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Irene Fiona W
Harris pros and cons
The Harris的点评
点评：When we were last in Preston about this time last year the Harris presented a sorry sight, still closed though past it's reopening date, and all boarded up with metal barriers over which cans and empty pizza boxes were piling up. We were therefore delighted to return and discover it finally back up and running.
The restored building is a pleasure, elegant and airy. Also free to visit, which is very welcome. It has lifts to the upper stories (mercifully not the unnerving glass box types). The cafe also looked nice although we did not use it. Our attention was engaged early with an intriguing pendulum device which measures the speed to the earth's orbit. This must have been there at the time of my last visit, but somehow I didn't remember it. From our limited interaction with them the staff seemed helpful and friendly.
The Harris has all the treasures one would expect from a provincial museum established in the 19th c. An interesting mix of paintings and objects. It is also making visible efforts to be multicultural and inclusive, and the new displays are designed with the intention of appealing to children. While all that is praiseworthy in itself, it brings me to some of the things I am unhappy about with the way the exhibits are displayed.
The reorganisation is absolutely in line with current ideas about how collections should be curated, but I find them very frustrating. I believe one can access online details which are more comprehensive, but the actual displays are very scantily labelled and the information given was very limited. This is intended to make them seem less pedagogic but if one is really curious and wants to learn more it is like constantly running against blocks. The regrettable result is that everything feels dumbed down.
I am sure this approach is intended to get people thinking for themselves, but it actually gets in the way of a genuine imaginative and emotional response to what one is viewing. This is because instead of being given what one needs to form ideas about the things, we are presented with someone else's sound bites. For instance cases of perfume bottles had ok labels about the different type of scents, but nothing of the individual bottles. What would have fired my own imagination would have been to learn more about the mermaid shaped one that caught my eye (for instance how old it was and where it had been made). I could then have happily visualised it used, by say a Venetian courtesan, and marvelled that something so small and delicate could have survived for over 250 years. Another display showed a dress with roses on and the label explaining that roses were an symbol for the trans community in Japan. I was interested to learn this and certainly do not object to such details being included, but why didn't the label go on to clarify if the dress itself was part of that trans scene? For the comment to be relevant it needed to have belonged to someone like a drag queen, but without that, it could equally have been a random observation tagged onto an unrelated article of mainstream fashion. To fully engage my interest I need to be able to learn about and understand what I am looking at. I notice that this approach was also applied repeatedly to the exhibits designed for children, but I don't think even they are well served by it. There were lots of 'what do you think this was for?' type questions, but no answers or explanations. Fine to stimulate childhood curiosity, but what is the point if they are then left with an unanswered puzzle? If I were a child, I would end up feeling quite cheated by it all.
In addition to all this, it was confusing to find ones way around the gallery. Fine for a general browse, but not if one was looking for specific items or areas of interest. Some of the paintings were also very badly positioned. Most obviously a whole wall full of fine paintings, by the likes of Stanley Spenser. These were placed directly above an area used as a computer portal - which of course meant that if one wanted to have a proper look at them it was necessary to stand close up to the people at work online. That was not comfortable for the person trying to look at the painting, and naturally made the person on the computer feel very uneasy in case their work was actually being hacked. What made this arrangement even sillier is that there was plenty of space to display the paintings on the other walls in the room, but these had inexplicably been left blank.
To sum up this long review. The Harris looks good and is an asset to Preston. It has lots of interesting things well worth seeing, but in spite of all the time spent reinventing itself some significant mistakes have been made. It needs to rethink some key areas of its self presentation. Just don't close down again to do that.
The restored building is a pleasure, elegant and airy. Also free to visit, which is very welcome. It has lifts to the upper stories (mercifully not the unnerving glass box types). The cafe also looked nice although we did not use it. Our attention was engaged early with an intriguing pendulum device which measures the speed to the earth's orbit. This must have been there at the time of my last visit, but somehow I didn't remember it. From our limited interaction with them the staff seemed helpful and friendly.
The Harris has all the treasures one would expect from a provincial museum established in the 19th c. An interesting mix of paintings and objects. It is also making visible efforts to be multicultural and inclusive, and the new displays are designed with the intention of appealing to children. While all that is praiseworthy in itself, it brings me to some of the things I am unhappy about with the way the exhibits are displayed.
The reorganisation is absolutely in line with current ideas about how collections should be curated, but I find them very frustrating. I believe one can access online details which are more comprehensive, but the actual displays are very scantily labelled and the information given was very limited. This is intended to make them seem less pedagogic but if one is really curious and wants to learn more it is like constantly running against blocks. The regrettable result is that everything feels dumbed down.
I am sure this approach is intended to get people thinking for themselves, but it actually gets in the way of a genuine imaginative and emotional response to what one is viewing. This is because instead of being given what one needs to form ideas about the things, we are presented with someone else's sound bites. For instance cases of perfume bottles had ok labels about the different type of scents, but nothing of the individual bottles. What would have fired my own imagination would have been to learn more about the mermaid shaped one that caught my eye (for instance how old it was and where it had been made). I could then have happily visualised it used, by say a Venetian courtesan, and marvelled that something so small and delicate could have survived for over 250 years. Another display showed a dress with roses on and the label explaining that roses were an symbol for the trans community in Japan. I was interested to learn this and certainly do not object to such details being included, but why didn't the label go on to clarify if the dress itself was part of that trans scene? For the comment to be relevant it needed to have belonged to someone like a drag queen, but without that, it could equally have been a random observation tagged onto an unrelated article of mainstream fashion. To fully engage my interest I need to be able to learn about and understand what I am looking at. I notice that this approach was also applied repeatedly to the exhibits designed for children, but I don't think even they are well served by it. There were lots of 'what do you think this was for?' type questions, but no answers or explanations. Fine to stimulate childhood curiosity, but what is the point if they are then left with an unanswered puzzle? If I were a child, I would end up feeling quite cheated by it all.
In addition to all this, it was confusing to find ones way around the gallery. Fine for a general browse, but not if one was looking for specific items or areas of interest. Some of the paintings were also very badly positioned. Most obviously a whole wall full of fine paintings, by the likes of Stanley Spenser. These were placed directly above an area used as a computer portal - which of course meant that if one wanted to have a proper look at them it was necessary to stand close up to the people at work online. That was not comfortable for the person trying to look at the painting, and naturally made the person on the computer feel very uneasy in case their work was actually being hacked. What made this arrangement even sillier is that there was plenty of space to display the paintings on the other walls in the room, but these had inexplicably been left blank.
To sum up this long review. The Harris looks good and is an asset to Preston. It has lots of interesting things well worth seeing, but in spite of all the time spent reinventing itself some significant mistakes have been made. It needs to rethink some key areas of its self presentation. Just don't close down again to do that.
翻译：去年这个时候我们第一次造访普雷斯顿时，哈里斯博物馆的状况实在惨淡：虽然重新开放的日期早已过去，但博物馆依然大门紧闭，四周用金属护栏围了起来，护栏上则堆满了易拉罐和空披萨盒。因此，当我们再次前来并发现博物馆终于重新开放时，我们欣喜不已。
修复后的建筑堪称赏心悦目，既优雅又通透。而且参观完全免费，这一点实在难得。大楼里还设有通往各楼层的电梯（庆幸的是，并非那种令人不安的玻璃厢式电梯）。那家咖啡馆看起来也不错，虽然我们并没有去使用。一开始便吸引我们注意的是一个有趣的摆钟装置，它能测量地球的公转速度。这个装置在我上次来访时应该也在那里，但不知为何我完全没有记起。从我们与工作人员的有限互动来看，他们显得乐于助人且友好亲切。
哈里斯博物馆拥有人们对19世纪建立的地方博物馆所期望拥有的各类珍品，陈列品中既有画作也有各种物品，种类相当丰富。它也在积极努力展现多元文化与包容性，新设立的展示区也是为了吸引儿童而设计的。虽然这些举措本身值得称赞，但也让我对展品的展示方式产生了一些不满。
这种重新编排完全符合当下关于藏品应如何策展的理念，但对我来说却相当令人沮丧。我认为人们可以在网上查到更为详尽的资料。不过，这些展示装置上的标签极少，提供的信息也极其有限。这样做的本意是让它们看起来不那么具有教育意义，但如果你真的充满好奇心、想要了解更多，就会感觉处处都碰壁。最终导致的结果就是：一切都显得过于浅显、简单化了。
我确信这种做法的初衷是促使人们独立思考，但实际上它却阻碍了人们对所观之物产生真正的想象力与情感共鸣。这是因为，我们并没有获得有助于形成对事物认知的必要信息，而只是看到了别人说过的那些话。比如，那些香水瓶的标签上虽然介绍了不同香型的信息，但完全没有关于各个瓶子本身的介绍。本来能够激发我想象力的是能更多地了解那个引起我注意的人鱼形状的瓶子——比如它的年代以及产地。那样我就能愉快地在脑海中想象出它被使用的场景了。比如，有一件物品据说是威尼斯交际花用过的；人们都惊叹于如此小巧精致的物品竟能保存250多年。另一个展品则是一件带有玫瑰图案的连衣裙，标签上解释道，玫瑰在日本是跨性别群体的象征。我对这一点很感兴趣，当然也不反对在展览中加入这类细节。但是，为什么品牌方没有进一步说明那条裙子本身是否属于那种跨性别主题场景的一部分呢？这条评论要想有意义，裙子就应该是属于变装皇后之类的人物的；否则，这就只不过是一条随意的评论，被贴到了一篇与跨性别主题毫无关联的时尚文章上罢了。为了真正引起我的兴趣，我需要能够了解并理解我所看到的内容。我注意到，这种处理方式也多次被应用于为儿童设计的展品上。不过我觉得就连他们也并没有从中学到什么。有很多“你觉得这个是用来做什么的？”之类的问题，但却没有任何答案或解释。虽说这样能激发孩子们的好奇心，但如果他们最后面对的是一个没有答案的谜题，那又有什么意义呢？如果我是孩子，肯定会觉得自己被欺骗了。
除此之外，在画廊里找路也让人一头雾水。如果只是随便看看倒还行。不过，如果你在寻找特定的物品或感兴趣的领域，那就另当别论了。有些画作的摆放位置也相当糟糕。最明显的一例就是整整一面墙上挂满了诸如斯坦利·斯宾塞这样的艺术家的优秀画作。这些画作被挂在一个用作电脑操作区的上方——这就意味着，如果你想仔细欣赏这些画作，就不得不凑近那些正在上网工作的人身边。这对于试图欣赏画作的人来说实在不太舒适。这自然让坐在电脑前的人感到非常不安，担心自己的工作成果真的被黑客窃取了。更荒谬的是，房间里的其他墙面上其实有大量空间可以展示画作，但这些地方却莫名其妙地被留白了。
总结一下这篇长篇评论：哈里斯博物馆外观不错，堪称普雷斯顿的一张名片。馆内有许多非常值得一看的有趣展品。尽管花了大量时间来重塑自身形象，但还是犯了一些严重的错误。它需要重新思考自身形象塑造中的一些关键方面。只是，千万别为了这个目的而再次关闭。
修复后的建筑堪称赏心悦目，既优雅又通透。而且参观完全免费，这一点实在难得。大楼里还设有通往各楼层的电梯（庆幸的是，并非那种令人不安的玻璃厢式电梯）。那家咖啡馆看起来也不错，虽然我们并没有去使用。一开始便吸引我们注意的是一个有趣的摆钟装置，它能测量地球的公转速度。这个装置在我上次来访时应该也在那里，但不知为何我完全没有记起。从我们与工作人员的有限互动来看，他们显得乐于助人且友好亲切。
哈里斯博物馆拥有人们对19世纪建立的地方博物馆所期望拥有的各类珍品，陈列品中既有画作也有各种物品，种类相当丰富。它也在积极努力展现多元文化与包容性，新设立的展示区也是为了吸引儿童而设计的。虽然这些举措本身值得称赞，但也让我对展品的展示方式产生了一些不满。
这种重新编排完全符合当下关于藏品应如何策展的理念，但对我来说却相当令人沮丧。我认为人们可以在网上查到更为详尽的资料。不过，这些展示装置上的标签极少，提供的信息也极其有限。这样做的本意是让它们看起来不那么具有教育意义，但如果你真的充满好奇心、想要了解更多，就会感觉处处都碰壁。最终导致的结果就是：一切都显得过于浅显、简单化了。
我确信这种做法的初衷是促使人们独立思考，但实际上它却阻碍了人们对所观之物产生真正的想象力与情感共鸣。这是因为，我们并没有获得有助于形成对事物认知的必要信息，而只是看到了别人说过的那些话。比如，那些香水瓶的标签上虽然介绍了不同香型的信息，但完全没有关于各个瓶子本身的介绍。本来能够激发我想象力的是能更多地了解那个引起我注意的人鱼形状的瓶子——比如它的年代以及产地。那样我就能愉快地在脑海中想象出它被使用的场景了。比如，有一件物品据说是威尼斯交际花用过的；人们都惊叹于如此小巧精致的物品竟能保存250多年。另一个展品则是一件带有玫瑰图案的连衣裙，标签上解释道，玫瑰在日本是跨性别群体的象征。我对这一点很感兴趣，当然也不反对在展览中加入这类细节。但是，为什么品牌方没有进一步说明那条裙子本身是否属于那种跨性别主题场景的一部分呢？这条评论要想有意义，裙子就应该是属于变装皇后之类的人物的；否则，这就只不过是一条随意的评论，被贴到了一篇与跨性别主题毫无关联的时尚文章上罢了。为了真正引起我的兴趣，我需要能够了解并理解我所看到的内容。我注意到，这种处理方式也多次被应用于为儿童设计的展品上。不过我觉得就连他们也并没有从中学到什么。有很多“你觉得这个是用来做什么的？”之类的问题，但却没有任何答案或解释。虽说这样能激发孩子们的好奇心，但如果他们最后面对的是一个没有答案的谜题，那又有什么意义呢？如果我是孩子，肯定会觉得自己被欺骗了。
除此之外，在画廊里找路也让人一头雾水。如果只是随便看看倒还行。不过，如果你在寻找特定的物品或感兴趣的领域，那就另当别论了。有些画作的摆放位置也相当糟糕。最明显的一例就是整整一面墙上挂满了诸如斯坦利·斯宾塞这样的艺术家的优秀画作。这些画作被挂在一个用作电脑操作区的上方——这就意味着，如果你想仔细欣赏这些画作，就不得不凑近那些正在上网工作的人身边。这对于试图欣赏画作的人来说实在不太舒适。这自然让坐在电脑前的人感到非常不安，担心自己的工作成果真的被黑客窃取了。更荒谬的是，房间里的其他墙面上其实有大量空间可以展示画作，但这些地方却莫名其妙地被留白了。
总结一下这篇长篇评论：哈里斯博物馆外观不错，堪称普雷斯顿的一张名片。馆内有许多非常值得一看的有趣展品。尽管花了大量时间来重塑自身形象，但还是犯了一些严重的错误。它需要重新思考自身形象塑造中的一些关键方面。只是，千万别为了这个目的而再次关闭。
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