Medicinsk Museions udstillingsportfolio

Medicinsk Museion lagde hus til et biohacking-laboratorium stykket sammen af genbrugsmøbler, IKEA køkkenskabe og billige hjemmelavede instrumenter bygget af gør-det-selv biologer fra BiologiGaragen og Hackteria. Gennem en række gør-det-selv-events og debatarrangementer blev publikum inviteret ind i gør-det-selv-bioteknologiens verden og kom tæt på både den “åbne videnskabs” drømme og praktiske virkelighed. I denne online-udgave af udstillingen kan du finde tekster, fotografier, DIY-opskrifter, video og pressemateriale m.m.  

Metascent er en eksperimenterende udstilling om menneskets duft. I udstillingen kan man lugte til og dvæle ved menneskets duft i flere afskygninger. Duftsymptomer fra den syge krop og duftspor fra den raske krop er indsamlet og forsøgt gjort tilgængelige for besøgendes næser.  

To celebrate the opening of  Center for Healthy Aging Medical Museion produced an exhibition at the Panum Institute, University of Copenhagen.

4 September – 15 December, 2009 (~60 sq.m., in Medical Museion’s satellite exhibition area, Blegdamsvej 3A)

This temporary exhibition was curated by Thomas Söderqvist for the Faculty of Health Sciences in connection with the opening of the Novo Nordisk Foundation Centre for Protein Research and funded independently from this project by the Novo Nordisk Foundation. While “Split+Splice” grew out of a research project, “Primary Substances” will hopefully some time in the future give rise to a research project (on the contemporary material and visual history of protein research), which in turn will hopefully give rise to a larger exhibition on the history of proteins. The exhibition involved a large number of researchers and companies in the region and thus also served as a model for how exhibition making can be a co-operative effort between historians, museologists, biomedical scientists and the production and marketing departments of private enterprises. In contrast to “Split+Splice”, “Primary Substances” was an attempt to balance between the ‘production of presence’ and the ‘production of meaning’.

25 May – 13 December 2009, was curated by cand. mag. Rikke Vindberg as a spin-off from her earlier combined research and acquisition project on scientific posters. The objects were collected in co-operation with researchers at the National Hospital and the Faculty of Health Sciences, University of Copenhagen. This little exhibition too marks the transition towards a more aesthetically conscious exhibition practice.

31 May – 3 June 2008, was a small (100 sq.m) exhibition curated by Søren Bak-Jensen in connection with the 2008 Annual Meeting of the European Society for Anesthesiology (Euroanaesthesia 2008) at Bella Congress Center, Copenhagen. It displayed objects related to the treatment of polio victims during the epidemic in Copenhagen in 1952, the establishment of the first intensive care units in Copenhagen hospitals, and the development of equipment for monitoring anesthetised patients from the 1950s to the present. Besides drawing approx. 2500 visitors in three days, its main importance was as a museological experiment in creating exhibitions in co-operation with external partners, including medical devices companies, in an extra-museum setting, and with a keen eye on the aesthetics of historical medical objects.

In connection with the international workshop and conference on “Biomedicine and Art”, 30 August – 3 September 2007, we commisioned an artwork installation by sound artist Jacob Kirkegaard on the theme biomedicine and sound art. The resultat was “Labyrinthitis”, a sound installation based on current research at the Centre for Applied Hearing Research, Technical University of Denmark, on the physiology and dynamic anatomy of the inner ear; it was performed on 2 September 2007.

The permanent gallery on psychiatry (75m2) was set up in 2006, curated by Camilla Mordhorst in co-operation with ph.d.-student Jesper V. Kragh, who was then about to finish his thesis on the history of somatic psychiatry, especially lobotomy, in Denmark. It contained a mixture of existing material in our collections and new acquisitions from psychatric clinics in the Copenhagen area. As such it is a nice example of how artefacts from contemporary biomedicine works together with older material and also an example of co-operation between research and exhbition making.

4 February – 1 October 2006 The first small (50 sq.m) temporary exhibition “Alle har ret til ønskebørn – om prævention og familieplanlægning i 50 år”, , curated by Camilla Mordhorst. A small, object-rich exhibition, the first in a series, which emphasised the material culture of medicine and public health. The exhibition largely utilised the museum’s own collections and did not involve much new research.

(Danish title: ”Hel+Del: Brudstykker fra biomedicinens tid”) 11 June – 13 December, 2009  - extended to 4 April 2010 (250 sq.m., in Medical Museion’s main building, Bredgade 62) This temporary exhibition was curated  by Canadian artist/designer Martha Fleming in cooperation with postdocs Sniff Andersen Nexø, Søren Bak-Jensen, Susanne Bauer, and Jan Eric Olsén in the integrated research and curatorial project Biomedicine on Display, headed by professor Thomas Söderqvist. Split+Splice built on the individual research and acquisitions projects of the junior members of the research team. For example, Room 1 (‘Flydende overgange’) was largely based on Søren Bak-Jensen’s acquisition of objects from the former Protein Laboratory at the University of Copenhagen. Room 2 (‘At fastholde en strøm’) was based on seminar discussions in the project group over several years. Room 3 (‘Laviner af data’) grew out of Susanne Bauer’s research project. The display in Room 4 (‘Reality show’) was an adoption of some of the ideas in Sniff Nexø’s project, whereas Room 5 (‘I kødet, under huden’) was developed from Jan Eric Olsén’s interest in scopic vision. Room 6 (‘Masseobservation’) was based on Jan Eric Olsén’s and Susanne Bauer’s joint work and the ideas for Rooms 7-9 grew during the exhibition planning process. Room 10 was created in consultation with associate professor Jesper V. Kragh; and finally Room 11 (‘Et billede på nethinden’) was based on Jan Eric Olsén fascination with the history of endoscopes. All rooms thus bore the mark of individual research projects – yet through the unifying eye of the lead designer and curator, Martha Fleming. “Split+Splice” involved quite a lot of collecting and was thus also the culmination of the ambition of integrating research, collecting and exhibition making. The exhibition was funded by the Novo Nordisk Foundation and Cand. pharm. Poul M. Assens Foundation.