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Erkenntnissen der sogenannten Repräsentationskrise steht seitdem die Formel »Museum as Con- tact Zone« (Clifford 1999) im Zentrum der Debatten. Während aber Clifford aus postkolonialer Perspektive solche Räume als Aushandlungsprozesse differenter Positionen und konflikthafter Kämpfe um Legitimität beschreibt, buchstabiert das deutsche Museumsfeld die »Kontaktzone« meist zu harmonischen Ver- mittlungs- und Bildungsprogrammen aus. Dabei wird zwar an der Forderung der »New Museology« angeknüpft, Museumsnutzer verstärkt ins Zentrum der Arbeitspraxis zu stellen, jedoch als

value, accessible to everyone. Federica Antonucci188 museums tend to be stuck in an unmovable condition, with the recent cultural changes something has started to change, paving the way for a new creative direction to be followed in the years that lay ahead. References Antonucci, F. (2016):  La gestione delle collezioni museali: strategie, politiche e impatto, Roma: EAI. Casini, L. (2016). Ereditare il futuro. Dilemmi sul patrimonio culturale, Bologna: Il Mulino. Desvallèes, A./Mairesse, F. (2010), Key Concepts of Museology. Paris: ICOM. Donato, F

that matters rather than the work of art itself – this is not always true. Art created by artists with dementia is often scrutinized by public and science alike. But beyond that, as a cultural practice, art making is unquestionably tied to narratives of art conservation, museology, and other forms of value ultimately antithetical to the proposed aims of a pure creative therapy, aims that are ostensibly dismissive of the final ‘product.’ Creativity’s claims to personhood are further evidenced by its ideologi- cal attachment to modern definitions of humanity and

, artsy presentations.53 But a young Theodor Heuss, then political editor of the liberal journal Die Hilfe and later president of the Federal Republic of Germany, predicted the effect would be greatest on women: the “massive 50 The total number of visitors was 500, 231 as reported in “Bericht über die 6. ordent- liche Generalversammlung des Deutschen Lyceum-Clubs,” Deutscher Lyceum Club 8, no. 5 (1912): 338. 51 Paul Greenhalgh, “Education, Entertainment and Politics: Lessons from the Great International Exhibitions,” The New Museology, ed. Peter Vergo (London