+the magazine of the powerhouse museum summer 04/05

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+ 16 powerline summer 04/05 DR NICHOLAS G PAPPAS, PRESIDENT OF THE BOARD OF TRUSTEES, REFLECTS ON OUR 125TH ANNIVERSARY AND THE ‘WORLDWIDE INTELLECTUAL TRADITION’ OF MUSEUMS.* celebration of the earthly The Powerhouse Museum’s reputation as an Australian cultural institution of the highest calibre has grown over 125 years — from a multi-faceted and rich entity born out of the ashes of the Garden Palace in the Botanic Gardens to its present home within the magnificent shell of the Ultimo Power Station. In the 18th and 19th centuries, museums were designed deliberately to resemble older ceremonial monuments, such as palaces or temples. The decision to install the early predecessor of the Powerhouse, the elegantly named Technological, Industrial and Sanitary Museum, in the Garden Palace was based on such a premise. A museum had to look like a museum, and classical adornments were considered essential. It could be argued that the fondness for heavy Greek pediments and entablatures harked back to a more pagan appearance, so that the post-Enlightenment dichotomy between Church and State could be publicly reinforced. The underlying message was that museums were closer to the questioning and less inhibited world of the ancients, rather than to the narrower moral confines of pre-Enlightenment Europe. However, the origins of such liberal attitudes came many centuries before: the famous Museum of Alexandria, which flourished for over 600 years, was the first symbol of a pagan yearning for the systematic collection, organisation and preservation celebrating 125 years of knowledge. Closer to the modern university, it was the first attempt to establish a ‘worldwide’ (in the sense of those times) intellectual tradition. Long before museums became places where the ritual of nation-building was practised (as in the great colonial museums of the 19th century), the Museum of Alexandria had developed into an independent, abundantly secular place of learning that, in turn, spawned great research centres throughout the Near East and beyond after the 7th century. It is a sad fact, and today a touch ironic, that cities like Baghdad and Beirut — which feature in our current exhibition Beirut to Baghdad: communities, collecting and culture and could trace their cultural enlightenment to Alexandria — were for so many centuries names emblematic of high learning, while western Europe was floundering upon its own religious divisions and cultural inwardness. Which brings me back to the Powerhouse Museum. If one word suitably describes this institution's qualities, it is its ‘secularism’. This is a museum in the tradition of the Museum of Alexandria. It is a celebration of the earthly, of the temporal, even occasionally of the profane. Nestled as it is in the vast embrace of a disused power station — what grander symbol could there be of the Powerhouse's earthliness — the Powerhouse is a place where the indomitable human spirit to improve his or her lot is exalted on a lay altar. It makes the Powerhouse, I suggest, a truly international museum, a place that uniquely succeeds in attracting multiple and separate audiences and thereby transcends narrow cultural or artistic boundaries. This became most apparent to me only some three months ago. On 1 July this year, I was privileged to represent the Powerhouse at the opening in Athens of our exhibition Our Place: Indigenous Australia now, Australia's official gift to the Cultural Olympiad program of the 2004 Athens Olympic Games. Here was an exhibition that dealt openly and honestly about contemporary Indigenous culture and about some of the more unsavoury chapters in relations between the European and Indigenous communities, experiences that have shaped and informed the Indigenous community's significant cultural output. The international audience that viewed the exhibition that opening night in Athens was struck by its honesty and by its sense of robust independence. On that night, I felt very much that the Powerhouse had come of age internationally by proclaiming beyond Australia's own shores our nation's pride in the cultural traditions and achievements of its Indigenous communities. I also sensed that night from the reactions of those present that the Powerhouse had become an acknowledged part of that ‘worldwide intellectual tradition’, which was first inspired by the Museum of Alexandria so many centuries ago. And so we look ahead hopefully to another 125 years of growth and prosperity. Yes, there will be challenges. But the future is bright for the Powerhouse Museum. * This is an edited version of Dr Pappas’ speech to the Life Fellows Dinner on 23 September 2004. FROM LEFT: POWERHOUSE MUSEUM PRESIDENT DR NICHOLAS PAPPAS, HER EXCELLENCY PROFESSOR MARIE BASHIR, GOVERNOR OF NSW, AND MUSEUM DIRECTOR DR KEVIN FEWSTER. PAUL DYER, ARTISTIC DIRECTOR OF THE AUSTRALIAN BRANDENBURG ORCHESTRA, AND DR KEVIN FEWSTER. DISTINGUISHED SERVICE AWARD RECIPIENT JANE DE TELIGA WITH RAE DE TELIGA AND MUSEUM TRUSTEE ANDREW DENTON. MARLENE KERR AND DENIS KERR, DEPUTY MANAGING DIRECTOR SHARP AUSTRALIA ON THE GARDEN PALACE PROMENADE. DAVID TERRAZAS, NATIONAL PRESIDENT, AUSTRALIAN GRAPHIC DESIGN ASSOCIATION, AND JUDY DONE. PHOTOS BY MARINCO KOJDANOVSKI. OPPOSITE: THE GARDEN PALACE PROMENADE, SPECIALLY CREATED FOR THE 125TH ANNIVERSARY, WAS A LIVING LINK WITH THE MUSEUM’S ORIGINAL SITE. THE 1890S TERRACOTTA STATUE BY DOULTON IS ONE OF A PAIR, GIFT OF LEO SCHOFIELD. THE STONE COLUMNS FORMED PART OF THE EARLY MUSEUM’S ECONOMIC GEOLOGY DISPLAY. PHOTO BY SUE STAFFORD.
+ 17 powerline summer 04/05 ‘…the Powerhouse is a place where the indomitable human spirit to improve his or her lot is exalted on a lay altar.’
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