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A comparison of how trauma has been represented in Jewish and Holocaust museums since the Second World War and the National Museum of the American Indian (NMAI) in Washington, 2004, highlighting the possibilities and limits of museums when representing the history of genocides in countries where victims and their descendants continue to live alongside perpetrators and their heirs. The power and the desire to represent oneself on the museal platform are examined, followed by a discussion of concepts associated with trauma [self-healing, zakhor (remembrance), tikkun olam (repairing the world), temporal considerations, survival, and resilience] in the context of museological representations.

An examination of recent examples activist-patron-curators and identity politics in North American Museums (Elisabeth Sackler at the Brooklyn Museum of Art; The Women's project at MoMA; ~Michael Audain at the National gallery of Canada; the Getty Foundation and Pacific Standard Time) that argues for the importance of private funds in increasing equitable representation in museum exhibitions and collections.

Une comparaison de la representation du traumatisme dans les musees de la religion et des cultures juives apres la Seconde Guerre mondiale et au National Museum of the American Indian (NMAI) de Washington, cree en 2004, eclaire les possibilites et les limites des musees qui repondent a une histoire de genocides dans les pays ou les victimes et leurs descendants continuent de cohabiter avec ceux qui les ont persecutes et leurs heritiers. Le pouvoir et le desir de se representer sur le mode museal sont prolonges par une discussion sur des concepts associes au traumatisme – l’autoguerison, zakhor (se souvenir), tikkun olan (reparer le monde), l’orientation temporelle, la survivance et la resilience – en lien avec leurs manifestations museologiques.

Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit:

This essay looks at post 2005 restitution exhibitions of art believed or known to be owned by Jews stolen during National Socialist times in order to examine complex questions and layered relationships involving private property, public institutions and museum display.

In this essay, I discuss two online manifestations of exhibition reprises as memory devices: the microsite and the online catalogue raisonné. For the most part, as currently conceived, these two online forms of remembering exhibitions embody two very different mentalities. Microsites habitually are generated at the time of an exhibition and are born digital; catalogue raisonnés are generated much later and often rely on analogue precedents for design. In addition to promoting the digitally conceived catalogue raisonné, I urge the dual strategy of maintaining active links to historic microsites and the retroactive creation of new ones as vehicles for rewriting the exhibition history canon. My primary examples are drawn from the Centre Georges Pompidou.Neste ensaio, é apresentada uma reflexão em torno de duas manifestações online de evocação de exposições, concebidas como dispositivos de memória: o microsite e o catálogo raisonné online. De um modo geral, estas duas formas de recordar...