{"id":4566,"date":"2020-11-11T14:47:05","date_gmt":"2020-11-11T13:47:05","guid":{"rendered":"https:\/\/www.chateau-vodou.com\/?page_id=4566"},"modified":"2025-10-01T16:23:37","modified_gmt":"2025-10-01T14:23:37","slug":"news","status":"publish","type":"page","link":"https:\/\/www.chateau-vodou.com\/de\/news\/","title":{"rendered":"News"},"content":{"rendered":"
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New exhibition \/\/ Seeing the unseen: the storeroom unveiled<\/h1>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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INTRODUCTION<\/h3>

Das Unsichtbare sehen: das Lager enth\u00fcllt<\/h2>

Sonderausstellung vom 16. Oktober 2025 bis 22. Juni 2026<\/h3>

In einem Museum unterscheidet sich ein ausgestelltes Objekt von einem aufbewahrten Objekt lediglich durch eine Vitrine.
Nach einer umfassenden Reorganisation seiner Lagerr\u00e4ume l\u00fcftet das Ch\u00e2teau Vodou den Schleier \u00fcber das, was hinter den Kulissen passiert.
Die Lagerr\u00e4ume, die oft unzug\u00e4nglich sind und als Orte wahrgenommen werden, an denen Gegenst\u00e4nde lediglich aufbewahrt werden, sind in Wirklichkeit das Herzst\u00fcck eines Museums. Sie erm\u00f6glichen die Konservierung, Erforschung und Vermittlung.
Im Durchschnitt werden dort mehr als 851 Objekte einer Sammlung aufbewahrt, die als \u2018zu empfindlich\u2019, \u2018nicht zum Thema geh\u00f6rend\u2019 oder \u2018in Erwartung weiterer Informationen\u2019 eingestuft werden.<\/p>

Mit dieser neuen Ausstellung zielt das Museumsteam darauf ab, die Prinzipien des Kulturerbeschutzes, die technischen Einschr\u00e4nkungen von Lagereinrichtungen, die entscheidende Rolle des Inventars sowie die ethischen Fragen und Kontroversen, die derzeit unsere Praktiken beeinflussen, zu behandeln.
Welche Rolle spielt ein Museum? Woher stammt die Sammlung des Vodou-Museums? Wie k\u00f6nnen wir Objekte aus organischen Materialien erhalten, die teilweise verderblich, teilweise heilig sind, und wie k\u00f6nnen wir \u00fcber sie sprechen? Wie viel des Unsichtbaren tragen wir in uns, selbst in einem Museum? Was kann wie lange erhalten werden? K\u00f6nnen alle Objekte ausgestellt werden? Und wem geh\u00f6ren sie wirklich? Wie lassen sich strenge Museumsstandards mit \u00f6kologischen Imperativen in Einklang bringen?<\/p>

Anhand der Geschichte der Arbogast-Sammlung tauchen wir ein in die Geografie und Geschichte des Vodoun. Jedes Objekt erz\u00e4hlt eine vielschichtige Geschichte, in der sich lebendige Praktiken, westliche und afrikanische Perspektiven sowie museografische Entscheidungen miteinander verflechten.
Unterwegs werden die Besucher eingeladen, die eigentliche Mission des Museums zu hinterfragen. Denn Sammeln, Erkl\u00e4ren und Ausstellen sind keine neutralen Aktivit\u00e4ten. Sie stellen ein Engagement dar, manchmal auch ein Dilemma. Als selbstfinanziertes Gemeinschaftsmuseum nimmt das Ch\u00e2teau Vodou seine Einzigartigkeit an: Es bewahrt einen Schatz des kollektiven Ged\u00e4chtnisses, ein fragiles Erbe lebendiger Kulturen in einem denkmalgesch\u00fctzten Geb\u00e4ude mit begrenzten Mitteln.
\u2018Das Unsichtbare sichtbar machen\u2019 ist zugleich Ausstellung, Untersuchung und Einladung, gemeinsam \u00fcber den Stellenwert unseres Kulturerbes \u2013 heute und morgen \u2013 nachzudenken.
A. Beck<\/p>

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Exhibition team <\/u><\/p>\n

Collectors: Marie-Luce and Marc Arbogast <\/p>\n

Curator: Adeline Beck <\/p>\n

Set designer: Ana-Carolina Gonzalez Palacios<\/p>\n

Scientific writing: Elise Matt-Gehringer, Catherine Elsensohn, Jean-Yves An\u00e9zo, Adeline Beck, K\u00e9fil Houssou, Ana-Carolina Gonzalez Palacios, Alice Niemi, Michael Mailfert, Maria Hirica<\/p>\n

Translations : E. Matt-Gehringer, Anna Sgryska<\/p>\n

Collection inventory and storage refurbishment: Katia-Myriam Borth-Arnold, Catherine Elsensohn, Adeline Beck, Ana-Carolina Gonzalez Palacios, Alice Niemi, Maria Hirica, Pascal Beck, Taner Tasar, Lo\u00efc An\u00e9zo, Evelyne Beck, Iyad Chambet, Jade Schreckenberg, Natalia Lorena Cocis. <\/p>\n

Podcast: Kawati Studios<\/p>\n

Project support: Compagnons du devoir, Cr\u00e9dit Agricole Heritage Foundation, Soci\u00e9t\u00e9 des Amis des Arts et des Mus\u00e9es de Strasbourg, EFH destination Strasbourg, Cr\u00e9dit Mutuel, Maison Klein, Eurom\u00e9tropole de Strasbourg J. G\u00e9rard, D. Gehringer, F. Undreiner, G. Jean-Charles, S. Freyzs.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Introduction by the Collector<\/h3>


I am deeply gratified by the decision of the Ch\u00e2teau Vodou Museum team to use this exhibition as an opportunity to shed light on the very meaning and function of a museum. Their objective \u2014 to highlight the work of conservation by exceptionally opening our storerooms to the public \u2014 is both rare and commendable.<\/p>

Since time immemorial, the collection of cultural objects has served as a bridge between peoples, fostering mutual understanding and intercultural dialogue. Yet it is undeniable that certain objects, once destined for veneration or ritual use, have become today mere collectible items, sometimes subject to speculation, with public access restricted or even commodified. Such tensions raise fundamental questions about the value, restitution, and preservation of cultural heritage.<\/p>

The approach undertaken by Marie-Luce and myself is rooted in this reflection. We have assembled a unique collection of Vodou objects not out of a spirit of profit, but from a sincere desire to understand, to cherish, and to transmit the richness of this culture. Many of these objects, often condemned to oblivion or destruction, have for us been a school of learning, a form of artistic expression, and a vessel of social, religious, and ecological history.<\/p>

This work of collecting has been conducted with respect and integrity: each acquisition was voluntary, purchased at the price requested, without coercion or speculation, and none of our pieces has ever been resold. When errors or copies were identified, they were not integrated into the collection \u2014 a testament to our commitment to authenticity. Our aim has never been financial gain, but education and respect for these cultures.<\/p>

We have also sought to ensure that this collection might serve as a written record, documenting in depth the religious, social, and environmental meanings of Vodou, thereby contributing to a greater recognition of a spirituality so often misunderstood. By participating in ceremonies and collaborating with experts and our team, we have endeavoured to honour and to highlight this tradition in all its complexity. The recent history of this collection, assembled after 1974, falls within the framework of the UNESCO Convention, strengthening our conviction that this undertaking constitutes neither a spoliation nor a matter for restitution, but rather a contribution to the valorisation of a world heritage. Recognition by the government of Benin \u2014 particularly through our collaboration with the future museum of Porto-Novo \u2014 attests to the credibility and legitimacy of our commitment.<\/p>

This exhibition aspires to reveal and celebrate the richness of Vodou, emphasising the importance of this culture in the history, social organisation, pharmacopoeia, and ecology of the region. Beyond being a mere assemblage of objects, it represents a message of openness, respect, and recognition towards a millennia-old tradition whose influence extends far beyond the borders of West Africa.<\/p>


M.Arbogast<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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The reorganization of our storage rooms: a colossal project.\u00a0<\/h3>

In 2024, the Ch\u00e2teau Vodou team took on a great challenge: to completely rethink its storage facilities! Now that the work is nearly complete, discover more about our project.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The Beginning of an Adventure: The Reorganization<\/h3>


In 2024, the Ch\u00e2teau Vodou team embarked on a major challenge: to completely rethink its storage facilities. Our goal was to better preserve the pieces in the collection, make them easier to study, and ensure they could be packed efficiently when loaned to other museums. Then a bold idea emerged: why not take advantage of this project to create a space that could also be visited by the public?
To make this project possible, it was first essential to seek support and partners. Indeed, reorganization requires funding. Then a schedule had to be established, and the work was able to begin in May 2025.
A. Beck, Administrator<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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A Method from Canada<\/h3>


Since reorganizing storage is not a common task, the team first looked for information about possible procedures and action plans. That is how we decided to adopt a recognized method, developed in Canada with UNESCO: RE-ORG.
This method provides a clear, step-by-step process for organizing museum storage. The first exercise was to carry out a self-diagnosis: examining the condition of the building, the spaces, the storage furniture, and the management of the collections.
The verdict was clear: in every category we scored 2 points out of a total of 4. A reorganization was therefore essential, both for the collection and for the working conditions of the team!<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Emptying, Sorting, Imagining<\/h3>


The first concrete step was spectacular: moving nearly 900 objects that had been resting in the mezzanine for 10 years. They were all transferred to the ground floor to protect them during the work.
Then, thanks to the collection inventory, each object was classified by size. This classification allowed our scenographer, Ana Carolina Gonzalez Palacios, to design a new layout for the storage space. The objective? To provide optimal, tailor-made storage, while staying within budget.
In the end, we decided to keep our old glass display cases but to equip ourselves with galvanized steel and wooden shelving (adapted to our objects), as well as new LED lighting.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The 10 Golden Rules<\/h3>

According to the RE-ORG method, a \u201cgood\u201d storage facility meets 10 quality criteria. These quickly became the compass for the entire team. Everyone was trained in them, and we intend to continue applying them year after year, within our means:<\/p>

\u2022 A qualified staff member is responsible
\u2022 The storage area contains only collection objects
\u2022 Separate rooms are dedicated to related functions: office, workshop, storage of equipment and non-collection materials
\u2022 No object is placed directly on the floor
\u2022 Each object has a designated location and can be found in less than three minutes
\u2022 Each object is accessible without moving more than two others (four in our case)
\u2022 Objects are arranged by categories
\u2022 Key policies and procedures are in place and observed
\u2022 The building and storage space provide adequate protection for the collections
\u2022 Each object is free of active deterioration and ready to serve the museum\u2019s activities (that\u2019s why we even have a freezer here! In case of infestation, objects are placed inside for 48 to 72 hours depending on their size).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Inventory and Documentation<\/h3>


The reorganization was also a wonderful opportunity for scientific work. Throughout the summer, the team took advantage of the move to enrich the inventory, carry out a complete verification, and perform maintenance on the collection!
Each piece was located, cleaned, measured, weighed, and described. The records of the 1,200 objects in the collection were updated and sometimes enriched.
Once the work was completed, the objects regained their place in the new storage facilities, arranged according to the RE-ORG principles. Now, each object can be identified at a glance and accessed effortlessly. Some were even grouped by typology: for example, display cases containing human bones include no wooden elements, in order to prevent the acidity of the wood from damaging these remains.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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What Remains to Be Discovered<\/h3>


In September the project was completed. The objects, now better protected and organized, proudly occupy their new space.
But the adventure does not end there. Some pieces still hold their mysteries: their names, their exact origins, or their ritual uses remain at times only hypotheses. To uncover the truth, fieldwork will be needed in Togo or Benin, to meet practitioners of the Vodou religion and the scientific community.
We hope to achieve this in the near future, so that we can make our inventory available online to the public.
But that is another chapter of the story\u2026<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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New exhibition \/\/ Seeing the unseen: the storeroom unveiled INTRODUCTION Seeing the unseen: the storeroom unveiled Temporary exhibition from 16 October 2025 to 22 June […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"2981","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-4566","page","type-page","status-publish","hentry"],"yoast_head":"\nNews - 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