Graffiti in the Museum: Multivocality and Inclusion through Art
Abstract The article focuses on the artistic creation project of a large-scale site-specific painting in the World Archaeology Gallery of the Museum of Archaeology and Anthropology at the University of Cambridge, initiated in 2023. The project aimed to revitalise the gallery and enrich the museum experience by interrogating the collections as outcomes of moments of encounter and divergence between various audiences and the museum, across time and different contexts. It sought to explore the complexity of relationships between the tangible and the imaginary, the present and the past, the institutional and the familial, the individual and the historical. The method involved active participation from various groups, including the Front-of-House team, museum staff, students, and coordinated groups who took part in workshops and special activities. Participants were encouraged to reflect on their relationships with specific objects in the gallery, storage, other museums, or personal and family collections. The project’s sources included the archaeological objects in the room, the experiences and memories of the participants, and associated collections, both institutional and personal. In conclusion, we argue that the artistic intervention of the large-scale site-specific painting facilitated a critical review of the inclusion of alternative practices and multivocal exercises in the creation of museum spaces. These approaches proved conducive to offering meaningful and relevant experiences for visitors, thus achieving a reinterpretation and re-signification of the exhibited objects. The paper discusses the achievements, challenges, and difficulties of the process, highlighting the importance of these alternative artistic practices in transforming the museum experience.
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Bishop, C. (2006). Introduction. Viewers as Producers. En C. Bishop (ed.), Participation (pp. 10-17. Londres - Cambridge, Mass.: Whitechapel Gallery - MIT Press.
Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Londres: Verso Books.
Black, G. (2012). Transforming Museums in the Twenty-First Century. Londres: Routledge. https://doi.org/10.4324/9780203150061
Bourriaud, N. (2009). Relational Aesthetics. Dijon: Les Presses du Réel.
Clifford, J. (1988). The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge Mass.: Harvard University Press. https://doi.org/10.4159/9780674503724
Desmarais, S., Bedford, L., Chatterjee, H. J., (2018). Museums as Spaces for Wellbeing: A Second Report from the National Alliance for Museums, Health and Wellbeing. Londres: Arts Council England.
Falk, J. H., Dierking, L. D. (2013). The Museum Experience Revisited. Oxford: Routledge. https://doi.org/10.4324/9781315417851
Fridrik, S. (2022). Teaching beyond control? On situating a fence and the agonizing effect of graffiti-based cultural practices as challenge and chance for museum education. Art & the Public Sphere, 11(1), pp. 69-86. https://doi.org/10.1386/aps_00070_1
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Hooper-Greenhill, E. (2007). Museums and Education: Purpose, Pedagogy, Performance. Londres: Routledge. https://doi.org/10.4324/9780203937525
Houston, S., Inomata, T. (2009). The classic Maya. Cambridge: Cambridge University Press.
Jelinek, A. (2020). Between Discipline and a Hard Place: The Value of Contemporary Art. Londres: Bloomsbury Publishing. https://doi.org/10.5040/9781350100510
Jones, A. (2010). Seeing differently: Re-viewing the collections of the art museum. Journal of Museum Education, 35(1), pp. 21-34.
Karp, I., Kreamer, C. M., Lavine, S. D. (eds.). (1992). Museums and Communities: The Politics of Public Culture. Washington, D.C. - Londres: Smithsonian Institution Press.
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Lynch, B. T. (2011). Whose Cake Is It Anyway? A Collaborative Investigation into Engagement and Participation in 12 Museums and Galleries in the UK. Bristol: Paul Hamlyn Foundation.
Macdonald, S. (2011). A companion to museum studies. Oxford Malden: Wiley-Blackwell. https://doi.org/10.1002/9780470996836
Martínez-Carazo, E. M., Santamarina-Campos, V., De-Miguel-Molina, M. (2021). The new emerging artistic expressions: Public mural art, graffiti and post-graffiti. En V. Santamarina-Campos, E. M. Martínez-Carazo, M. de Miguel Molina (eds.), Cultural and Creative Mural Spaces (pp. 113–130). Cham: Springer. https://doi.org/10.1007/978-3-030-53106-5_8
Pearce, S. (1994) Interpreting Objects and Collections. Oxford: Taylor and Francis. https://doi.org/10.4324/9780203428276
Preziosi, D., Farago, C. (2019). Grasping the World: The Idea of the Museum. Londres: Routledge. https://doi.org/10.4324/9780429399671
Reeves, N. (2018). Visible storage, visible labour? En K. S. Mirjam Brusius (ed.), Museum Storage and Meaning: Tales from the Crypt (pp. 55-63). Oxford: Routledge. https://doi.org/10.4324/9781315159393-3
Sandell, R. (2003). Museums, Society, Inequality. Londres: Routledge. https://doi.org/10.4324/9780203167380
Silva, Massarani, L., Araujo, J., & Ribeiro, A. (2024). Una mirada decolonial sobre el pasado, presente y futuro a partir del rescate de recuerdos de visitantes del Museo Histórico Nacional. Arte, individuo y sociedad, 36(1), pp. 237-250. https://doi.org/10.5209/aris.90801
Smith, L., Waterton, E., Watson, S. (2012). The Cultural Moment in Tourism. Oxford: Taylor and Francis. https://doi.org/10.4324/9780203831755
Simon, N. (2010). The Participatory Museum. Santa Cruz, Calif.: Museum 2.0.
Sundberg, A. A. (2022). Natural Disaster at the Closing of the Dutch Golden Age. Studies in Environment and History. Cambridge: Cambridge University Press. https://doi.org/10.1017/9781108923750
Vasilikou, C., Castoro, M. (2018). Mapping political graffiti: Urban appropriations of public space. En Urban Artscapes. Jefferson, North Carolina: McFarland & Company, Incorporated Publishers.
Yang, P.-Y. (2024). The Rijksmuseum’s Slavery exhibition, 5 June–29 August 2021. Visual Commu-nication, 23(2), pp. 399-402. https://doi.org/10.1177/14703572211063561
Bishop, C. (2006). Introduction. Viewers as Producers. En C. Bishop (ed.), Participation (pp. 10-17. Londres - Cambridge, Mass.: Whitechapel Gallery - MIT Press.
Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Londres: Verso Books.
Black, G. (2012). Transforming Museums in the Twenty-First Century. Londres: Routledge. https://doi.org/10.4324/9780203150061
Bourriaud, N. (2009). Relational Aesthetics. Dijon: Les Presses du Réel.
Clifford, J. (1988). The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge Mass.: Harvard University Press. https://doi.org/10.4159/9780674503724
Desmarais, S., Bedford, L., Chatterjee, H. J., (2018). Museums as Spaces for Wellbeing: A Second Report from the National Alliance for Museums, Health and Wellbeing. Londres: Arts Council England.
Falk, J. H., Dierking, L. D. (2013). The Museum Experience Revisited. Oxford: Routledge. https://doi.org/10.4324/9781315417851
Fridrik, S. (2022). Teaching beyond control? On situating a fence and the agonizing effect of graffiti-based cultural practices as challenge and chance for museum education. Art & the Public Sphere, 11(1), pp. 69-86. https://doi.org/10.1386/aps_00070_1
Geertz, C. (2008). Local Knowledge: Further Essays in Interpretive Anthropology. New York: Basic Books.
Gosden, C., Marshall, Y. (1999). The Cultural Biography of Objects. World Archaeology, 31(2), pp. 169-178. https://doi.org/10.1080/00438243.1999.9980439
Harrison, R. (Ed.). (2013). Heritage: Critical Approaches. Londres: Routledge.
Holtorf, C. (2012). Search the Past - Find the Present: Qualities of Archaeology and Heritage in Contemporary Society. Oxford: Archaeopress.
Hooper-Greenhill, E. (1994). Museums and their Visitors. Londres: Routledge.
Hooper-Greenhill, E. (2000). Museums and the Interpretation of Visual Culture. Londres: Routledge.
Hooper-Greenhill, E. (2007). Museums and Education: Purpose, Pedagogy, Performance. Londres: Routledge. https://doi.org/10.4324/9780203937525
Houston, S., Inomata, T. (2009). The classic Maya. Cambridge: Cambridge University Press.
Jelinek, A. (2020). Between Discipline and a Hard Place: The Value of Contemporary Art. Londres: Bloomsbury Publishing. https://doi.org/10.5040/9781350100510
Jones, A. (2010). Seeing differently: Re-viewing the collections of the art museum. Journal of Museum Education, 35(1), pp. 21-34.
Karp, I., Kreamer, C. M., Lavine, S. D. (eds.). (1992). Museums and Communities: The Politics of Public Culture. Washington, D.C. - Londres: Smithsonian Institution Press.
Kester, G. H. (2011). The One and the Many: Contemporary Collaborative Art in a Global Context. Durham: Duke University Press. https://doi.org/10.1515/9780822394037
Lynch, B. T. (2011). Whose Cake Is It Anyway? A Collaborative Investigation into Engagement and Participation in 12 Museums and Galleries in the UK. Bristol: Paul Hamlyn Foundation.
Macdonald, S. (2011). A companion to museum studies. Oxford Malden: Wiley-Blackwell. https://doi.org/10.1002/9780470996836
Martínez-Carazo, E. M., Santamarina-Campos, V., De-Miguel-Molina, M. (2021). The new emerging artistic expressions: Public mural art, graffiti and post-graffiti. En V. Santamarina-Campos, E. M. Martínez-Carazo, M. de Miguel Molina (eds.), Cultural and Creative Mural Spaces (pp. 113–130). Cham: Springer. https://doi.org/10.1007/978-3-030-53106-5_8
Pearce, S. (1994) Interpreting Objects and Collections. Oxford: Taylor and Francis. https://doi.org/10.4324/9780203428276
Preziosi, D., Farago, C. (2019). Grasping the World: The Idea of the Museum. Londres: Routledge. https://doi.org/10.4324/9780429399671
Reeves, N. (2018). Visible storage, visible labour? En K. S. Mirjam Brusius (ed.), Museum Storage and Meaning: Tales from the Crypt (pp. 55-63). Oxford: Routledge. https://doi.org/10.4324/9781315159393-3
Sandell, R. (2003). Museums, Society, Inequality. Londres: Routledge. https://doi.org/10.4324/9780203167380
Silva, Massarani, L., Araujo, J., & Ribeiro, A. (2024). Una mirada decolonial sobre el pasado, presente y futuro a partir del rescate de recuerdos de visitantes del Museo Histórico Nacional. Arte, individuo y sociedad, 36(1), pp. 237-250. https://doi.org/10.5209/aris.90801
Smith, L., Waterton, E., Watson, S. (2012). The Cultural Moment in Tourism. Oxford: Taylor and Francis. https://doi.org/10.4324/9780203831755
Simon, N. (2010). The Participatory Museum. Santa Cruz, Calif.: Museum 2.0.
Sundberg, A. A. (2022). Natural Disaster at the Closing of the Dutch Golden Age. Studies in Environment and History. Cambridge: Cambridge University Press. https://doi.org/10.1017/9781108923750
Vasilikou, C., Castoro, M. (2018). Mapping political graffiti: Urban appropriations of public space. En Urban Artscapes. Jefferson, North Carolina: McFarland & Company, Incorporated Publishers.
Yang, P.-Y. (2024). The Rijksmuseum’s Slavery exhibition, 5 June–29 August 2021. Visual Commu-nication, 23(2), pp. 399-402. https://doi.org/10.1177/14703572211063561
Lobo Guerrero Arenas, J., Jelinek, A., & Harknett, S.-J. (2025). Graffiti in the Museum: Multivocality and Inclusion through Art. El Futuro Del Pasado, 16, 303–333. https://doi.org/10.14201/fdp.31826
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