetics and other compounds. Spermaceti was also occasionally used as wax for modeling sculptures. In order to date such artworks the marine reservoir effect (MRE) has to be considered. The chemical library of the Muséum national d’Histoire naturelle (Paris, France) contains samples of spermaceti studied by the French chemist M. E. Chevreul (1786–1889) at the beginning of the 19th century. Eight samples of substances preserved in their original containers were 14C dated. According to the whaling practices and the publications of Chevreul, we estimated that the spermaceti samples came from whales caught between 1805 and 1815. AMS 14C dating results are from 550 to 1180 ± 30 BP, R values between 393 and 1023 (± 34) 14C yr and ΔR between –168 and 504 (± 60) 14C yr. The values presented here are the first ever obtained for spermaceti. However, being based on museum specimens, further measurements on crude material would be necessary to refine these results.

This article focuses on one section of the former Iron Curtain between Hungary and Austria that incorporates diverse memory events after the political change in 1989. The article concentrates on the Hungarian region during the last nearly three decades and investigates the actors and the memories of the former historic period, which show a uniquely diverse set of realizations. Among others, two private museums about the Iron Curtain (established and managed by two former border guards) and a memorial park (commemorating only one day, established and managed by a civil organization) in comparison to the official narrative presented in the last room of the permanent exhibition at the Hungarian National Museum in the capital are subjects of this investigation. Besides the actual memory places and the actors (those who initiated, maintain, and visit these memory spots), their relationship and role in the formation of the regional identity are also analyzed. As theoretical background, the connection between heritage, museum, and memory; the notion of post-Soviet nostalgia; authenticity; and the importance of time are activated for the analysis and to disentangle the complexity of the chosen case study.

Museum engagement may be an effective approach for decreasing social disconnection and pain among individuals living with chronic pain. In October 2019, we launched a randomized controlled trial to assess the feasibility of museum engagement for individuals living with chronic pain; the study was halted in March, 2020 due to Covid-19-related safety concerns. This paper describes the process of transitioning from in-person to virtual museum programing in order to continue the study. Virtual museum programing is a feasible option for individuals living with chronic pain that is amenable to research and which may improve accessibility, inclusivity, and scalability relative to in-person programing.

Within an art exhibition, the disposition of space is fundamental in experiencing artworks. A study of the exhibition space as discourse enmeshes art within a framework of relationship and processes instead of viewing art as an isolated and autonomous object. This paper features the case study of Art ‘76, the inaugural exhibition of Singapore's first large-scale institution of art, the National Museum Art Gallery (NMAG). The NMAG's opening in 1976 had been much anticipated by artists and the art audience since the 1960s, it was also an important milestone in the National Museum of Singapore's process of modernisation and revitalisation. During Singapore's post-independent period, the National Museum began to redefine itself as a civic museum focussing on Singapore's history and culture, shifting away from its previous incarnation of a research-focused colonial institution, the Raffles Library and Museum. Singapore was not alone in exploring the role of modern art in nation-building, as neighbouring Southeast Asian countries such as Indonesia, Philippines, Malaysia and Thailand also began to moot for their own institution of modern art around the same period of time. Art ‘76 and the NMAG represent a case of distinct spatial typology that arose out of unique institutional and socio-political dynamic in post-independent Singapore. In analysing the legacy as well as the relationships and contentions that shaped the spatial articulation of Art ‘76, this paper studies existing visual and oral archive, as well as critically evaluating the concepts of space as a subject of historical study.

This essay examines from an artist-researcher perspective the durational solo dance work Likely Terpsichore? (Fragments), created for and performed at the Ashmolean Museum of Art and Archaeology (UK) in 2018. It asks how dance's presence in the archaeological museum might allow an alternative visibility for ancient female bodies previously rendered only partially visible by history. It makes a claim for dance in the archaeological museum as a subversive act of radical archaeology, in terms of how, by playing on notions of dismembering/remembering histories, it seeks to disrupt received notions of how we view and understand ancient history and culture.

In the aftermath of the violent Revolution of Dignity (2013/2014) and the subsequent war in Donbas (2014–), a heroic story about the new beginning of a “united, Ukrainian nation” began to emerge. Shaping this new narrative are new museum projects devoted to Ukraine’s developing history. This article examines the process of these new institutions’ formation, the content of created exhibitions, and the activities conducted therein. It focuses on the role of the museums in activating, unifying, and integrating both the Ukrainian national community and civil society. This article is based on a qualitative analysis of materials collected during seven research stays in Ukraine, from June 2017 to August 2019, and focuses on four cases–Ukraine’s First ATO Museum in Dnipro; the Museum of the Heavenly Hundred in Ivano-Frankivsk; the Ukrainian East exhibition in the National Museum of the History of Ukraine in the Second World War in Kyiv; and a project of the Museum of the Revolution of Dignity in Kyiv. The examined institutions are presented not only as places for gathering artifacts but also as laboratories of civic activism, participation, and dialogue.

Ageism is a key challenge to today’s aging societies. “Dialogue with Time” is an original Israeli interactive museum exhibit that aims to change negative ageist attitudes by creating a meaningful and stereotype-breaking encounter between visitors and old age. The objective of this study was to examine whether the exhibition reduces ageist attitudes among its visitors. The study employed a comparative pre-post structure with a comparison group. A closed-answer questionnaire was supplied to 100 participants in the experimental group, visitors to the “Dialogue with Time” exhibit, and to 100 participants in the control group. Participants were asked to complete the questionnaire before entering the exhibits and again after experiencing them. Changes in the level of ageism were measured using the Farboni Scale of Ageism. A significant reduction in ageism attitudes was shown in the experimental group when comparing before and after the visit, t(91) = 11.75, p = 0.001, with a good effect size of Cohen’s d = 0.50, whereas in the control group there was no significant change, t(76) = 0.05, p = 0.95, and a weak effect size of Cohen’s d = 0.00. The findings indicate that combating ageism can also be sustained by means of museum exhibits. We recommend that museums and other similar public institutions (e.g. art galleries, exhibition halls) use public spaces to advance multigenerational exposure to positive images of aging.

The practice of preventive conservation of cultural heritage consists of “all measures and actions aimed at avoiding and minimizing future deterioration or loss” of it (ICOM-CC, 2008). Unlike conservation treatments, preventive conservation deals with entire collections and their surrounding environment. It is known that exposing historical objects to the environment has a significant impact on their degradation process. Studying and managing risk factors is an indispensable practice within the management policies of any cultural institution. The National Institute for Astrophysics (INAF) holds some valuable historical collections, heritage derived from the Italian contribution to astronomy over the centuries. The management and protection of these collections faces many challenges. A preventive conservation plan, aimed at assessing and managing risks that threaten the collections, may offer many long-term benefits, allowing us to use available resources in the best possible way. In the past few years INAF-Astronomical Observatory “G.S.Vaiana” of Palermo has been working on the development of preventive conservation projects for its archival, bibliographic and scientific heritage. The present contribution reports on these ongoing experiences and intends to stimulate a discussion within the scientific community in order to individuate the problems we are called to respond to in Astronomical Observatories.