Eleventh International Conference on The Inclusive Museum

Abstract

There has been much progress in recent years towards the frequency with which museums tell LGBTQ+ histories. However, is inclusion enough, or should the institution also focus on the theoretical nature of queer? That is, beyond representation of queer stories in the museum, should one queerly collect, curate, and display queer objects as well? Looking at museum exhibitions through the lens of queer futurity (particularly through the framework of JE Muñoz’s 2009 work), this paper looks beyond mere representation within the museum space to understand how both the museum and its visitors can be jolted or seduced by the queer lens. Taking examples from various exhibitions hosted in the UK in 2017 (for example, Tate Britain’s “Queer British Art 1861-1967”), this paper examines how museums used the word queer, what affect it had on the public, and if or how the exhibitions could be considered queer beyond their content. Through personal interviews with curators and museum staff and exhibition display and catalogue analysis this paper addresses how it is possible for queer to nestle within the museum framework. It will be considered how—if queer practice is resistant, rebellious, constantly seeking change and distinction from societal norms—can it sit comfortably (or uncomfortably) in a museum seeking inclusion, a museum with a desire to create an open, safe space for everyone? Further, this paper questions whether one can memorialise queer and tell queer stories within an objectively traditional institutional space.