The Guardian view on a new era for museums: letting the public take control
The museum of the future has arrived and it looks like an Amazon warehouse. But art critics have unanimously awarded it five stars. From Saturday, visitors to the V&A East Storehouse in the Queen Elizabeth Olympic Park will be able to wander among the 250,000 objects in the Victoria and Albert Museum's collection that are not on display in its west London home. The headline-grabbing order-an-object initiative means you can book online to get your hands (gloves are provided) on a priceless artefact any day you like. And all for free.
It is a triumph born out of necessity. After the V&A's eviction from their Kensington storage home a decade ago, they decided that instead of hiding one of the world's largest design collections in an expensive warehouse, they would turn it into an attraction in its own right. Storage is a big issue for institutions: only 1% of the British Museum's more than 8m artefacts are on public display. Showing off your overflowing attic makes the most of what you've already got, repurposing a closet that, for the V&A, includes a Balenciaga gown (the most requested item so far) and PJ Harvey's hotpants.
Open-access storage is not a new idea. In 2021, the Depot Boijmans Van Beuningen in Rotterdam became the first purpose-built (and presumably the only Ikea-salad bowl-inspired) public art-storage destination. The V&A Storehouse takes a leap further. You are invited behind the scenes of the museum, where everything is jumbled together and conservators are at work – a giant version of the BBC's The Repair Shop. Like the children who run away to New York's Metropolitan Museum for a week in EL Konigsburg's classic 1967 novel From the Mixed-Up Files of Mrs Basil E Frankweiler, visitors are able to explore freely. 'We wanted people to feel like they're trespassing,' said Tim Reeve, the deputy director of the V&A. 'That feeling of joy, seeing behind the curtain.'
Part of the V&A's mission was to inspire innovation, to be a bit radical. Ordering an object is a user-friendly way of engaging newcomers, not just a click-and-collect for art lovers. Like Sadler's Wells, which also launched a Stratford venue earlier this year, the V&A hopes to draw in a younger audience who may have felt excluded from its stately South Kensington home. A sister V&A East Museum will open close to the Storehouse next year.
Putting everything on show cannot get over uncomfortable questions about the provenance of a museum's acquisitions. But it does give transparency to how the museum works and what – down to every last pin – it has got.
This week, Manchester Museum won the European museum of the year award for its own approach to opening up the curatorial process. As part of its revamp in 2023, the museum handed its new South Asia gallery to a collective of 30 people from Manchester's diaspora communities to design and fill as they chose. The top floor has been given over to a college for neurodivergent students, with a London campus opening at the Design Museum in September.
The pandemic, as well as funding and sponsorship crises and anxieties over legacy, have put institutions under pressure. Both the V&A East Storehouse and Manchester Museum show bold new ways forward. They mark a shift in how museums perceive their role. They remind us that these collections are our collections. Fill your basket.
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