Social Museology

In the recent years we have seen the rise and growing of a new museum concept which provides a new meaning to statements such as accessibility, participation, and social inclusion. In this regard, the social museum has been conceived as an encounter place which connects different cultures and at the same time includes a range of themes in which immigration, margination, less privileged classes, women, children, war refugees and humanitarian catastrophes are included. (Lavado, 2015) 

Notwithstanding, a social museum gets involved with its environment and as well as in the issues related to the neighborhood or city; this is how a museum, more than an antique storage, becomes in a generator of processes and community exchanges by fostering pedagogical, communicative, and relational functions towards the encounter with others.

According to Navajas and Gonzáles (2018), social museology has been seen mistrusted by traditional museology due to its revolutionary character in which democracy, culture, interdisciplinarity, dialog, participation play a significant role, as well as the recognition of the spectator as an active subject. On the other hand, it has also been seen with fascination due to its innovative character, conversely social museography aims to convey a wide panorama of social, participative and community museum functions: a new museology.


​Community artistic practices

​The community artistic practices are presented as a possibility to involve the spectator in the artists’ social work immersed in a participative social, cultural, and political background. 


One of the key aspects of relational and contextual art is the connection of the artwork with the real features which imply specific space-time settings. On the other hand, it differs from the traditional museum since it aims to link the community’s reality; also seeks to reconcile with the world and forgotten spectators as well. In this sense the viewer is their purpose, creative processes and their result make part of a collective construction which demands an active participation with others.


In the community artistic practices, art experience has been conceived on a social function basis, it wonders itself about what takes place in the collective, therefore spectators are the center of the process, then there is a reciprocity between artists and viewers which allow a construction with others since their particularities, differences, and interests.

Ultimately, community artistic practices arise in specific context towards the development of collaborative and democratic experiences which reflect toward community’s social realities. There is a concern about others, their needs, dreams, longings, frustrations, and desires. Following (Ramos, 2013) these place the artist as an actor in a particular context, therefore their artwork conveys in more than an artistic character, but a sensitive vision which pretend to answer society’s questionings