Journal articles: 'Exhibition project'

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Kampschulte, Lorenz, and Ilka Parchmann. "The student-curated exhibition - A new approach to getting in touch with science." Lumat: International Journal of Math, Science and Technology Education 3, no. 4 (September 30, 2015): 462–82. http://dx.doi.org/10.31129/lumat.v3i4.1017.

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Exhibitions provide a great variety of opportunities for shedding light on a scientific topic. By visiting an exhibition, and even more so by curating an exhibition, students gain great insights into scientific topics. Developing an exhibition offers students multiple ways of engaging with a topic, and presents a multifaceted learning environment, in which skills believed to be highly relevant for individuals’ development into active, well-educated citizens can be developed. These skills support individuals in their private and working life, as well as enabling them to participate in a global society – with some of them (such as project management) being rarely addressed at school at all. To empower teachers to unfold this potential and create professional-like exhibitions within the tight time and budget frame of today’s school life, a simple exhibition framework (EXPOneer) is presented in this article. Its design will be used in the EU-funded project IRRESISTIBLE. Using IKEA shelves, the system allows students to build their own professional-like exhibitions at school based on available knowledge and everyday resources, without distinctive craftsmanship or special tools. The incorporation of student-curated exhibitions (SCEs) into school practice will also be discussed, based on examples of current exhibition projects. After briefly sketching the theoretical background in the first part of this article, the second part aims to enable teachers, as well as other people working with students, to start their own professional-like exhibition project.

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Treit, Dominika, and Kamila Hyska. "Wdrażanie narzędzi zarządzania projektowego do procesu organizacji wystaw. Studium przypadku Muzeum Narodowego w Krakowie (2016–2019)." Zarządzanie w Kulturze 22, no. 1 (2021): 41–67. http://dx.doi.org/10.4467/20843976zk.21.005.13633.

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Implementation of Project Management Tools to the Exhibition Organization Process. Case Study of the National Museum in Krakow (2016–2019) How to thoroughly improve the process of organizing exhibitions in a cultural institution? Is project management in a museum possible? How to implement new tools? What to do after initiating a change? This article provides answers to these questions through a case study prepared by the Head of the Exhibition Organization Department and the Head of the Coordinators Section of the National Museum in Krakow, directly responsible for the exhibition organization process. The article describes the events from 2016 to 2019. This includes an audit of the existing process of exhibition organization, implementation of corrective measures, introduction of new tools, their updating and verification, taking into account such solutions as treating the exhibition as a project, PRINCE2 and Scrum methods, a detailed description of the process, and creating standardized templates of project documents, i.e. a list of objects, project charter, project schedule, partial schedule, project budget, evaluation. These activities resulted in the improvement of team cooperation, the elimination of avoidable delays, the automation and acceleration of the process of preparing project documentation, making the obligations of individual team members public, submitting project data to the stakeholders of a given project on an ongoing basis, reducing the amount of manual work, and reducing the cost of the implementation of individual projects.

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Wang, Xi Yuan, Xiang Wu, Ya Nan Wang, and Jian Chenn Han. "Study on Circulation Application and Energy-Conservation Management Based on Exhibition Project." Applied Mechanics and Materials 121-126 (October 2011): 2906–10. http://dx.doi.org/10.4028/www.scientific.net/amm.121-126.2906.

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Through the analysis of energy-consumption in the link of design–setup–buildup–withdrawal-transportation in exhibition process; exhibition’s circulation application has been discussed; the characteristics of energy-consumption in modern exhibition management, implementation and material application has been comparatively analyzed; then, suggestions are proposed to establish the influence model of material and ecological environment and the circulation application model of modularized building elements. The account method of energy consumption in exhibition application has proved the value of the application of circulative energy-conservation in exhibition project, providing the theoretical basis for sustainable development of exhibition business.

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Balash, A. N. "Modern art exhibition as interdisciplinary project." Vestnik of Saint Petersburg State University of Culture, no. 2 (2019): 16–21. http://dx.doi.org/10.30725/2619-0303-2019-2-16-21.

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Duncan, Derek. "Transnationalizing Modern Languages: The Project Exhibition." Italian Studies 74, no. 4 (August 28, 2019): 381–86. http://dx.doi.org/10.1080/00751634.2019.1658947.

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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.

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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.

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Khamadi, Khamadi, and Agus Setiawan. "TATA KELOLA PAMERAN BERBASIS PROJECT LEARNING PROGRAM STUDI DESAIN KOMUNIKASI VISUAL UNIVERSITAS DIAN NUSWANTORO." JADECS (Journal of Art, Design, Art Education and Culture Studies) 5, no. 1 (June 22, 2020): 30. http://dx.doi.org/10.17977/um034v5i1p30-37.

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Cultivating exhibitions for visual communication design students is to increase the drive to create and enhance the spirit of student appreciation for the work of students to achieve quality and character in the work. The research objective is to know and understand the governance of project learning-based exhibits to improve the quality of learning and build a climate of appreciation for artwork among Udinus visual communication design students. The research method uses qualitative methods which are more emphasized on observation, interviews, documentation. Through the implementation of project learning-based exhibition governance, learning outcomes in improving quality can be achieved.Key Words: Exhibition, Management, Project Learning

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Khamadi, Khamadi, and Agus Setiawan. "TATA KELOLA PAMERAN BERBASIS PROJECT LEARNING PROGRAM STUDI DESAIN KOMUNIKASI VISUAL UNIVERSITAS DIAN NUSWANTORO." JADECS (Jurnal of Art, Design, Art Education & Cultural Studies) 5, no. 1 (June 22, 2020): 30. http://dx.doi.org/10.17977/um037v5i1p30-37.

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Cultivating exhibitions for visual communication design students is to increase the drive to create and enhance the spirit of student appreciation for the work of students to achieve quality and character in the work. The research objective is to know and understand the governance of project learning-based exhibits to improve the quality of learning and build a climate of appreciation for artwork among Udinus visual communication design students. The research method uses qualitative methods which are more emphasized on observation, interviews, documentation. Through the implementation of project learning-based exhibition governance, learning outcomes in improving quality can be achieved.Key Words: Exhibition, Management, Project Learning

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Gawlak, Agata, Paulina Kowalczyk, and Joanna Stefańska. "Unconventional exhibition spaces as an example of the synergy of architecture and art." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 1 (March 31, 2020): 20–27. http://dx.doi.org/10.35784/teka.2414.

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The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled "Artwork in Architecture", there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of buildings whose original purpose was different from exhibiting art , became a part of the author's research carried out in the form of individual and collective exhibitions. Two of them, which took place between 2017 and 2018, showcased paintings from the same series, entitled " I Have Been to Hel(l) and Back. And: Let me Tell you, It Was Wonderful ”, highlighted the importance of the dialogue between architecture and art and created awareness how much this interdependence influences the transformation of the perception of both art and architecture. Appropriate compositional solutions and an appropriate selection of artworks contribute to the complete visual satisfaction of the recipient. Ill-considered combinations cause visual discomfort, which detracts from the potential of both works of art and architectural space. Therefore, it is a need to perform an in-depth analysis of the relationship between the artwork and architectural space, and to avoid conventional, schematic exhibition solutions. The same works placed in various spaces affect the viewer in a different way. The change of the environment influences the change of perception, which creates new interpretative possibilities for the painting’s narrative, while the architectural space gains a wider context of reception through its individualization and increased accessibility. The emotional and intellectual aspect of painting enriches the space with new meanings.

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Iuga, Anamaria. "“Coming into the World: From Spirits to the Spirit”. The First Childhood Museum in Romania." Folklore: Electronic Journal of Folklore 80 (December 2020): 215–30. http://dx.doi.org/10.7592/fejf2020.80.iuga.

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The present paper follows the National Museum of the Romanian Peasant (Romania) in its endeavour to display the Virtual Museum of Childhood. The context prior to exhibiting material and intangible heritage related to childhood is analysed, and the curatorial challenges of this project are mentioned. This article also refers to the museum’s activities dedicated to childbirth (exhibitions, cultural activities), from 1990 to the present day, but it especially focuses on the first exhibition of the Museum of Childhood, “Coming into the world: From spirits to the Spirit”, dedicated to birth.

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IRIE, Toru. "EXHIBITION PROJECT "VIOLATED PERFECTION" AND ITS BACKGROUND." Journal of Architecture and Planning (Transactions of AIJ) 71, no. 609 (2006): 179–84. http://dx.doi.org/10.3130/aija.71.179_3.

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Yıldırım, Ezgi Güven, and Ayşe Nesibe Köklükaya. "The Effect of Project Exhibition Event on Physics Success and Prospective Teachers’ Opinions about Projects." Science Education International 29, no. 1 (March 20, 2018): 39–48. http://dx.doi.org/10.33828/sei.v29.i1.5.

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The purposes of this study were first to investigate the effects of the project-based learning (PBL) method and project exhibition event on the success of physics teacher candidates, and second, to reveal the experiment group students’ views toward this learning method and project exhibition. The research model called explanatory mixed method, in which both quantitative and qualitative research methods were used. The findings obtained from the research show that there was a significant difference in favor of the experiment group among the point averages of the achievement post-test of the groups. When the findings regarding the questions posed to prospective teachers were examined, it was seen that while they stated that there were a few disadvantages of PBL and project exhibition event, there were many advantages. The results obtained from the quantitative and qualitative data of the research showed that PBL contributed positively to the teaching process and learning characteristics in many aspects.

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Fang, Xiang Dong, and Hong Wei Qin. "Research on Large Exhibition Venue Operation Management Integrated IT System." Applied Mechanics and Materials 556-562 (May 2014): 6023–25. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6023.

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As started late, China's large exhibition venue industry lags behind the developed countries in the exhibition venue construction and management concepts, and lacks of integrated management over the full cycle of large exhibition venue projects, therefore, decision-making, implementation and operational phases are disjointed with each other and all sorts of drawbacks exist, meanwhile, the overall optimization of social, environmental and economic benefits and win-win situation between stakeholders are unable to be realized. This paper takes large exhibition venue project full cycle integrated management model as object of research and discusses the reason mechanism, connotation, organizational methods and information system of the integrated management. Focusing on large exhibition venue project operation, this paper makes a research and analysis on venue project full cycle integrated management information system demands, and proposes information integration transformation models (including integration relationship model, integration element model and integration mapping model) and comprehensively designs the system basic function framework, hierarchical framework and overall running framework, and also proposes key technologies used to realize the system.

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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (May 30, 2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.

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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space

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Cooper-Bolam, Trina. "Mnemonic Fakery and Other Interpretive Strategies: Reclaiming Shingwauk Hall through Ethical Spectacle." Public 32, no. 64 (December 1, 2021): 184–97. http://dx.doi.org/10.1386/public_00082_1.

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Providing a glimpse of the ongoing wrestle with ethics and practice involved in the Reclaiming Shingwauk Hall exhibition, an iterative residential school Survivor-led reclamation project, this article considers critical methods for implementing museal projects reckoning with difficult knowledge, and the ethical latitude they require. Doing so, it discusses risks of misrepresentation/recognition and the necessity of hopeful wounding, exposing the manipulations, fakery, and the prosthetic memories that exhibitions with great affective force produce. Exploring a range of exhibition-focused museal strategies that seek both to redress and prevent the recurrence of genocide and mass violence, this article articulates the tensions between i) affective power and cultural safety, ii) absence and presence, and iii) prosthetic and “authentic” memory that permeate the process of exhibition design. Returning to the evidentiary landscape of the Shingwauk Indian Residential School, interventions hybridizing examples discussed, putting them into the service of Survivors, offer a direction for future reclamation.

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Akhurst, Jane. "A Touring Exhibition and an Arts Project The Northgate Arts Project." Journal of the British Institute of Mental Handicap (APEX) 19, no. 3 (August 26, 2009): 120–23. http://dx.doi.org/10.1111/j.1468-3156.1991.tb00635.x.

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Lorenc, Magdalena. "„Obok. Polska – Niemcy. 1000 lat historii w sztuce” jako przykład wystawy politycznej." Przegląd Politologiczny, no. 2 (June 19, 2018): 163–76. http://dx.doi.org/10.14746/pp.2013.18.2.14.

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The objective of the paper is to analyze and assess the institutional conditions of the exhibition entitled Side by Side. Poland – Germany. 1000 years of Art and History, organized in Martin-Gropius-Bau in Berlin between September 23, 2011 and January 9, 2012. In terms of the number of works of art presented this undertaking was unprecedented in the history of Polish- German relations. The exhibition, and the catalogue that accompanied it, were a part of the Cultural Program of the Polish Presidency in the EU Council in 2011, becoming an exemplification of the issue of the politicization of exhibition discourse, where works of art are utilized for political purposes. The theoretical inspiration for considering this topic was provided by Peter Vergo’s concept presented in his text The reticent object of 1987. In Vergo’s opinion, exhibitions are a cultural fact which is relatively rarely investigated in terms of the means, efforts, conditions and reasons that are necessary for their execution. And yet these institutional conditions, including their financing, the procedures for selecting the entities in charge of the project, the mechanisms for appoint the program board and honorary patronage have a considerable influence on the nature of the exhibition. Concentrating on institutional contexts serves the purpose of answering the question of how the realms of politics and art exhibitions permeate one another. The decisions made by the authorities to become involved in certain exhibition projects constitute the instruments for creating and executing selected public policies, primarily cultural policy. It is therefore impossible to assess the success of a given initiative without considering the political objectives set and achieved by the organizers of the exhibition Side by Side.

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Grace, Claire, and Kevin Lotery. "Artists Design Exhibitions: Introduction." October 150 (October 2014): 3–8. http://dx.doi.org/10.1162/octo_a_00197.

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In the first half of the twentieth century, exhibition design served a central and multivalent function: As spaces of the public sphere, exhibitions offered sites for aesthetic experimentation, for the confrontation with new technologies, and for the dissemination of propaganda materials. Rather than elaborating a medium per se, artists who turned to exhibition design sought tactical, site-specific—even project-specific—interventions in the pressing questions of their present, and they did so by positioning their work within the terms, materials, and technologies then active. One need only consider the approaches articulated in such diverse texts as El Lissitzky's 1926 manifesto-like “Exhibition Rooms” or Herbert Bayer's 1937 treatise “Fundamentals of Exhibition Design” to appreciate the privileged role and cultural currency of this formal strategy through the middle of the century.

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Hu, Bin, and Weida Shi. "Design of a Flexible Exhibition Management Information System for Exhibition Services." Scientific Programming 2021 (November 19, 2021): 1–10. http://dx.doi.org/10.1155/2021/4789408.

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In order to solve the problems of low efficiency of management information systems and low utilization rate of the information resources, this research paper proposes the designs of an exhibition management information system by using a B/S structure (Browser/Server mode). The proposed system is aimed at the analysis of functions and types of exhibitions. The system is comprised of the following three components: the browser-side, server-side, and middle layer. Among them, the browser includes a user management module and exhibition environment visualization module. The server includes an upper computer control module and human-computer interaction module. The middle layer includes the data resource management module, document information management module, exhibition project audit approval and management module, and information scheduling module. Experimental results show that the lowest management efficiency of the system is 96.19%, the highest can reach 98.39%, and the utilization rate of information resources is above 94%, indicating that the system has achieved the design expectation.

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Biryukova, Marina. "Reconsidering Manifesta 10: Big Exhibition Project as Narrative." Journal of Science and Technology of the Arts 9, no. 1 (August 1, 2017): 17. http://dx.doi.org/10.7559/citarj.v9i1.264.

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Jove, Eva. "INFRA_lines: Artistic and Inclusive Exhibition: A Collaborative Project." International Journal of the Inclusive Museum 6, no. 2 (2013): 1–7. http://dx.doi.org/10.18848/1835-2014/cgp/v06i02/44434.

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Varga, Ágota. "The Vienna Bruegel Project: Exhibition, Catalogue and Symposium." Acta Historiae Artium 60, no. 1 (December 2019): 311–20. http://dx.doi.org/10.1556/170.2019.60.1.11.

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Yakubov, Elmir N. "Interactive Project “Ecological Calendar”." Bibliotekovedenie [Library and Information Science (Russia)], no. 2 (April 23, 2013): 121–22. http://dx.doi.org/10.25281/0869-608x-2013-0-2-121-122.

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On the exhibition project “Ecological Calendar” of the Khasavyurt Central City Library named after Rasul Gamzatov created in the framework of the Year of the Environment, announced by the President of the Russian Federation.

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장라윤 and Yang Sook-Hi. "Fashion Communication and Exhibition Project- Focused on Fashion Exhibition Design by Maison Martin Margiela -." Research Journal of the Costume Culture 19, no. 6 (December 2011): 1302–19. http://dx.doi.org/10.29049/rjcc.2011.19.6.1302.

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Higgins, Peter. "Developing narrative exhibitions and science centres. Training needs of exhibition designers." Journal of Science Communication 15, no. 04 (June 22, 2016): C04. http://dx.doi.org/10.22323/2.15040304.

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In respect of the different modes of science communication including journalism, radio, online, I would propose that the process of making exhibitions and centres dedicated to science & technology is one of the hardest creative typologies. It also provides a very different type of engagement to other modes, in that it works in real time and space with real tangible objects and responsive media. The power of the real is also extended through the direct and collective involvement of people, providing a refreshing antidote to the potential alienating nature of social media and the ever-growing obsession with the virtual. In this paper I will discuss the skills required by a designer in order to solve the challenges contained within the client brief (the project document provided by the client), and therefore the skills a proper exhibition designer training programme should deliver.

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Wessman, Anna, Xenia Zeiler, Suzie Thomas, and Pilvi Vainonen. "The Durga Puja pop-up exhibition at the National Museum of Finland. Designing and hosting an exhibition as university educationmuseum collaboration." Nordisk Museologi 29, no. 2 (December 21, 2020): 96. http://dx.doi.org/10.5617/nm.8445.

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In autumn 2018, eight Museum Studies students from the University of Helsinki had the opportunity to put theory into practice and to gain hands-on experience making a real exhibition. The ‘Museum Content Planning’ course was a collaborative project between the National Museum of Finland and the university in which the students, together with the museum staff, built a pop-up exhibition about the Indian festival Durga Puja in only five weeks. The exhibition showed in the National Museum for two weeks, and the students were involved in most stages of the exhibition’s development. They also blogged about their learning experience. In this case study, we present our reflections on both the benefits and challenges of collaboratively creating an exhibition, which is simultaneously an accredited learning experience for university students.

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Tsukamoto, Eri, and Eri Tsukamoto. "A Reflection on the Artists and Academics Exhibition." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (April 30, 2017): 227–31. http://dx.doi.org/10.31273/eirj.v4i2.159.

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On 26 November 2016, the Artists and Academics Exhibition was held at Fargo Village in Coventry. The Exhibition was a collaborative project between seventeen PhD researchers from the University of Warwick and seventeen local artists, in which each artist created a piece inspired by a research idea. The Exhibition fostered active conversation between artists, academics and the general public, thereby encouraging all participants to talk about academic works in an informal setting and to explore new ideas and perspectives. Collaborative projects like the Exhibition thus benefit all who participate, and wider participation should be encouraged. Negative perceptions of public engagement may be changed through such an active participation.

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Kahn, Leora. "My Body Is a War Zone: Exhibitions and Testimonies as a Tool for Change." Violence Against Women 25, no. 13 (September 10, 2019): 1578–93. http://dx.doi.org/10.1177/1077801219869545.

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This article has evolved from an exhibition produced with PROOF: Media for Social Justice entitled “My Body Is a War Zone,” which was part of a larger project (“Legacy of Rape”) consisting of stories from women in four postconflict regions. Drawing on interviews conducted with women in Santa Marta, Colombia, in May 2012 and January 2017, I explore the use of testimony, photography, and exhibition as a means of empowering survivors to become activists. Using the Colombian example, I argue that such exhibitions can transform national and public dialogue by engaging audiences on a personal and emotional level.

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Hubáčková, Vilma. "The Book Report and the Use of Modern Technologies in the Presentation of the Book Exhibits." Muzeum Muzejní a vlastivedná práce 54, no. 1 (2016): 23–28. http://dx.doi.org/10.1515/mmvp-2017-0003.

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The Book Report exhibition is an example of modern technologies serving the presentation of the book exhibits. The exhibition arranged for the 50th anniversary of the first competition for the Most Beautiful Czech Book of the Year occupied a special place in the context of book exhibitions more generally. It exceeded preconceived notions and was highly experimental in character. It consisted of three parts, related to each other thematically and chronologically: The Most Beautiful Czech Book of 2014, Fifty Years of the Most Beautiful Czech Book Competition and The Most Book. These parts corresponded to three chronological planes. These three planes linked together the historical perspective, the view of the current form of the book and a vision of future developments in the field. The exhibition used the most modern technologies and resources from the visual arts and at the same time the physical presence of the book as traditional paper media remains intact. The focal point of the exhibition was the process of digitisation of books, performed within the exhibition hall. The project has its own webpages that remain in existence after the exhibition had finished.

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E., NOVOZHILOVA. "COOPERATION WITH THE “GOROD” MUSEUM WITHIN THE FRAMEWORK OF THE “MEMENTO MORI” PROJECT." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 402–6. http://dx.doi.org/10.14258/2411-1503.2021.27.61.

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This article presents the experience of the project collaboration “Memento mori” and the museum “Gorod” as a part of the organization of excursion and exhibition activities. The Project “Memento mori” is a personal exhibition ofhistorical reconstruction of mummies and skulls. The article outlines all the stages of the project from the idea to its objectification: defining the concept of the exposition, reconstruction of exhibits, exhibition decoration design, methodical development of the excursion, advertising campaign demonstration. The creation of an exhibition is a time - consuming process, requiring profound research. Analysis of joint activities, represented in the article, reflects positive and negative aspects of work. The material will be useful for students, who specialize in “Museology and Protection of Cultural and Natural Objects”, also for museum staff and for all people who are interested in this topic. Keywords: museum, exhibition, reconstruction, skulls, mummies, design, 3D technology

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Kay, Jon. "Traditional Arts Indiana’s Bicentennial Exhibition." Museum Anthropology Review 13, no. 1 (March 29, 2019): 11–31. http://dx.doi.org/10.14434/mar.v13i1.24990.

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This project report describes the planning, creation and touring of a 26-panel traveling exhibition about Indiana folk arts staged for the bicentennial of Indiana’s statehood. The exhibition, its catalogue, and related public programs were produced by Traditional Arts Indiana, Indiana’s official traditional arts service organization based at the Mathers Museum of World Cultures, Indiana University, Bloomington.

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De Seta, Gabriele, and Kerim Friedman. "Sensefield: An Exhibition of Experimental Ethnography." Museum Anthropology Review 13, no. 1 (March 29, 2019): 96–102. http://dx.doi.org/10.14434/mar.v13i1.26409.

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Sim, Jiaying. "Embodiment, Curation, Exhibition." Screen Bodies 1, no. 1 (March 1, 2016): 87–91. http://dx.doi.org/10.3167/screen.2016.010106.

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As part of the 2014 GENERATION project celebrating the past twenty-five years of contemporary art in Scotland, Douglas Gordon’s exhibition, “Pretty much every film and video work from about 1992 until now,” took centerstage at the Gallery of Modern Art in Glasgow. Gordon contributed to the dialogue with a unique installation showcasing his twenty-two years of artistic endeavors through 101 different-sized old television sets elevated on old plastic beer crates, simultaneously screening 82 video and film works. The screens flickered and lit the dark main gallery as the visual works played on loop—some with sound, some without, some in slow motion. The exhibition included such works as 24 Hour Psycho (1993), Between Darkness and Light (After William Blake) (1997), Play Dead; Real Time (2003), Henry Rebel (2011), Silence, Exile, Deceit: An Industrial Pantomime (2013) and emphasized how Gordon’s collection has grown since its first exhibition from 1999 in Poland and will continue to do so, as he updates the videos and films.

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Zotti, Georg, Florian Schaukowitsch, and Michael Wimmer. "The Skyscape Planetarium." Culture and Cosmos 21, no. 1 and 2 (2017): 269–81. http://dx.doi.org/10.46472/cc.01221.0629.

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Communicating scientific topics in state of the art exhibitions frequently involves the creation of impressive visual installations. In the exhibition ‘STONEHENGE. A Hidden Landscape.’ in the MAMUZ museum for prehistory in Mistelbach, Lower Austria, LBI ArchPro presents recent research results from the Stonehenge Hidden Landscape Project. A central element of the exhibition which extends over two floors connected with open staircases is an assembly of original-sized replica of several stones of the central trilithon horseshoe which is seen from both floors. In the upper floor, visitors are at eye level with the lintels, and on a huge curved projection screen which extends along the long wall of the hall they can experience the view out over the Sarsen circle into the surrounding landscape. This paper describes the planning and creation of this part of the exhibition, and some first impressions after opening.

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Lange, Christiane. "Mies van der Rohe meets Robbrecht en Daem architecten. History of a 1:1 Model based on the Design of Mies van der Rohe." Heritage of Mies, no. 56 (2017): 34–43. http://dx.doi.org/10.52200/56.a.bsaxiw9p.

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Mies 1:1 The Golf Club Project (Krefeld, Germany, May-October 2013) was an exhibition consisting of an architectural model on a 1:1 scale which could be viewed and accessed physically. Christiane Lange and the initiative Projekt MIK e.V. built the model together with Ghent-based architects Robbrecht en Daem according to the plans for the clubhouse at Krefeld Golf Club. These were drawn up by Mies van der Rohe in 1930, but never implemented. This article depicts the development and the course of the project as well as the conceptional involvement of the participants within the context of Mies van der Rohe’s oeuvre, the debate regarding reconstruction and the goals of the exhibition

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Frishter, Lyudmila. "Pre-project evaluations of All-Russian Exhibition Center landscape park ponds condition." MATEC Web of Conferences 170 (2018): 02015. http://dx.doi.org/10.1051/matecconf/201817002015.

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Modeling and planning of Moscow urban development sustainability affect many urban infrastructures, including social, transport, engineering ones, as well as modern level of land improvement. Modern architectural and design possibilities in urban environment planning are implemented in a large-scale reconstruction project of the All-Russian Exhibition Center (VVC). The reconstruction of the VVC complex in Moscow includes creation of artificial urban landscape with pronounced nature of exhibition complex. VVC landscape complex includes a cascade of ponds, hydraulic engineering system based on the Kamenka river ponds with fountains and decorative pools. This article considers a pre-project stage of pond cascade inspection, technical condition of hydraulic engineering structures, ponds silting. The inspection is aimed at obtaining a project evaluation of pond cascade hydraulic engineering structures technical condition, including evaluation of possibility for further operation, reinforcement or restoration of the structures. Historical background of “VSHV-VDNH-VVC” – Zone “VDNH landscape park” foundation is also given. History of exhibition complex arrangement and development is considered from the perspective of architectural and design conditionality and modeling by temporal social demand. The article also includes brief historical background of the park complex and hydraulic structure operation projects. Following the pre-project stage of pond cascade hydraulic engineering structures inspection, a conclusion on the condition of reconstructed sightseeing attraction “VSHV-VDNH-VVC” – Zone “VDNH landscape park” is given.

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Hansen, Guy. "There is no ‘I’ in Team: Reflections on Team-Based Content Development at the National Museum of Australia." Public History Review 17 (December 22, 2010): 16–33. http://dx.doi.org/10.5130/phrj.v17i0.1835.

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In recent years one of the most important trends in the development of history exhibitions in major museums has been the use of interdisciplinary project teams for content development. This approach, often referred to as the team based model of content development, has, in many institutions, replaced older models of exhibition production built around the expertise of the curator. The implementation of team based models has had a profound impact on the way exhibitions are produced. When done well it has helped deliver exhibitions combining a strong focus on audience needs with in-depth scholarship and collections research. In some contexts, however, the tyranny of the team has given rise to a form of museological trench warfare in which different stakeholders struggle for creative control of an exhibition. In this article I will explore some aspects of the team based approach with reference to the development of the opening suite of exhibitions for the National Museum of Australia (NMA) in 2001. My observations are drawn from my experience as the lead curator of the Nation Gallery, one of the NMA’s opening exhibitions.

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Szeląg, Marcin. "EDUCATIONAL ASSUMPTIONS OF THE PERMANENT EXHIBITION IN THE PAN TADEUSZ MUSEUM IN WROCŁAW AND THEIR IMPLEMENTATION." Muzealnictwo 59 (September 21, 2018): 185–97. http://dx.doi.org/10.5604/01.3001.0012.5065.

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Since 2016 the Pan Tadeusz Museum of the Ossoliński National Institute in Wrocław has been opened to the public. It is dedicated to the national epic poem – the most acknowledged piece of literature by Adam Mickiewicz, titled Pan Tadeusz, published for the first time in 1834. It also presents the reception of the poem, longevity of ideas started in Romanticism and the legacy of freedom in the history of Poland in the 19th and 20th centuries. The investment was co-financed from the European budget within the project named The Pan Tadeusz Museum – an innovative space – education through culture. The project was based on the idea to create a museum of educational character, with the use of museum exhibits, multimedia presentations, and infrastructure necessary for a modern arrangement of the exhibition. Given these assumptions, the team of educators, mostly with long-term practice as museum professionals, prepared the permanent exhibition. Their practical experience, plus theoretical bases for educational goals they referred to, together with a subject of the exhibition that focuses on an exceptional masterpiece in the history of Polish culture, i.e. the Manuscript of Pan Tadeusz, determined decisions pertaining to selection of exhibits, content of multimedia applications, inscriptions under the exhibits and titles of individual rooms, the range of themes for audio guides as well as materials and facilities for visitors with disabilities. In the article the permanent exhibition “The Manuscript of Pan Tadeusz” is described from the perspective of narration applied and educational assumptions it was based upon. It is then referred to a museological reflection which analyses an educational potential of museum exhibitions, interpretation practices and strategies of narration carried out by museums through exhibitions and educational activities.

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Lie, Siv B. "Placing Django: Narratives of heritage and race in a Parisian exhibition." French Cultural Studies 32, no. 4 (May 17, 2021): 315–29. http://dx.doi.org/10.1177/09571558211007438.

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Django Reinhardt: Swing de Paris, an exhibition that took place at the Cité de la musique in Paris, depicted the life and environment of famed Manouche (French Romani/”Gypsy”) guitarist Django Reinhardt. In this article, I explore how the exhibition performed a spatialized centre-periphery model of citizenship that both reflected and reinforced Manouche marginality in relation to broader French society. I argue that museum exhibitions generate and harness place-oriented narratives to reinforce hegemonic conceptions about ideal citizens. In marking out an ethnoracially segregated imaginary of swing-era Paris, the exhibition reproduced stereotyped ideas about Manouche exoticism and inadaptability to urban modernity. These narratives are not exceptional, but are part of a long-standing project to define national belonging in terms of a normative white identity. As such, they are symptomatic of a much broader problem of state-sanctioned racism in France that is denied through claims to colour-blindness.

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Simonov, K. V. "Innovative business model of exhibition company: modeling methodology testing." Journal of Modern Competition 14, no. 79 (November 6, 2020): 106–23. http://dx.doi.org/10.37791/1993-7598-2020-14-3-106-123.

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Subject. An innovative transformation of the business model of a company that organizes trade shows is investigated. Purpose. To develop a project concept for an innovative transformation of the business model that strengthens the competitiveness of the exhibition company. Methodology. The methodology for developing the transformation project and methods for supporting the design of analyses are based on the recommendations of researches from St. Gallen University (Switzerland), as well as on the author’s managerial experience in exhibition business. The methodical recommendations and descriptions of 55 successful business model templates are presented in an orderly manner by O. Gassmann, K. Frankenberger, and M. Csik in the book “The Business Model Navigator”. Findings. Three-stage cycle of business model development provided by O. Gassmann’s methodology is made taking into account the economic and technological features of the exhibition business. It led to the concept of an innovative business model with two root innovations: a two-format exhibition consisting of a permanent virtual part and periodic face-to-face sessions, and a value proposition supplemented by business contacts between exhibitors and target visitors. This business model provides a stronger competitive position for organizers of both traditional and virtual exhibitions than the mono-format one. It has the ability to be adapted to external conditions by adjusting economic and technological parameters. It also has the potential to further expand of consumer segment through regional exhibition business and further transform of value proposition by replacing business contacts with transactions between exhibitors and target visitors. Conclusions. Obtained results are of scientific, methodological and practical significance. According to them one can judge what is provided by O. Gassmann’s methodology and how to use the tools of the methodology when designing an innovative transformation of the business model of an exhibition company. The developed concept of innovative transformation, which contributes to the intensification of business contacts between exhibitors and target visitors and strengthens the company’s competitive position, adds to the theory of two-sided exhibition markets.

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Bol, Marsha. "Ramblings in Search of an Exhibition: Beadwork Adorns the World." Museum Anthropology Review 13, no. 1 (February 19, 2019): 69–95. http://dx.doi.org/10.14434/mar.v13i1.25397.

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In this project report, exhibition curator Marsha Bol discusses the origins and scope of the 2018-2019 Museum of International Folk Art exhibition Beadwork Adorns the World. The exhibition presented a worldwide survey of beadwork arts in their cultural and social contexts.

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Danthine, B., G. Hiebel, C. Posch, and H. Stadler. "THE INTEGRATION OF SEMANTIC NETWORKS IN VIRTUAL EXHIBITIONS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 165–72. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-165-2021.

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Abstract. In this article a use case is presented how a semantic network can be used to enrich the existing virtual exhibition “They Shared their Destiny. Women and the Cossacks’ Tragedy in Lienz 1945” about the fate of women during the Cossack tragedy in Lienz. By connecting via CIDOC CRM information about people, events, finds and places the goal was not only to make this information interoperable, but also to integrate the resulting knowledge graph into the exhibition, thus providing a further navigation level and enhancing the visitors’ experience.First, a short introduction to the existing exhibition and the presented project is given. In the second part, the scientific background of CIDOC CRM and its semantically enriched 3D content is outlined. In the third part the implementation and the project as a use case is described with respect to the data modelling and the integration of the semantic network into the 3-dimensional environment as well as the integration of spatial aspects and other internet resources. At the end, there is a summary with an outlook on future planned projects.

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LUNDGREN, FRANS. "The politics of participation: Francis Galton's Anthropometric Laboratory and the making of civic selves." British Journal for the History of Science 46, no. 3 (October 20, 2011): 445–66. http://dx.doi.org/10.1017/s0007087411000859.

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AbstractHistorians have given much attention to museums and exhibitions as sites for the production and communication of knowledge in the nineteenth and early twentieth centuries. But few studies have analysed how the activity and participation of visitors was designed and promoted at such locations. Using Francis Galton's Anthropometric Laboratory at the International Health Exhibition in London 1884 as the empirical focal point, this paper explores a new mode of involving exhibition audiences in the late nineteenth century. Its particular form of address is characterized by an ambition to transform the visitors' self-understanding by engaging them with various techniques of scientific observation and representation of social issues. By analysing the didactics of this particular project, I argue that the observational ideal of ‘mechanical objectivity’ and associated modes of representation in this instance became an integrated part of a political vision of self-observation and self-reformation. Thus the exhibit and related projects by Galton not only underpinned a theoretical lesson, but also were part of an effort to extend a complex set of practices among the general public.

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Crowe, Katherine, Robert Gilmor, and Rebecca Macey. "Writing, archives and exhibits: Piloting partnerships between special collections and writing classes." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 145–73. http://dx.doi.org/10.1177/0955749019877084.

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The University of Denver (DU) Libraries has been producing exhibitions for close to a decade and has recently increased its efforts to partner with classes, campus units and community organizations to integrate exhibit practices and resources into curricular and co-curricular opportunities. Student- and class-curated exhibitions feature prominently in the DU Libraries’ strategic plan, and the long-term partnerships between the Libraries and the DU Writing Program are central to the library’s agenda. Through an interdisciplinary lens of critical information literacy, archival theory, museology and Writing Studies, this article explores the 5-year collaboration and exhibition project between DU Special Collections and Archives and a faculty member of the DU Writing Program. The authors cover the background of the partnership, the evolution of the instructive and creative elements of the course, with a particular focus on the integration of archival research and exhibition practice, and examples of various iterations of the student-curated exhibits produced as part of the coursework. The article concludes with a discussion of the cross-disciplinary outcomes and challenges of initiating and managing a collaborative university writing and research course incorporating archives and exhibition in an academic library in the United States.

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Schwartz, Charlotte Præstegaard. "Kritisk kuratering. Udstillingspraksis udviklet i perspektiv af 1960- og 1970’ernes institutionskritik." Nordisk Museologi, no. 2 (March 30, 2017): 95–104. http://dx.doi.org/10.5617/nm.4409.

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This project description presents a curatorial practice that is part of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the contrary are perceived as active spaces of production. Referring to Doreen Massey’s seminal work For Space – first published in 2005 – art spaces are thought of as a product of interrelations and recognised as always being under construction. In the research project institutional critique from the 1960s and 1970s avant-gardes is used as an analytical approach and as a method of spatial and political criticism and articulation that can be applied not only to the art world, but to spaces and institutions in general, which is a point made by Simon Sheikh. The two exhibitions are not to be considered as institutional critique, but as critical exchanges with and about contemporary art. The exhibitions are made in collaboration with two non-commercial art spaces in Copenhagen and will be on show in the spring of 2017.

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Shatova, N. N. "Implementation of the project “We are fellow countrymen. The many faces of Zaeltsovka”: an experience of representing the polyethnic population of the megapolis district by museum format." Ethnography of Altai and Adjacent Territories 10 (2020): 369–73. http://dx.doi.org/10.37386/2687-0592-2020-10-369-373.

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The article presents the experience of implementation (September–November 2018) of the project «We are fellow countrymen. The Many Faces of Zaeltsovka». This project (exhibition, cultural and educational activities), dedicated to the multiethnic population of the Zaeltsovsky district of Novosibirsk, received a wide public response. The exhibition displayed items of national culture, everyday life of families of migrants, as well as personal documents and family archives reflecting the most important migration processes of our time. The project transmits regional and local identity.

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Tötszegi, Tekla. "Noi metode și tehnici de antrenare pentru persoanele cu dizabilități vizuale în activitățile de profil desfășurate în cadrul Muzeului Etnografic al Transilvaniei." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 245–58. http://dx.doi.org/10.47802/amet.2017.31.13.

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In 2009, a project funded by AFCN proposed for the first time the development of a methodology for the cultural integration of persons with visual impairments and its application to museum techniques, the outputs of which was a tactile exhibition having a permanent character. In the project "BaGMIVI PROJECT: Bridging the Gap between Museums and Individuals with Visual Impairment", the Transylvanian Museum of Ethnography has proposed the development and deepening of certain areas, presented briefly in the tactile exhibition through museum educational activities.

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Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (October 30, 2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.

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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.

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Harris, Vivien. "A Unique Pedagogical Project Contextualised within a Children's Art Exhibition." Contemporary Issues in Early Childhood 1, no. 2 (June 2000): 185–99. http://dx.doi.org/10.2304/ciec.2000.1.2.6.

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Interactions in learning between young children and early childhood student teachers, in a context outside the usual practicum, are reported in this article. The context is a children's art exhibition, in which over 280 artworks of children aged between 17 months and 6 years were exhibited. The project focuses on the mediation of thinking and creative expression between children and early childhood students, around three-dimensional works of art, which generated cross-modal artistic expression in both groups. Students visiting the exhibition were guided by their lecturer in a story-making process, prompted by children's symbolic expressions. The aim was to exemplify a pedagogical process in which children's thinking could be accessed, and then further mediated through story-drama. These stories, and other artworks, were then shared with children back in their early childhood programmes to stimulate further thinking, creativity, and representation across a range of symbolic languages — construction, music-making, dance and pretence. The ‘partnership in thinking’ between children and students thus occurred without face-to-face interactions, but through their symbolic communications. Hence, the art exhibition provided a stimulus and context for integrated learning exchanges between children and early childhood student teachers. This represents a creative pedagogical framework which exemplifies partnerships in action, and a Vygotskian approach to adult and child pedagogy.

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Kantor, Yu Z. "«Save the Man». In way of documentary and exhibition project." Omsk Scientific Bulletin. Series Society. History. Modernity 5, no. 1 (2020): 81–87. http://dx.doi.org/10.25206/2542-0488-2020-5-1-81-87.

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Journal articles on the topic 'Exhibition project'

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