Teaching the manatee to leapBy
The RBCM is full service museum, bugs to rugs, natural history, history, and anthropology, all at once. The historical creations of 19th century British Columbia are particularly good, as the visitor walks through mining sites, train stations, saloons, street scenes, all wooden, scaled down and in every respect accessible. It is an unapologetic exercise in artifice. We are not asked to suspend disbelief. But the past returns to us with many of its tell tale wrappings in place, and this really do help us to understand what it is we are looking at.
And when you start to examine RBCM artifice, you see how masterful it is. This museum can "scale" from exquisite minatures and object constellations en bas, to rooms, buildings, and landscapes above, with a precision and agility of those + and – buttons on a Google map. The curatorial story does not scale quite so beautifully. But it’s close. Light and sound are wonderfully manipulated. The dioramas are eye-popping. The "animating ideas" are really animating.
Mostly, what you see here an absolute devotion, intensely hard work, real intellectual and manual effort, and as sincere an investigation of the curatorial possibility as I think I have ever seen. Having worked in a museum, I know how hard it is to summon and sustain this level of professionalism. The museum is strewn with opportunities for bloody mindedness. There are the gold plated incompetents, the too-sensitive-for-this-world curators, the status hungry adminstrative staff, the union louts, the work-to-rulers, the cowardly and risk adverse. If a great sports team "always finds a way to beat you," these institutions always seem to find a way to lose. ("And they call Alabama the Crimson Tide.") There is no real competititon. There is no real punishment for second best. There is just a long slow descent into mediocrity.
To find a museum this good suggests an X-files episode. What in God’s name can have happened here? What mystery virus or extraterrestrial intervention? But no, the signature skill and intensity of this institution is everywhere on display. It can’t have come all at once or from afar. It’s built right in. This means that this museum found a way to bring in the right people, to give them the right resources, and to protect them from all the ways a museum can manatee its way through the world. Remarkable.
What makes this really heartening is that too often museums seem like Canada in little. Canada now endures gold plated incompetents, the too-sensitive-for-this-world, the status hungry, the union louts, the work-to-rulers, the cowardly and risk adverse. This is a nation that specializes in passive aggression and bloody mindedness.
Museums, that is to say, seemed to capture the spirit of the nation but not at all in the way intended. This is the Museum as Dorian Gray portrait, showing the worst of the nation, not its best. But here at the RBCM something remarkable is on display, and I left with new hope for the nation.