The paper explores the significance and value of classical cast collections, from the museological perspective. Plaster casts are fascinating objects, especially in relation to the notions of both “absence” and “remaking”. In fact, since the 16th century - period that coincides with the inception of such collections -, classical plasters populated private and public spaces, art academies, museums and universities, fulfilling aesthetic and educational needs. They represented an ancient, absent, model, not necessarily lost, but physically distant and/or inaccessible for some reasons.
Today, too, casts are still essential in archaeological scholarship, since they provide a better understanding of the originals they embody. Their curation in museums mirrors such a use: although accessioned museum objects, casts are presented as if they were antiquities and the stories they can offer as modern creations are usually dismissed. This is because the primary interests of people working with them reside in the ancient models; at the same time, themes such as replications and copies are not felt to be appealing enough to museum visitors. Such interpretative approach is dangerous, as it leads to the paradox of exhibiting an original object, treated as it was an absent one. The relationships between original/copy and presence/absence turns out to be quite problematic, especially to a non-expert museum audience.
My doctoral research aimed to understand whether possibilities for casts’ stories to emerge existed, and how such stories affected the museum experience. Results confirmed that objects’ meanings are not fixed, rather they are constantly shaped and negotiated by the subject(s) engaging with them. The interpretation of casts as antiquities reflects specific interests in art and archaeology. However, their stories are equally important and enrich the museum visit. Their unique features, pointing to different times, places and human associations, can open up discussions about historical and contemporary reproductive techniques and media, craftsmanship, modes of experiencing copies in classical times and how these are valued in other cultures.
The inclusion of both ancient and modern realities in the museum narrative is necessary to express casts’ full possibilities. Moreover, by demonstrating that casts are objects in their own right, the research contributes to more creative rethinking around copies, seriality and modes of replication, academically and in museums.
Keywords: plaster casts, sculpture, copies, authenticity, museum studies
Dr Chiara Marabelli, independent researcher
Education
2017-2022 - PhD in Museum Studies, University of Leicester
2015-2016 - MA in Museum Studies, University of Leicester
2012-2013 - Specialisation course in Conservation and management of Cultural Heritage, University of Siena
2009-2012 - MA in Classical Archaeology, University of Pavia
Relevant work experience
2022-2023 - Research Assistant, Faculty of Classics, University of Oxford
2021 - Projects Assistant, Factum Arte/Factum Foundation
2019-2020 - Researcher, Greek and Roman Antiquities and 19th century and Contemporary Art Departments, Vatican Museums
2017-2022 (during my PhD) - presenter at variour conferences and events, both in the UK and abroad; peer-reveiwer for Chilean and UK publications; museum consultant for the Red de Museos Aysén project, Coyaique and Puerto Río Tranquilo, Chile and for the cast collection of the Museo Nacional de Bellas Artes, Santiago, Chile; seminars co-organisers and co-host; "Museums (em)Power" conference co-organiser; co-editor-in-chief, Museological Review Issue 23
AHRC Midlands4Cities DTP profile:
https://www.midlands4cities.ac.uk/student_profile/chiara-marabelli/
Since the 16th century, classical plasters populated private and public spaces, art academies, museums and universities, fulfilling aesthetic and educational needs. Today too casts are essential in archaeological scholarship, because they provide a better understanding of the originals they embody. Their curation in museums mirrors such a use: although accessioned museum objects, casts are presented as if they were antiquities - the “absent” originals - and the stories they can offer as modern creations are usually dismissed. This paper explores the values, meanings and imaginative power of casts, when treated as objects in their own right.