Relevant bibliographies by topics / Asian Exhibitions History

Academic literature on the topic 'Asian Exhibitions History'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Asian Exhibitions History"

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Lyon, Cherstin M. "Portals and Praxis in Japanese American Public History." Southern California Quarterly 98, no. 3 (2016): 259–74. http://dx.doi.org/10.1525/ucpsocal.2016.98.3.259.

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The rise of Asian American History and Ethnic Studies courses, decentered whiteness in museum collections and exhibitions, and ethnic preservation activism all have the potential to inform and sensitize the general public in the same sense advocated by revolutionary thinker Paulo Freire. Ideally, they are all forms of problem-posing education that deeply engages and activates the public on behalf of social justice for the excluded or oppressed.
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Chang, Susan Shih, and Jeremy Huai-Che Chiang. "Review of the Exhibition Oppression and Overcoming: Social Movements in Post-War Taiwan, National Museum of Taiwan History, 28 May 2019–17 May 2020." International Journal of Taiwan Studies 3, no. 2 (August 20, 2020): 343–61. http://dx.doi.org/10.1163/24688800-00302009.

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Abstract This review article looks at “Oppression and Overcoming: Social Movements in Post-War Taiwan” (2019.5.28–2020.5.17), an exhibition at the National Museum of Taiwan History (nthm) through approaches of museum studies and social movement studies, and aims to understand its implication for doing Taiwan Studies. This review concludes that “Oppression and Overcoming” is significant as a novel museological practice by being part of a continuation of social movements, which transformed the museum to a space for civil participation and dialogue. This allows the exhibition to become a window for both citizens and foreigners to understand and realize Taiwan’s vibrant democracy and civil society. In addition, this review suggests that future exhibitions on social movements could demonstrate the possibility to position Taiwan in a global context to better connect with other countries in the Asian region.
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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.
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Ko, KaYoung. "The Reinterpretation of the Contact Zone expressed in the Exhibition of the Uzbekistan “National Memorial Museum of the Victims of Repression” After the Dissolution USSR." Korean Society for European Integration 12, no. 3 (November 30, 2021): 57–96. http://dx.doi.org/10.32625/kjei.2021.25.57.

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This article, in the 30th anniversary of the Soviet Union dissolution, is an attempt to examine how Uzbekistan, among the countries of the former Soviet Union, reinterprets its past history (mainly during the Soviet period) through an analysis of museum exhibitions. The immediate task of Uzbekistan, like other new born countries in Central Asia, which became independent after the dissolution of the Soviet Union, was ‘nation-building’. Various ways have been sought to create the identity of an independent nation. One of them is the change of interpretation of the Soviet period. Central Asian countries are putting forward a break with the Soviet era, citing the mistakes of the Soviet central government in the past. In addition, they are trying to strengthen the solidarity of the newly independent nation and create a national identity by putting themselves as victims of political oppression. In the <Repression Museum> exhibition, Uzbekistan identifies itself with a colony conquered by the Soviet Republics. The subjects of the colonial empire include not only Tsarist Russia but also the Soviet central government. Exhibitions 1 and 2 of the Museum of Repression in Uzbekistan reconstruct the history of oppression moving from the imperial Russia, through the Bolshevik revolution, the socialist construction, Stalin counter-terrorism and post-war period to the perestroika period. The repression related to the cotton scandal is unique to Uzbekistan. And the 3rd exhibition room deals with the current development of Uzbekistan. In the Museum of Repression in Uzbekistan, the socialist revolution disappeared. And here Lenin s ideal of pursuing common prosperity by building a common home for the people that was considered to be different from imperial Russia, a prison for the people, became insignificant. The Bolsheviks changed into a plundering colonizers that are indistinguishable from the Western empires. It is portrayed only in the portrait of a harsh empire that has invaded. Likewise today s authoritarian rulers in Uzbekistan are arbitrarily interpreting the past in order to solidify their own nation-state.
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Teh, David. "Festivity and the contemporary: Worldly affinities in Southeast Asian art1." Art & the Public Sphere 8, no. 2 (December 1, 2019): 131–45. http://dx.doi.org/10.1386/aps_00012_7.

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What is the place of the festival in the global system of contemporary art, and in that system’s history? Can the large, recurring surveys that are its most prominent exhibitions today even be considered festivals? Such questions become more pressing as sites newly embraced by that system take their place on a global event calendar, and as the events increasingly resemble those held elsewhere or merge with the market in the form of art fairs. What becomes of community and locality, of spontaneity and participation, as that market ‐ and art history ‐ takes up the uncommodified fringes and untold stories of contemporary art’s ever widening geography? This article stems from my research for a recent volume entitled Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992‐98, concerning a series of artist-initiated festivals held in northern Thailand in the 1990s known as the Chiang Mai Social Installation. These gatherings, and others like them, suggest that while national representation was the usual ticket to participation on a global circuit, the agencies and currency of national representation were not essential determinants of contemporaneity; and that it was localism, rather than any internationalism, that underpinned the worldly affinities discovered amongst artists in Southeast Asia at that time. The sites of this becoming contemporary were festive, sites of celebration and expenditure rather than work and accumulation. What does this mean for contemporary art’s history and theory, and how might it change our understanding of the region’s art and its international currency today?
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Xiang, Yuning, and Bingzhe Xiang. "Chinese art in the Tang Dynasty and the forms of its presentation in museums of the People’s Republic of China at the beginning of the 21st century." Issues of Museology 12, no. 2 (2021): 257–67. http://dx.doi.org/10.21638/spbu27.2021.208.

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The topic of this study is a realistic due to the fact that in Chinese history, the Tang Dynasty (618–907) is considered as the peak of national strength. It is during this period that ancient China became the center of economic and cultural exchanges with a number of states in the medieval world. Thanks to stable social development and the steadily developing economy, Chinese art of this period flourished. To this day, it has a special meaning for both Chinese and Asian cultures. The article examines the presentational forms of the art of Tang Dynasty in historical and art museums of the People’s Republic of China at the beginning of the 21st century: an overview of the history of Tang Dynasty and its art is presented, the collections of museum objects — works of fine art of the Tang Dynasty in Chinese museums are considered, and specific forms of art presentation are analyzed, such as expositions, exhibitions, online exhibitions, educational programs and projects implemented in cooperation with the media. The research is based on original sources of museum origin (materials from museums’ official websites, interviews conducted with museum employees) and a body of regulatory and administrative documents covering museum policy developments in the People’s Republic of China.
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Wu, Ellen D. "““America's Chinese””: Anti-Communism, Citizenship, and Cultural Diplomacy during the Cold War." Pacific Historical Review 77, no. 3 (August 1, 2008): 391–422. http://dx.doi.org/10.1525/phr.2008.77.3.391.

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With the onset of the Cold War, the federal government became concerned with the impact that the status and treatment of Chinese Americans as a racial minority in American society had on perceptions of the United States among populations in the Asian Pacific. As a response, the State Department's cultural diplomacy campaigns targeting the Pacific Rim used Chinese Americans, including Betty Lee Sung (writer for the Voice of America) and Jade Snow Wong and Dong Kingman (artists who conducted lectures and exhibitions throughout Asia). By doing so, the government legitimated Chinese Americans' long-standing claims to full citizenship in new and powerful ways. But the terms on which Chinese Americans served as representatives of the nation and the state——as racial minorities and as ““Overseas Chinese””——also worked to reproduce their racial otherness and mark them as ““non-white”” and foreign, thus compromising their gains in social standing.
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Starodubtseva, Marina V. "Alexander Sedov: “We Tell People about Their Culture”." Oriental Courier, no. 3-4 (2021): 21. http://dx.doi.org/10.18254/s268684310017997-4.

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An interview with Alexander V. Sedov, the Director-General of The State Museum of Oriental Art devoted to the launch of the new master’s program of the Faculty of Oriental Studies of the State Academic University for the Humanities (GAUGN) and the Department of Oriental History of the Institute of Oriental Studies Russian Academy of Sciences “Socio-Cultural Development of East Asian Countries”, which is headed by Alexander Sedov as an academic curator (Dinara V. Dubrovskaya, the head of the Department of Oriental History of the Institute of Oriental Studies RAS, is the supervisor of the program). The interview focused on the attractiveness of the Eastern art and culture and their broadcasting to a wider audience through the exhibitions of the Oriental museum, reaching the level of discussion of the problems of preserving cultural heritage, questions of the feasibility and relevance of museumification of archaeological sites such as Palmyra in Syria, monuments in Oman and Yemen.
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Hongfeng, Tang. "Archive, Mediation, and Reflections on Colonization in Modern Asia." China and Asia 2, no. 1 (June 24, 2020): 97–133. http://dx.doi.org/10.1163/2589465x-00201004.

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This paper will use the artworks and exhibitions of Cai Yingqian, Chen Min, Timoteus Anggawan Kusno, and Chen Chieh-jen to discuss how contemporary art reflects on modern colonial history through mediations. By employing ready-made media materials handed down through history, archival art moves from medium to mediation, mediating between subjects, media materials, and artistic works, and at the same time highlights the materiality and mediality of media, forming a historical picture where media and the message, objects and narrations, images and the deceased together form a unified entity. While the narrative and memory of history rely on media, mediation can summon the memory of the past. Artists can activate images and turn them into an “afterlife” to open sealed historical spacetime, resurrecting the forgotten experience of modern colonial history in Asia, and finally inciting us to face the colonial structure, which is nowadays still at the core of Asian geopolitics. Ultimately, every kind of mediation reverts back to the media itself. The construction of the archive, the production of knowledge, and the opacity of media are revealed by the close connection between colonialism and mediation.
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Siyi, Wang. "Memorials and memory: The curation and interpretation of trauma narratives—using the examples of exhibitions on the theme of “comfort women” in East Asian Society." Chinese Studies in History 53, no. 1 (December 31, 2019): 56–71. http://dx.doi.org/10.1080/00094633.2019.1682405.

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Dissertations / Theses on the topic "Asian Exhibitions History"

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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.

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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asia’s Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.

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This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinema’s engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industry’s structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.
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Books on the topic "Asian Exhibitions History"

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Maggia, Filippo. Fotografia contemporanea dall'estremo Oriente: Asian dub photography. Milano: Skira, 2009.

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Maggia, Filippo. Fotografia contemporanea dall'estremo Oriente: Asian dub photography. Milano: Skira, 2009.

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Museum, Singapore Art. The collectors show: Weight of history. Singapore: Singapore Art Museum, 2013.

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Belger, Krody Sumru, and Çakmut Feza, eds. Colors of the oasis: Central Asian ikats. Washington, D.C: Textile Museum, 2010.

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Margo, Machida, Desai Vishakha N, Tchen John Kuo Wei, and Asia Society Galleries, eds. Asia/America: Identities in contemporary Asian American art. New York, N.Y: Asia Society Galleries, 1994.

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Asian Art Museum of San Francisco. Later Japanese lacquers: Asian Art Museum, July 18-November 15, 1987. [San Francisco: Asian Art Museum of San Francisco, 1987.

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Masato, Nakano, and San Diego Museum of Art, eds. Dyeing elegance: Asian modernism and the art of Kuboku and Hisako Takaku. San Diego: San Diego Museum of Art, 2012.

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1956-, Poshyananda Apinan, and Asia Society Galleries, eds. Contemporary art in Asia: Traditions, tensions. New York: Asia Society Galleries, 1996.

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Australia, National Gallery of, ed. Picture paradise: Asia-Pacific photography 1840s-1940s. Canberra, A.C.T: National Gallery of Australia, 2008.

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van, Rappard-Boon Charlotte, Gulik Willem R. van, and Bremen-Ito Keiko van, eds. Catalogue of the Van Gogh Museum's collection of Japanese prints. Amsterdam: Van Gogh Museum, 1991.

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Book chapters on the topic "Asian Exhibitions History"

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Pozzi, Laura. "China, the Maritime Silk Road, and the Memory of Colonialism in the Asia Region." In Regions of Memory, 139–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93705-8_6.

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AbstractThis chapter analyzes how the city museums of Shanghai, Hong Kong, and Galle Fort deal with the memory and legacy of colonialism in the framework of the expanding economic and political power of the People’s Republic of China (PRC) in Asia. In the PRC, the historical memory of the country’s colonial past has been shaped by the Chinese Communist Party (CCP). In contrast to the transnational nature of the communist ideology, the CCP’s interpretation of history is strongly nationalist. China’s political expansion in the ex-British colony of Hong Kong and its economic ties to other Asian countries such as Sri Lanka open space for a discussion about its power to influence these countries’ understanding of their own history. How is the expansion of China, defined by many as a neo-colonial power, changing the way other countries in Asia understand the colonial past? Is China able to exports its own vision of colonialism and post-colonial order outside its own borders? This chapter answers these questions through an analysis of the permanent exhibitions of three city museums: The Shanghai History Museum; the Hong Kong Museum of History, and the Galle Fort Museum in Sri Lanka, part of the “One Belt, One Road” project.
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Lin, Francis Chia-Hui. "Exhibitions Without Exhibits: Musealising History and Architecture." In Architectural Theorisations and Phenomena in Asia, 199–240. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58433-1_7.

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McAleer, John. "Exhibiting the ‘Strangest of All Empires’: The East India Company, East India House, and Britain’s Asian Empire." In The MacKenzie Moment and Imperial History, 25–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24459-0_3.

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"Exhibiting Southeast Asian Difference." In Reworlding Art History, 157–236. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401211963_004.

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See, Sarita Echavez. "The Booty and Beauty of Contemporary Filipino/American Art." In Filipino Primitive. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479842667.003.0005.

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This chapter turns to the site of the art museum and examines the work of the Filipino American artist Stephanie Syjuco, which parodies the accumulation and exhibition of Asian artifacts in the Western civilizational museum. Syjuco critically uses strategies of mimesis and plagiarism in order to expose the museum’s history of raiding non-Western cultures and its racialized objectification of non-Western peoples.
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Leese, Peter. "Diaspora’s Image." In Migrant Representations, 249–68. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070156.003.0016.

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Analyses recent re-interpretations of past migrant experience in light of themes and aesthetic strategies in 21st-century visual culture. The first case study considers pieces by artist Laura Facey (Jamaica) exploring the inheritances of slavery for her 2014 exhibition ‘Their Spirits’ at the Liverpool International Museum of Slavery. Of particular interest here are the tensions between museum curation, popular memory, and the present-day lives of the ‘Liverpool-born Black’ community. This study in migrant memory politics is contrasted with Sandhya Suri’s filmic exploration of her family’s connections and disconnections between India and Britain, I for India (2005). Suri’s family history incorporates echoes of colonial, post-colonial, and contemporary South Asian diaspora experience in relation to Britain. I for India is examined as a reconfiguration of migrant experience which incorporates shifting visual technologies (home movies, media footage, and sound recordings) and which creates its own self-aware auto-ethnography.
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Conference papers on the topic "Asian Exhibitions History"

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Zappa, Marco. "Pleasing the ‘Bubble:’ Abe Shinzō’s Strategic Self-Exhibition on Facebook." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.16-4.

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Not only is Abe Shinzō on the way to becoming Japan’s longest-serving Prime Minister in the country’s history. With more than 1 million followers on Twitter and slightly less than 600 hundred thousand fans on Facebook, he is by far the most successful Japanese political leader on social media. Commentators have described Abe’s turn to social networking services (SNS) as a “revenge” against “traditional” media against the background of a growing use of SNSs by other major Japanese political actors. At any rate, particularly through Facebook, combining text and pictures of himself on and off duty, Abe has successfully established his own mode to communicate with and “exhibit” himself to voters, citizens and the global community of netizens. This paper aims to address the following research question: on which themes and key concepts is this “presentation of the self” based? In other words, how is the Prime Minister communication staff constructing Abe’s “social” image and to which audience is this aimed? Based on Goffman’s theorization and later application of his work on the study of online social interactions, this paper illustrates the strive to ensure the consistency of Abe’s use of the SNS with previously expressed concepts and ideas (e.g., in the 2006 book “A Beautiful Country”), with the aim of pleasing the “bubble” of like-minded individuals constituting Abe’s (online) support base, and avoid issues that might possibly harm the Prime Minister’s reputation. Abe’s Facebook activity (a combination of text and pictures) during a critical time in his second tenure (2017), in which he faced cronyism allegations while coping with gaffes and scandals involving cabinet members, provided a case in point for multimedia content analysis.
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Bassett, Lonnie. "Case History Using ESP." In SPE Asia Pacific Oil and Gas Conference and Exhibition. Society of Petroleum Engineers, 2010. http://dx.doi.org/10.2118/133464-ms.

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Timms, Andrew, Kenneth John Muir, and Chad Wuest. "Downhole Deployment Valve - Case History." In SPE Asia Pacific Oil and Gas Conference and Exhibition. Society of Petroleum Engineers, 2005. http://dx.doi.org/10.2118/93784-ms.

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Ghamdi, Amell, and Jubril Oluwa. "History Match Process Optimizer - HMPO." In SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2019. http://dx.doi.org/10.2118/196406-ms.

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Mithani, Aijaz Hussain, Eadie Azhar Rosland, M. Aiman Jamaludin, W. Rokiah W Ismail, Maxwell Tommie Lajawi, and Irzie Hani A Salam. "Reservoir Souring Simulation and Modelling Study for Field with Long History of Water Injection: History Matching, Prediction." In SPE Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210778-ms.

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Abstract The field under study is a mature brownfield with no H2S in the fluid stream (PVT) at the time of development. However, concentrations more than 1000 ppm were recorded recently causing wells to shut in (a few already shut). Hence, to bring these wells on stream an assessment of souring potential in the field is required. This paper is the results of our experience in H2S mapping at reservoir-well-facilities modelling, history matching, and prediction of H2S. We will highlight the workflow adopted to find the root causes of souring via sampling and modelling approach since the H2S is measured throughout the field across all the reservoirs, including those undergoing waterflood. Moreover, various options that were studied through simulation will be discussed for mitigation and management of H2S within this field to safeguard the production, and thus recovery of the field. A systematic phased approach is adopted to mitigate and manage the unwanted sour gas (H2S). In the first phase, we performed the analysis of the historical development of H2S throughout the field and developed the concept for possible souring causes. In the second phase, we designed and conducted a comprehensive sampling and laboratory analysis program end-to-end to fill the existing knowledge gap. In the third phase, we performed 3D dynamic reservoir souring modelling where we history matched the H2S and assessed the future potential via forecasting. Finally, we developed multiple mitigation scenarios ranging from nitrate injection, sulphate reducing unit, limiting the nutrient supply for microbe growth via water mixing, etc. It was evident that a) increased injection water contributed to souring wells, b) link between souring wells and nutrient availability, c) increased negative fractioning of a Sulphur isotope as H2S concentration increases, and d) and mesophilic SRBs detected in some souring wells. This evidence suggested that BSR is the predominant cause of souring. It was also seen based on water chemistry that injection water was rich in sulfate while formation water was rich in volatile fatty acids. Results indicate that the nitrate injection (up to 200 ppm) alone may not be an attractive option to mitigate the H2S within this field. However, the combination of SRU and nitrate injection of 150 ppm could be a technically feasible option to mitigate such high concentration of H2S within allowable facilities limits.
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Howell, Stephen, Jonathan Furniss, Kevan Quammie, Kathleen Norman, and Leon Erriah. "History Matching CSG Production in the Surat Basin." In SPE Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2014. http://dx.doi.org/10.2118/171543-ms.

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Biswas, Deepankar. "Assisted History Matching for Surface Coupled Gas Reservoir Simulation." In SPE Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2006. http://dx.doi.org/10.2118/101233-ms.

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Montague, Eamonn Thomas, Donald Hosking Sherlock, and Erwin Santoso. "History Matching Considerations of an Analogue Reservoir Model (ARM)." In SPE Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2006. http://dx.doi.org/10.2118/101880-ms.

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Soetedja, V., D. Suyana, and I. N. H. Kontha. "Case History of a Marginal Oil Field Development." In SPE Asia Pacific Oil and Gas Conference and Exhibition. Society of Petroleum Engineers, 1998. http://dx.doi.org/10.2118/50054-ms.

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Al-Araimi, Nasser Mubarak, and Liang Jin. "A High Success Rate Acid Stimulation Campaign - A Case History." In SPE Asia Pacific Oil & Gas Conference and Exhibition. Society of Petroleum Engineers, 2006. http://dx.doi.org/10.2118/101038-ms.

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