If one had to be brief, one might say that Electro: from Kraftwerk to Daft Punkis an exhibition tracing 30 years of electronic music and experimentalism at the Philharmonie de Paris until the 11th of August 2019. A standard review would then follow, highlighting the uniqueness and singularity of some of the objects on display and drawing readers’ attention to the artists involved in the project and to the work of the sound designer and of the scenographer. None of this would be wrong, for sure. However, this exhibition, Electro, is, at least in museological terms, much more than this: in short, it is an event that has much to offer on how to effectively build experiential exhibitions, based on the landmark assumption of museum studies that an exhibition should facilitate dialogic rather than linear communication. In fact, several aspects are particularly worth mentioning as they closely align with a contemporary museum framework, as I would like to demonstrate:
Michael Jackson: On the Wallis currently on display at the National Portrait Gallery in London until October 21st. In the words of Nicholas Cullinan, the National Portrait Gallery director and the curator, the exhibition seeks to convey the artists’ ‘[…] fascination, solidarity or sympathy for what Jackson represented, what he did and what was done to him. The exhibition examines Michael Jackson as both an artist recognised as such by other artists, and as a total work of art’ .
This being the case, museum visitors will not be presented with Michael Jackson’s personal objects, costumes and other memorabilia items, but rather with a wide range of artworks inspired by him or his image. It alsodiffers from the majority of the more recent exhibitions about musicians from popular music in that, although music is present in the exhibition, it is not the focus of the narrative nor is it exhibited as a museum object. Nonetheless, I find the exhibition remarkably fulfils a major aim in museum practice today: that of addressing the diversity of ways in which a certain matter resonates with the exhibition’s visitors – in the case of Michael Jackson’s exhibition, it widely addresses the ways in which audiences use Jackson’s music and personal image as a self-referential construct in which they build their own identities.
In more detail, it comprises the exhibition of 83 works of art, each accompanied by a text explaining in general terms what moved and compelled the artist to produce a work about Jackson and about what led them to approach him in a certain manner. There is a multitude of perspectives and one can easily find an approach resembling one’s own: portraits of the singer as reflected through his admirers or works reflecting the biographical dimension of pop and the way it becomes the soundtrack to a life, to name only a couple. As it is an exhibition that shows what artists made of Michael Jackson and, in some sense, what audiences made of him – as Jackson shifted into constantly new entities, there are plenty of perspectives – it forms a portrayal of the condition of fandom itself, a portrayal of Michael Jackson as a cultural icon and so of Michael Jackson as part of collective memory.
I have read some reviews that maintain that the show is confusing in that it jostles together visual traditions as different as pop, conceptual, post-pop, post-conceptual and plain commercial, but I find this critique inappropriate in the light of the purposes of the exhibition. In fact,the textual discourse and the organisation of the rooms follow the rationale of identities that Jackson presents,by means of foregrounding the particular perspectives artists took on him. Furthermore, as one reads each work’s panel text, there is no mention of artistic techniques. From all these perspectives, Jackson as a surrogate for blackness is perhaps the most significant. In fact, ‘[…] the Jackson family was the first wholesome black American family who entered homes all over the US […] during a time when most black [African-American] people were portrayed as criminals, [or] drug addicts’ . In line with this, in the exhibition, images of black people speak to people who have always felt excluded, to popular audiences and to culture at large.
A must see.
 Cullinan, Nicholas. 2018. ‘The Last Modernist’. In Michael Jackson On the Wall, London: National Portrait Gallery, page 16.
 Cullinan, Nicholas. 2018. ‘The Last Modernist’. In Michael Jackson On the Wall, London: National Portrait Gallery, page 18.
Listen: 140 Years of Recorded Sound is the very first sound-focused exhibition staged by the British Library and it brings to public view material from the tremendous resource which is the British Library Sound Archive. The exhibition tells the story of sound recording since the invention of the phonograph in 1877, reflects the impact of radio in the 20th century, and the importance of sound in recording our lives and cultural heritage. It is part of a major event the British Library is conducting, Season of Sound, celebrating all aspects of the listening experience, which comprises a programme of accompanying events such as lectures, tours and workshops, all aiming at connecting people with their audio heritage.
Of all of the museums of popular music that I have ever visited, Ragnarock, the museum for pop, rock and youth culture in Roskilde, Denmark, is for sure the one I have enjoyed the most so far, not just from the aesthetical point of view but also because it is the one whose narrative best conveys contemporary knowledge about popular music, knowledge gained from both popular music studies and ethnomusicology.
The permanent exhibition displays are of an unusual contemporaneity and remarkable design, thereby creating a very attractive and bold environment. Nevertheless, for museums to rely on innovative technology to convey their narratives is becoming more and more common sense. It is therefore the narrative itself that merits my highest praise, in that it completely departs from the approaches of conventional museums as regards music. More to the point, Ragnarock’s narrative reflects the current perspectives of music studies as an endeavour that approaches music as a cultural and social practice, i.e, a practice created not only by music and musicians but also by people using it to develop themselves as individuals with an identity, to build communities, and to produce and challenge societies. Furthermore, in conceptually placing a great emphasis on audiences as consumers of popular music throughout the whole narrative, the museum is ultimately conveying the idea that people do not need to be musicians to engage with and thereby participate in the production of popular music.
ABBA THE MUSEUM is part of a major project called Pop House, set up with the aim of celebrating live music, which comprises three facilities, a hotel, a restaurant and the Abba museum. After a period of resistance, Abba’s members ended up agreeing with the idea of the museum, but on the condition that it would proceed to focus on Abba not in isolation but rather positioned within the larger context of Swedish music. As such, the museum comprises not only a gallery for the permanent exhibition on Abba, but also two rooms for temporary exhibitions on topics from the broader Swedish popular musical scene.
Rockheim is the Norwegian national museum for popular music, which alone is already very singular: despite the growing trend towards celebrating and exhibiting popular music in museums, few are the countries which are given a national museum specifically to take care of and address the country’s popular music. The idea for the museum emerged during a conference in 1998 focusing on the discussion of musical and sound archives, during which the delegates recognised the need to preserve Norwegian popular music as heritage. There then followed a long development process until the museum’s opening in Trondheim in 2010.