The issue of the economics of cultural institutions, their economic impact, and measurement of their performance has been paid systematic attention basically only in the past few years. PhD thesis analyses the methods of performance measurement in public art museums and creates economic models. Aim of my thesis is also to create a model for museum managers to measure the performance. Nowadays it is almost necessary to integrate performance measurement system in organization´s strategy decision making. The museum managers feel the pressure to prove that their organization is performing well by various stakeholders and we perceive the idea that multidimensional performance measures could fill the informational gap concerning performance, quality, and the artistic value of cultural programs. The mixed research method was employed in this research. Qualitative data was obtained from the questionnaire and interviews. Quantitative data was obtained from the questionnaire, annual reports and reports of The National Information and Consulting Centre for Culture (NIPOS). The aim of this study is to propose a comprehensive multidimensional model to assess art museum activities. This model takes into account the scope and character of museum´s mission. This model consists of implementation of Data Envelopment Analysis into Balanced Scorecard.

This master thesis is concerned with the topic of deaccessioning from public art museums in the Czech Republic. This practice is almost never carried out due to high legal restrictions and very demanding administration. Nevertheless, deaccessioning is becoming common practice in other European countries such as United Kingdom or the Netherlands. The goal of the thesis is to suggest main topics in the hypothetical regulation of deaccessioning in the Czech Republic considering the current theoretical framework, already conducted research and newly conducted research within this thesis. The latter is open coding analysis of guidelines on collection deaccessioning made by United Kingdom Museum Association. The main conclusions are that a few topics should be subject to regulation. Firstly, the reason to dispose (either economic or other), secondly, the acceptable use of the income from deaccessioning, thirdly, decision making process and supervision. At last, selection of collection or items to be disposed and question of new collection owner should be solved.

A partir de 2005 o modelo de gestão por Organização Social de Cultura passa a ser realidade para os museus do Estado de São Paulo, quando se dá início às assinaturas dos Contratos de Gestão entre as Organizações Sociais e a Secretaria da Cultura do Estado de São Paulo. O modelo, gerador de muita polêmica, tem se mostrado indiscutivelmente profícuo na medida em que trouxe ganhos, agilidade e maior transparência para a administração pública, para os museus e para o público. Não obstante este modelo encontra um terreno fértil no qual a gestão museológica qualificada vem sendo amplamente discutida e cada vez mais premente para os museus. Pretende-se estudar e discutir como se deu a implantação e estruturação do Modelo de Gestão de Organização Social, na área de museus, em relação a cadeia operatória museológica que ali já se desenvolvia, tendo como estudo de caso o Memorial da Resistência de São Paulo. Considerando que a área de museus possui seu dinamismo e especificidade própria e tendo como base as discussões de modelo de museu integral e sua vocação social, perfil do Memorial da Resistência, pretende-se contextualizar o modelo de gestão por OS, que tem ocupado um espaço significativo na administração pública, mas ainda não foi estudado por meio do ponto de vista da Museologia. / From 2005 on, public museums in the State of Sao Paulo started being managed through the Cultural Social Organization Management Model, after the signature of the first Management Agreements between the Social Organizations and the Sao Paulo State Secretary of Culture. Although this management model is controversial, it has been undoubtedly beneficial since it brought advantages, agility and greater transparency to public administration, as well as for the museums and their audiences. None the less, this model finds an interesting space in which qualified museum management is being widely discussed and ever more pressing for museums. This dissertation aims to study and discuss how the Social Organization Management Model was established and structured in the museum field, relating to the museological working chain already in place in museums. For this, will use as a case study the Memorial da Resistência de São Paulo [Sao Paulo Resistance Memorial]. Considering that the museum area has its own dynamics and particularities, and based on the discussions about the integral museum and its social role, which are related to the Memorial da Resistência de São Paulo [Sao Paulo Resistance Memorial] institutional profile, this work intends to put into context the Social Organization Management Model, which has occupied a major role in public administration, but has not yet being studied from a museological perspective.

A pesquisa apresenta estudo de gestão de museu com ênfase na subárea da comunicação e público, a luz de teóricos do campo da museologia, da administração e da educação, com estudo de caso do Museu do Trem de São Leopoldo, entre 2009 a 2012. Apresentando um panorama geral dos museus ferroviários no Brasil, com um relato histórico das iniciativas de criação destes museus, com dados da atuação do PRESERVE/PRESERFE remontados através de entrevistas, além da discussão em torno dos mecanismos de proteção do patrimônio industrial ferroviário. Neste contexto também são mapeadas as instituições museais ferroviárias no Rio Grande do Sul, apresentando a trajetória histórica e cronológica do Museu do Trem de São Leopoldo, desde a criação na década de 1970, o restauro da antiga Estação, as dificuldades com a extinção da RFFSA, as subsequentes reinaugurações até o ano de 2012. A investigação passa por análise quantitativa e qualitativa de aspectos da realidade empírica, encerrando com a reflexão sobre as contribuições desta experiência para a prática da gestão em museus, comunicação e público. / The research presents museum management studies with an emphasis on communication and the public subarea, considering theoreticians in the museology, administration and education fields, with the case study of São Leopoldo\'s Train Museum from 2009 to 2012. Presenting an overview of the railway museums in Brazil, with a historical account of the creation of such museums, with data from the performance of the PRESERVE/PRESERFE reassembled through interviews, in addition to the discussion of the protection mechanisms of the railway industrial heritage. In this context, the railway museum institutions are also mapped in Rio Grande do Sul, presenting the historical and chronological trajectory of the São Leopoldo\'s Train Museum, since the creation in the 1970s, restoration of the old station, the difficulties with the extinction of RFFSA, the subsequent reopening until the year 2012. The research involves quantitative and qualitative analysis of aspects of empirical reality, ending with a reflection on the contribution of this experience to the practice of management in museums, communication and public.

A pesquisa apresenta estudo de gestão de museu com ênfase na subárea da comunicação e público, a luz de teóricos do campo da museologia, da administração e da educação, com estudo de caso do Museu do Trem de São Leopoldo, entre 2009 a 2012. Apresentando um panorama geral dos museus ferroviários no Brasil, com um relato histórico das iniciativas de criação destes museus, com dados da atuação do PRESERVE/PRESERFE remontados através de entrevistas, além da discussão em torno dos mecanismos de proteção do patrimônio industrial ferroviário. Neste contexto também são mapeadas as instituições museais ferroviárias no Rio Grande do Sul, apresentando a trajetória histórica e cronológica do Museu do Trem de São Leopoldo, desde a criação na década de 1970, o restauro da antiga Estação, as dificuldades com a extinção da RFFSA, as subsequentes reinaugurações até o ano de 2012. A investigação passa por análise quantitativa e qualitativa de aspectos da realidade empírica, encerrando com a reflexão sobre as contribuições desta experiência para a prática da gestão em museus, comunicação e público. / The research presents museum management studies with an emphasis on communication and the public subarea, considering theoreticians in the museology, administration and education fields, with the case study of São Leopoldo\'s Train Museum from 2009 to 2012. Presenting an overview of the railway museums in Brazil, with a historical account of the creation of such museums, with data from the performance of the PRESERVE/PRESERFE reassembled through interviews, in addition to the discussion of the protection mechanisms of the railway industrial heritage. In this context, the railway museum institutions are also mapped in Rio Grande do Sul, presenting the historical and chronological trajectory of the São Leopoldo\'s Train Museum, since the creation in the 1970s, restoration of the old station, the difficulties with the extinction of RFFSA, the subsequent reopening until the year 2012. The research involves quantitative and qualitative analysis of aspects of empirical reality, ending with a reflection on the contribution of this experience to the practice of management in museums, communication and public.

A partir de 2005 o modelo de gestão por Organização Social de Cultura passa a ser realidade para os museus do Estado de São Paulo, quando se dá início às assinaturas dos Contratos de Gestão entre as Organizações Sociais e a Secretaria da Cultura do Estado de São Paulo. O modelo, gerador de muita polêmica, tem se mostrado indiscutivelmente profícuo na medida em que trouxe ganhos, agilidade e maior transparência para a administração pública, para os museus e para o público. Não obstante este modelo encontra um terreno fértil no qual a gestão museológica qualificada vem sendo amplamente discutida e cada vez mais premente para os museus. Pretende-se estudar e discutir como se deu a implantação e estruturação do Modelo de Gestão de Organização Social, na área de museus, em relação a cadeia operatória museológica que ali já se desenvolvia, tendo como estudo de caso o Memorial da Resistência de São Paulo. Considerando que a área de museus possui seu dinamismo e especificidade própria e tendo como base as discussões de modelo de museu integral e sua vocação social, perfil do Memorial da Resistência, pretende-se contextualizar o modelo de gestão por OS, que tem ocupado um espaço significativo na administração pública, mas ainda não foi estudado por meio do ponto de vista da Museologia. / From 2005 on, public museums in the State of Sao Paulo started being managed through the Cultural Social Organization Management Model, after the signature of the first Management Agreements between the Social Organizations and the Sao Paulo State Secretary of Culture. Although this management model is controversial, it has been undoubtedly beneficial since it brought advantages, agility and greater transparency to public administration, as well as for the museums and their audiences. None the less, this model finds an interesting space in which qualified museum management is being widely discussed and ever more pressing for museums. This dissertation aims to study and discuss how the Social Organization Management Model was established and structured in the museum field, relating to the museological working chain already in place in museums. For this, will use as a case study the Memorial da Resistência de São Paulo [Sao Paulo Resistance Memorial]. Considering that the museum area has its own dynamics and particularities, and based on the discussions about the integral museum and its social role, which are related to the Memorial da Resistência de São Paulo [Sao Paulo Resistance Memorial] institutional profile, this work intends to put into context the Social Organization Management Model, which has occupied a major role in public administration, but has not yet being studied from a museological perspective.

[ES] La presente investigación de doctorado tiene como objetivo reivindicar una mayor importancia para la actividad del conservador de las instituciones museológicas, partiendo de un cambio de paradigma que coloque al conservador en el centro de las discusiones referentes a la toma de decisiones relacionadas con las obras de arte pertenecientes a colecciones de estas instituciones. Partiendo del presupuesto de que es posible, por analogía, comparar a la institución museo con un ecosistema, es decir como un sistema mayor formado por varios sistemas menores, se pretende examinar como tienen lugar las relaciones entre los conservadores, que actúan en un subsistema específico, y los diversos agentes que actúan en otros subsistemas. Los museos, como otros campos sociales, son espacios de relación en los cuales estructuras jerárquicas de poder pueden generar conflictos entre los agentes que allí actúan. Esta constatación expone problemas variados que pueden afectar a las obras de arte, desde la adquisición, pasando por la conservación y guarda y por la restauración propiamente dicha, hasta llegar a la exhibición entre otros. El entendimiento del conservador como gestor se propone como una alternativa, que busca dar respuesta a los diversos problemas relacionados al proceso de toma de decisiones en beneficio de las obras de arte. La hipótesis defendida es la de que el conservador, como agente poseedor de las prerrogativas para operar como interlocutor político en la interfaz entre los diversos subsistemas del sistema museo, es el agente que puede conducir las discusiones y opinar sobre los diversos aspectos relacionados a los objetos que confieren identidad a la institución museo. De esta manera, el cambio de paradigma propuesto puede contribuir para el equilibrio del ecosistema museo, en favor de todos los que allí comparten relaciones de trabajo buscando el bien común. / [CA] La present investigación de doctorat té com a objectiu reivindicar una major importància per a l'activitat del conservador de les institucions museològiques, partint d'un canvi de paradigma que col.loque al conservador en el centre de les discussions referents a la pressa de decisions relacionades amb les obres d'art pertanyents a col.leccions d'aquestes institucions. Partint del pressupost que és possible, per analogía, comparar a la institució museu amb un ecosistema, és a dir com un sistema major format per diversos sistemes menors, es pretén examinar com tenen lloc les relacions entre els conservadors, que actuen en un subsitema específic, i els diversos agents que actuen en altres subsistemes. Els museus, com altres camps socials, són espais de relació en els quals estructures jeràrquiques de poder poden generar conflictes entre els agents que allí actuen. Aquesta constatació exposa problemes variats que poden afectar les obres d'art, des de l'adquisició, passant per la conservación i guarda i per la restauració pròpiament dita, fins a arribar a l'exhibició entre altres. L'enteniment del conservador com a gestor es proposa com una alternativa, que busca donar resposta als diversos problemes relacionats amb el procés de presa de decisions en benefici de les obres d'art. La hipòtesi defensada és la que el conservador, com a agent poseeïdor de les prerrogativas per a operar com a interlocutor polític en la interfície entre els diversos subsistemes del sistema museu, és l'agent que pot conduir les discussions i opinar sobre els diversos aspectes relacionats amb els objectes que confereixen identitat a la institució museu. D'aquesta manera, el canvi de paradigma proposat pot contribuir per a l'equilibri de l'ecosistema museu, en favor de tots els que allí comparteixen relacions de treball buscant el bé comú. / [EN] The aim of this doctoral research is to assert that the activity of the conservator of museological institutions is of great importance, emanating from a paradigm shift that places the conservator at the centre of discussions regarding decision-making on works of art belonging to the collections of these institutions. Starting from the presupposition that it is possible, by analogy, to compare the museum institution to an ecosystem, that is, as a larger system made up of several minor systems, it is intended to examine the relationships between conservators, acting within a specific subsystem, and various individuals acting within other subsystems. Museums, like other social fields, are spaces of social interaction in which hierarchical structures of power can generate conflicts between the individuals who participate in them. The acknowledgement of this exposes various problems that can affect works of art, from acquisition, through to conservation and storage and restoration itself, and even the exhibition of these works, amongst other things. As an alternative, it is proposed that the conservator must be recognised as a kind of manager, who seeks to react to the various problems related to the decision-making process for the benefit of the works of art. The hypothesis asserts that the conservator, as an individual possessing the power to operate as a political interlocutor at the interface between the various subsystems of the museum system, is the person best-placed to lead discussions and give opinions on the various aspects related to the objects that confer an identity upon the museum institution. Thus, the proposed paradigm shift can contribute to the balance of the museum ecosystem, to the benefit of all those who share working relationships there, in search of the common good. / Farias De Carvalho, H. (2022). El conservador como gestor: posibilidad de acción política en la interfaz institucional [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190097

Ce travail de recherche en muséologie porte sur la présentation de la parfumerie commerciale française dans les musées publics en France que ce soient des musées du parfum ou des musées d’art. En débutant par l’histoire de la présentation des produits commerciaux au musée depuis le milieu du XIXe siècle jusqu’aux expositions de marques de luxe au Costume Institute du Metropolitan Museum of Art dans les années 1980, cette étude se focalise par la suite sur la naissance et le développement de différents projets muséaux publics en lien avec la parfumerie (Château de Chamerolles, Esprit du Parfum à Chartres, Cour des Senteurs de Versailles, Collection Sylvie Guerlain-Traditions Verrières à la ville d’Eu) ainsi que sur l’essor des expositions de marques de luxe, dont de parfumerie, dans les musées publics (Chanel, Dior, Roger & Gallet). Les stratégies des pouvoirs publics, celles des marques de luxe ainsi que les motivations des musées publics qui accueillent les expositions de parfumerie sont analysées à tour de rôle. Une étude à part est dédiée au Musée International de la Parfumerie (1989) à Grasse qui est un musée de référence en France : à son histoire, à sa section contemporaine, à ses partenaires ainsi qu’à ses concurrents comme les parfumeries touristiques Fragonard, Molinard ou Galimard. Le dernier chapitre porte sur la programmation temporaire des grands magasins qui, en privilégiant l’art contemporain et les industries de la mode, développent de véritables équipements culturels à même de concurrencer les musées publics jusqu’à dissoudre progressivement les frontières entre un espace muséal et un espace commercial. / This research in Museum studies focuses on exhibitions of French commercial perfumery in perfume and art museums throughout France. Starting with the history of exhibitions of commercial items in museums from the mid-19th century until luxury brands exhibitions at the Costume Institute of the Metropolitan Museum of Art in the 1980s, the study examines the birth and the development of different museum projects related to the French perfume industry (Château de Chamerolles, Esprit du Parfum in Chartres, Cour des Senteurs of Versailles, Collection Sylvie Guerlain-Traditions Verrières in the town of Eu) as well as the growth of luxury brands’ exhibitions in public museums (Chanel, Dior, Roger & Gallet). Public authorities’ policies, perfume brands’ strategies or motivations of public museums which host such exhibitions are analyzed one by one. The case of the International Museum of Perfumery (1989) in Grasse deserves a study in its own right: I consider the history of the museum, the museum’s section of the 20th century perfumery, the role of corporate sponsorship in enriching museum collections as well as the local competition from private perfume museums set up by Fragonard, Molinard or Galimard brands. The last chapter focuses on French department stores and their fashion exhibitions’ programs capable of competing with public museums’ attractions and leading to the progressive blurring of boundaries between a museum space and a commercial one.