Crociani-Windland - Trustram

Abstract

Following on from Crociani-Windland’s consideration of the relevance and use of arts and crafts in the lives of vulnerable people Myna Trustram draws our attention, once more to the setting of the museum as an arena for observation and reflection that can inform social work practice. Although she begins her article by voicing a nervousness in venturing into and commenting on the world of social work, social work practitioners and academics will find much of value and resonance with what she writes as she considers how suffering can act as a spur to art. The space and distance necessary in order for a work of art to be arranged and contemplated might allow for the emergence of enhanced empathic understanding that could not be achieved without occupying this space. Trustram draws attention to the value of the museum as a place in which civilizations can show what they value and preserve what is left and, in doing so, she echoes Freud’s contention that archaeology has a special place in the history of psychoanalysis. She questions whether museums can help us to “see what we see” so that we can see beyond what restricts and is perceivable, through to that which could and might be. The experience of a powerful arrangement of exhibits in a museum can help the viewer feel ‘less alone’. This is a valuable and essential aspiration of effective social work practice and one which permeates several contributions throughout this special edition. By showing the pain of others the gallery simultaneously bears, preserves and ‘provides a bulwark against’ this pain. While illustrating the function and value of the museum gallery Trustram shows how a dream she dreamt has relevance to her work. There is also a thought-provoking discussion of exhibits that encourage the viewer to (literally) “take something away” as well as bring something to what is shown. The changing nature of the exhibit in the process of being viewed recalls the melting ice sculpture described by Malone in a previous article in this journal. Works of art including an older woman living alone in a tower block, a sapling held by a post, study for a sudden gust of wind, institutional bunk beds and travellers caught in a sudden breeze, are all discussed. The status of works not exhibited, “wrapped up within their own melancholy, waiting for some future”, are considered as is “the night time security” that is put in place to protect exhibits. Towards the end of the article Trustram writes, “The space and pace are here every day and can be used, or not”. Although written by someone not currently practising as a social worker, what the author conveys has much to offer to and inform social work thinking, practice and writing. We urge you to enjoy the space provided here at your own pace and to see what emerges from it.