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Journal articles on the topic 'Exhibitions'
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1
Lovett, Bob. "ASE exhibitions: Manufacturers' exhibition." Physics Education 22, no. 3 (May 1, 1987): 149–50. http://dx.doi.org/10.1088/0031-9120/22/3/421.
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Lowe, Trevor, and Ken Dobson. "ASE exhibitions: Publishers' exhibition." Physics Education 22, no. 3 (May 1, 1987): 151–53. http://dx.doi.org/10.1088/0031-9120/22/3/422.
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Bodey, Derek. "ASE exhibitions: Special exhibition." Physics Education 22, no. 3 (May 1, 1987): 153–54. http://dx.doi.org/10.1088/0031-9120/22/3/423.
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Aarbakke, Thea. "Musealiserte relasjoner mellom liv og litteratur på Olav H. Hauge-senteret." Nordisk Museologi 28, no. 1 (May 27, 2020): 75. http://dx.doi.org/10.5617/nm.7970.
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This article investigates how one of the museums’ foremost communication tools, their exhibitions, negotiates the appearance of the Norwegian poet Olav H. Hauge’s life and literature, and the relations between them, by way of the exhibition’s material components and exhibition technologies. In the exhibition, authorship and author biography intersect and meet as a unique attribute of the exhibition space. How the author’s life and literature are communicated in the exhibitions and how the exhibition technologies affect the stories being told is the main focus of this analysis. Inspired by actor-network theory, the exhibition is analysed by situating museum props and exhibition technologies at the centre of the study.
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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.
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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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Martin, Daniel, and Brad Hokanson. "Informal Learning." International Journal of Designs for Learning 13, no. 2 (December 5, 2022): 100–108. http://dx.doi.org/10.14434/ijdl.v13i2.33876.
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This paper describes the development and execution of an exhibition in an academic museum setting. The exhibitionis presented as a self-directed learning intervention. The development process included conceptual development, the selection of exhibition materials, the creation of didactic written materials, spatial arrangement of the materials, organizing the flow and interaction of the exhibition, and analysis of the results of the exhibition. We find that interactivity is a viable means to drive interest in the subject(s) of an exhibition and that crowds can make informed decisions about the perception of displayed objects. We propose that interactive didactic exhibitions such as this show potential for successful self-directed learning in a variety of contexts and that further study of the results of such exhibitions are necessary.
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Holovnia, O. M. "Exhibitions and Fairs as an Integration Tool for Implementing the Interests of Agricultural Enterprises." PROBLEMS OF ECONOMY 1, no. 51 (2022): 20–25. http://dx.doi.org/10.32983/2222-0712-2022-1-20-25.
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The state of modern exhibitions is considered, the latter being an important means of communication between producers and consumers in the Ukrainian market under market economy. Exhibitions reflect the material, technological, information, and communication development; they have become a standardized price indicator, an economic and political platform forecasting changes in supply and demand in the global agricultural market, and a globalized phenomenon with economic, political and socio-cultural content. The author argues that international agricultural exhibitions and fairs are the most effective tools for studying the situation in the agro-industrial market, finding potential consumers, establishing business and cooperation contacts, setting up business cooperation and integration, searching for investors, and more. The article characterizes such leading international agricultural exhibitions as: “Agritechnica”, or the International Exhibition of Agricultural Machinery and Equipment in Hanover; IGW Berlin (International Green Week), which is the largest platform for exhibiting equipment and products of the food industry, agriculture and horticulture; International Green Week (IGW); EuroTier Hannover, or the International Exhibition of Livestock and Poultry; SIMA Simagena Simavip, which is an agricultural exhibition in Paris; SIA (Salon International de L'agriculture), or Paris Agricultural Salon, specializing in animal husbandry, horticulture and food; AgriEquip, or International Modern Agricultural Equipment & Technology Exhibition held in Shanghai; the international exhibition of Warsaw Food Expo in Poland; and International Agro-Industrial Exhibition in Kyiv. It is argued that participation in exhibitions strengthens the competitiveness of agricultural enterprises, create long-term mutually beneficial partnerships, increase the enterprise’s domestic and foreign trade, and promote agricultural and food products in other market segments.
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Boluža, Anda. "RESEARCHERS, CURATORS AND DESIGNERS: THE EXHIBITIONS AS THE SPACE FOR COLLABORATIONS." Culture Crossroads 22 (September 13, 2023): 149–60. http://dx.doi.org/10.55877/cc.vol22.444.
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The article looks at thematic exhibitions that explore certain cultural and historical processes and examines the specifics of the exhibition as a collaborative process between three actors: academic researchers, curators and designers. Such exhibitions, grounded in cultural aspects and built on academic research outcomes, differ from classic art displays in the sense that they lack artworks that “speak for themselves”. Moreover, the research often is based on the written word and original documents or artefacts that are visually uninteresting/non-appealing or monotonous. On this account, the exhibition’s story and visual form is put in the hands of the curator and designer. Does this vital role give designers and curators the authority to rework the research that underlies the narrative? Is the design applied as the exhibit itself ? To answer these questions and to explore artistic research in the context of exhibitions, this article discusses the exhibitions carried out at the National Library of Latvia. The article looks behind the exhibition production process to examine the collaboration methods employed by the creative teams consisting of researchers, curators and designers.
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Park, Yu Mi, and Choon Sung Shin. "Study On Online Platform For Personal Exhibition In Metaverse Emvironment." Korean Institute of Smart Media 11, no. 6 (July 31, 2022): 37–50. http://dx.doi.org/10.30693/smj.2022.11.6.37.
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This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.
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Lissimia, Finta, and Lutfi Prayogi. "Perspective of Virtual Exhibition during the COVID-19 pandemic." International Journal of Built Environment and Scientific Research 6, no. 1 (June 10, 2022): 45. http://dx.doi.org/10.24853/ijbesr.6.1.45-54.
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Virtual exhibitions are growing driven by physical restrictions during the COVID-19 pandemic. The exhibition of works that were previously more physical in nature, can be visited physically is slowly turning into an exhibition that is visited virtually. This change is uncomfortable for the community. For this reason, a study is needed on the impact of virtual exhibition visits on the community during the COVID-19 restrictions. This study aims to answer these problems and at the same time evaluate the progress of virtual exhibitions in the early days of the pandemic. Collecting data using an online questionnaire on 49 architecture students. The results of the questionnaire were analyzed using distribution and content analysis for open-ended questions. Exhibition content is the main focus. in a virtual exhibition. Other aspects to consider are virtual quality, exhibition perception, and execution. Restrictions cause boredom and stress. Virtual exhibitions can help overcome these feelings. Virtual exhibitions are not a substitute for physical exhibitions because people do not feel the need to refrain from visiting virtual exhibitions. Professionals feel motivated to visit any exhibition whether physical or virtual. So virtual exhibitions function like physical exhibitions, the only difference is the impression and experience that visitors get
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Netreba, Elizaveta S. "ANALYSIS OF THE PARTICIPATION OF YOUNG PAINTERS FROM YEKATERINBURG IN THE INTERREGIONAL EXHIBITIONS OF THE URAL DIVISON OF THE RUSSIAN UNION OF ARTISTS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 19. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-19.
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The exhibiting activity of Yekaterinburg’s young painters in the course of professional growth has been reviewed based on information on their participation in Ural regional and interregional exhibitions held by the Union of Artists of Russia from 2003 to 2018. The statistical data have been tabulated, enabling one to see changes in the exhibiting activity and genre and style preferences of young painters. The results of the study are important for understanding the transformations taking place in the involvement of young people in professional exhibition activities considering that participation in regional exhibitions is an important indicator of a painter’s development within the Union of Artists.
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You, Chi-Yeon, Yeon-Sung Jung, Junggeun Kim, and Taewoo Roh. "Organizer Competency and B2B Exhibition Performance: The Mediating Role of Exhibitor Motivation." Journal of Korea Trade 28, no. 3 (June 30, 2024): 93–117. http://dx.doi.org/10.35611/jkt.2024.28.3.93.
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Purpose - This study aims to explore the significance of organizer competency in B2B exhibitions in South Korea. Drawing on previous literature in the exhibition context, this research empirically examines the impact of organizer competency on exhibition performance and investigates the mediating role of exhibiting firms’ motivation to participate. Motivation is deconstructed into the quality of attendees and market-oriented motivation for a detailed analysis. Design/Methodology - The empirical model of this study considers the relationship between organizer competency and exhibition performance in B2B exhibitions from a resource-based view. To accurately reflect the unique characteristics of B2B exhibitions, we surveyed firms that participated in the Korea International Boat Show. Consequently, the hypotheses of this study were tested through a structural equation model with 85 valid samples. Findings - The findings of this study are twofold: First, we confirm that the competency of exhibition organizers significantly and positively impacts exhibition performance. Secondly, we identify that both motivational factors—quality of attendees and market-oriented motivation— positively influence exhibition performance. Originality/value - Previous studies have overlooked organizer competency as a driver to enhance exhibition performance. However, this study demonstrates that organizer competency positively influences exhibition performance, mediated by the quality of attendees and market-oriented motivation. Furthermore, unlike most previous studies focused on regions such as China and Hong Kong, we analyze our research within the context of the Korean B2B industry.
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Gong, Yunhan. "Analyze the Exhibition Industry in the Post-Epidemic Era-Taking the 5th Erdos International Cashmere and Wool Exposition as an Example." BCP Education & Psychology 8 (February 27, 2023): 78–83. http://dx.doi.org/10.54691/bcpep.v8i.4275.
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In the post-epidemic era, the economy of all walks of life is recovering, and the exhibition industry is an industry with a strong driving effect in the short term. Inner Mongolia has local characteristics, and as a province with an immature exhibition industry, it has great potential. In holding exhibitions here, Inner Mongolia will gradually develop exhibitions, so that everyone could see the feasibility of building a convention and exhibition capital in central and western China. This paper analyzes the 5th Erdos International Cashmere and Wool Exposition. Through case analysis and literature research, the paper found that this exhibition combines online and offline exhibitions, with an online cloud exhibition pavilion, cashmere live broadcast competitions, and a distinctive ethnic minority commodity exhibition. This exhibition can provide a reference for the holding of exhibitions in other regions and provide direction and theoretical support for subsequent exhibitions. It provides a feasible solution for promoting economic recovery in the post-epidemic environment.
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Baldini, Andrea Lorenzo. "六/6: Finding Meaning. The Expanded Exhibition and the Post-Pandemic World." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 301–12. http://dx.doi.org/10.32891/jps.v5i4.1382.
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How will artistic exhibitions function in the post-pandemic world? Visiting museums and galleries is a health hazard. 六/6: Finding Meaning is an attempt to offer an alternative. It embodies a novel exhibiting format called the expanded exhibition, which inhabits an expanded public space, between the physical and the digital. 六/6shows us that, once liberated spatially, exhibitions can be effective tools of meaning-making and social change even in a post-pandemic world. By exploiting the interplay between the digital and the physical domains, expanded exhibitions such as 六/6 can build alternatives of cultural production that can cope with social distancing, while being participatory, democratic with respect to access, and politically transformative by displacing the colonialist hierarchy center/periphery.
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Tran, Van Troi. "Exhibiting Coca-Cola at universal exhibitions." Food, Culture & Society 24, no. 2 (March 15, 2021): 269–90. http://dx.doi.org/10.1080/15528014.2021.1873036.
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Simonsson, Märit. "The Most Powerful Material in Westeros: Fiction Exhibitions and the Authenticity of Fiction Objects." Museum and Society 20, no. 2 (November 1, 2022): 250–63. http://dx.doi.org/10.29311/mas.v20i2.4072.
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This article examines authenticity in relation to exhibitions about films and television series and the objects they contain, defined here as fiction exhibitions and fiction objects. The study is based on an analysis of Game of Thrones: The Touring Exhibition. Material and constructed authenticity are examined and used in the analysis. It is concluded that the exhibition relates to both categories of authenticity, as it contains authentic material from the production of the series and constructs authenticity by emphasizing the fiction objects’ value. The value of objects is also discussed in relation to the representation of different fictional cultures in the exhibition. Comparing exhibitions and objects of fiction with exhibitions and objects of cultural history, the paper concludes that their authentic qualities are similar, confirming that fiction exhibitions and objects are no less authentic than exhibitions and objects in established museums.
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Kolokolceva, N. Yu, K. V. Valkova, and I. V. Pyanzina. "The Importance of the Position of an Exhibition Organizer at the Association of Artists-Peredvizhniki (on the Example of A.D. Chirkin's Activities in 1872-1881)." Izvestiya of Altai State University, no. 3(125) (July 12, 2022): 23–27. http://dx.doi.org/10.14258/izvasu(2022)3-03.
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The article is devoted to the consideration of organizational issues related to the implementation of the mobile form of exhibition activity of the Society for Travelling Art Exhibitions in the first decade of its existence. The special role of the Commissioner for the organization of exhibitions or the organizer of exhibitions in the coordination of these issues is noted. The experience of organizing the First Traveling Exhibition in 1871-1872 showed the need to attract to the Society a person who understands art and is ready to assume the responsibilities associated with exhibiting in the province for a nominal fee. The article presents a description of the main tasks that fell within the scope of activity of the first manager Alexander Dmitrievich Chirkin. The tasks went far beyond the mere support of exhibitions and expanded over time. A.D. Chirkin was an intermediary between the artists of the Society and the public, the success of the Peredvizhniki (The Wanderers) directly depended on his organizational talent and boundless love for art. The conclusion is made that the significance of the personality of the steward in the business of the Society is not appreciated, since it was with the accompanying person in power and the public in the province that the Peredvizhniki were associated.
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Lee, Joohun, Jaehoon Bae, and Yunkyung Bae. "Implementation of a Gamification-Based Metaverse Exhibition: A Case Study of the Farewell Museum." Sustainability 16, no. 14 (July 20, 2024): 6212. http://dx.doi.org/10.3390/su16146212.
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The increasing adoption of metaverse exhibitions aims to overcome the limitations of traditional offline exhibitions by enhancing accessibility and creating imaginative spaces without temporal and spatial constraints. This study explores how incorporating gamification into metaverse exhibitions can leverage the strengths of online and offline experiences. By integrating metaverse elements and gamification, we designed an interactive metaverse space and evaluated its effectiveness through user feedback. Our findings indicate that guiding visitors to complete missions within the metaverse enhances their understanding of the offline exhibition narratives, thereby increasing their engagement with the exhibition themes. Furthermore, online experiences in the metaverse can stimulate interest in offline exhibitions, promoting visitor attendance. The metaverse space also encourages users to contribute personal stories to the exhibition content, fostering continuous content expansion. This approach strengthens the connection between online and offline exhibitions, increases visitor engagement, and promotes repeat visits, thereby addressing the limitations of traditional exhibitions. Additionally, metaverse exhibitions enhance the preservation and accessibility of cultural heritage through digital archiving, offering inclusive participation opportunities and promoting social sustainability. This study underscores the potential of metaverse exhibitions to evolve beyond technological innovation toward contributing to social sustainability.
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Sidorov, Igor V. "GEOGRAPHICAL ASPECTS OF EXHIBITION ACTIVITIES IN THE RUSSIAN OIL AND GAS SECTOR." Географический вестник = Geographical bulletin, no. 2(61) (2022): 34–47. http://dx.doi.org/10.17072/2079-7877-2022-2-34-47.
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The study is devoted to identifying the general and geographical features of the formation and functioning of exhibitions in the oil and gas sector of Russia. To this end, the author has compiled a database containing comparable information on all studied exhibitions: the name, the city, the venue, the organizer, the number of exhibitors, foreign exhibitors, the countries of participants, visitors, status of the exhibition. On this basis, the exhibitions were ranked according to each of the listed indicators, and the largest exhibitions have been identified; the description of exhibition activities at the level of federal districts is provided, with an emphasis on the intensity, territorial concentration, themes of exhibitions, and placement factors. There have been distinguished three exhibition areas in the industry under study: Central, Ural-Volga, Siberian. The paper presents the characteristics of the areas, shows differences in the total number of exhibition events, their status, venues, the status of organizing companies, exhibition themes, features of territorial concentration, and placement factors. Finally, the factors influencing the location of exhibitions of the oil and gas sector in Russia have been identified. Among them, special attention is paid to the presence of a well-developed business infrastructure that allows for quick and efficient resolution of any issues concerning the interaction between different entities of any sector of the economy; the presence of a well-developed exhibition infrastructure, making it possible to effectively serve the needs of participants in industry specific exhibitions (concentration of exhibition sites, warehouses, customs authorities, financial institutions, security services, communications, transport, accommodation facilities, public catering, etc.); good transport accessibility, specialization of the territory in the extraction and processing of oil and gas.
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Saragih, Agus Mariani, Jumjuma ., Juni Anggraini, and Anggiat Parlindungan. "Learning Model of Virtual Exhibition Using 3D Animation (Case Study: Exhibition Implementation Course in the Medan State Polytechnic Mice Study Program)." International Journal of Religion 5, no. 8 (May 20, 2024): 362–70. http://dx.doi.org/10.61707/tpg87f67.
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This study aims to determine the process of implementing virtual exhibitions using digital 3D animation technology, and to find out whether there are differences in students' understanding of exhibition learning before and after learning about virtual exhibitions. Research data obtained from questionnaires and tested descriptively and different test (t-test). The process of creating a virtual exhibition uses the Art steps website. The results of the study show that the process of making virtual exhibitions with Art steps is very helpful and there are differences in students' understanding before and after learning virtual exhibitions in exhibition learning. This study uses a quantitative and qualitative approach. This research develops an exhibition course that is held onsite to an exhibition that is held online so that even higher knowledge and skills are needed in the field of digital technology.
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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Lin, Jiajing. "Analysis of the Development and Direction of Contemporary Exhibitions." Communications in Humanities Research 9, no. 1 (October 31, 2023): 238–45. http://dx.doi.org/10.54254/2753-7064/9/20231191.
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With the advancement of civilization and the passage of time, art has steadily merged into everyday life. The quantity and variety of art exhibitions held have significantly expanded, becoming a daily activity for the majority of the public as the social process and the pace of peoples lives continue to quicken. The public is given a strong sense of connection to the art institution and the exhibition space as a result of the modern exhibitions progressive evolution and subsequent innovation and improvement. This paper looks at the potential and direction of contemporary art exhibitions, analyzes the shortcomings of contemporary art exhibitions, and looks at the current situation and development prospects of contemporary art exhibitions as well as the background of academic research at home and abroad. It examines and provides examples from four perspectives, including participatory exhibition, interactive art, and high technology, Nicholas Berriods relational aesthetic theory, and online exhibition. It also examines and thinks from the perspective of traditional Chinese context theory, reflecting various methods of presenting contemporary exhibitions and new ideas in the hopes of assisting artists and curators.
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Jones-Edman, Genevieve, Jessica C. Lewis, and Bernadette Worrell-Johnson. "Keeping up with best practices: Library exhibitions at a university library in a small island developing state." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 59–76. http://dx.doi.org/10.1177/0955749019876118.
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Libraries over the years have developed best practices for planning, organising, promoting and evaluating exhibitions. Many are based on practices in museums. These best practices have been written into policies and shared with libraries worldwide. However, just as there has been an acknowledgement that some museum practices must be modified to suit the needs of libraries, the same applies to exhibition best practices across countries and libraries with different budgets. Small island developing states are particularly challenged by, among other things, limited resources, high cost of transportation and energy and vulnerability to natural disasters, which can have a direct or indirect impact on libraries and their ability to carry out functions like curating exhibitions. The University of the West Indies (UWI), Mona Library, located on the island of Jamaica and founded in 1948, has a long tradition of curating exhibitions. Planning and executing physical exhibitions at The UWI are guided by Library-adapted policies and guides, recently formalised in an exhibition policy. A review of some of the exhibitions curated by The UWI Mona show that the physical exhibits are, for the most part, executed in keeping with international best practices, but the Library has had to make adjustments primarily because of financial challenges. These financial challenges affect the availability of resources for exhibits, exhibition space, dedicated exhibition staff, how special collections items are used and the magnitude of exhibitions mounted. Exhibition reports, annual reports, photographs and visitor comments books reveal that the Library attempts to follow best practices with regards to planning, designing, executing and evaluating physical exhibitions. On the other hand, the Library is in the early stages of converting its physical exhibitions to digital formats but may have to establish more formal guidelines to ensure that online exhibitions are planned, designed and evaluated in keeping with international best practices to be successful. Successful exhibitions not only satisfy Library organisers and ‘edutain’ users but also build a good reputation for the Library and lead to further collaboration with faculty and benefit students, administrators and sometimes the general public. These practices at The UWI that are guided by policies can serve as an example to other institutions with small budgets on how to successfully plan and deliver physical exhibitions and build relationships with faculty and the wider community. The Library would need to ensure that formal guidelines and practices are followed for online exhibitions to be as effective and successful.
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Skowronski, Moritz, Daniel Klinkhammer, and Harald Reiterer. "Argus Vision: A Tracking Tool for Exhibition Designers." i-com 18, no. 1 (April 26, 2019): 41–53. http://dx.doi.org/10.1515/icom-2019-0001.
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Abstract Contemporary exhibitions are increasingly staged using extensive and often interactive media. To create such exhibitions, exhibition design companies employ professionals from a wide range of different disciplines. The support of interdisciplinary exhibition designers in the design process is one goal of research in Human-Computer Interaction. This includes the deployment of Do-It-Yourself (DIY) Tools that enable professionals from all disciplines involved to design and create interactive media themselves. In this paper, we will present Argus Vision, a DIY Tool, which allows exhibition designers the use of camera-tracking to rapidly prototype and develop immersive exhibitions and interactive installations. We successfully used Argus Vision in two real-world case studies both in the prototyping and in the deployment of two installations in exhibitions. Additionally, we conducted expert interviews with exhibition designers, investigating the tool’s usefulness for them.
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Xu, Jing. "Design of SAAS Model-Based System of Exhibition Management." Applied Mechanics and Materials 220-223 (November 2012): 2495–99. http://dx.doi.org/10.4028/www.scientific.net/amm.220-223.2495.
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Aiming at existing exhibitions, informationized management system can only meet the requirement of monomer exhibition management, but which cannot meet the needs of management chain and integration of resources of a large number of exhibitions together. For the traditional B2B e-commerce only provides a platform of exchanging information and communication for the supplier and requisitioning party, we design a SAAS-based management platform to build management of all the management works of an amount of actual exhibitions, as well as the use of rich media technology for Webcast and interactive of activities of the exhibition, and reduction of management costs in all of the procedures, which builds virtual year-round exhibitions online, based on the exhibition system and huge B2B resources to realize the target of constructing a B2B e-commerce platform which keeps a complementary and coexistence of online-operating and virtual year-round exhibitions, and more operational efficiency as well.
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Arsentyev, Nikolay M., and Anatoly V. Sludnyh. "EXHIBITION ACTIVITY OF RUSSIA’S OPTICAL COMPANIES IN THE 19TH CENTURY." Ural Historical Journal 73, no. 4 (2021): 155–63. http://dx.doi.org/10.30759/1728-9718-2021-4(73)-155-163.
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The relevance of the presented topic is due to the presence of analogies between the heyday of the exhibition movement in the 19th century and the rise of the movement of exhibitions, expositions, forums in the early 2000s. Many modern processes of marketing communication have a prehistory in the exhibition movement of the 19th century. The authors relied on the modernization theory. The exhibitions were considered not from a narrow economic point of view, but in a broader socio-cultural context. Their influence on the development of Russia’s optical industry is analyzed. The following research methods are applied: historical-genetic, comparative, narrative, sociohistorical. One of the most important factors in the development of Russia’s optical industry was the participation of optical workshops in Russian and international industrial, artistic and scientific exhibitions. Russian and international exhibitions became a platform for the exchange of information between the bourgeoisie, scientists, representatives of zemstvos and city selfgovernment, scientific and educational institutions. Exhibitions performed an educational function, increased the social activity of merchants, entrepreneurs, public structures, and ensured live communication between different strata of the population. Optical workshops became participants of industrial exhibitions from the very beginning of the exhibition movement. Participation in exhibitions stimulated inter-industry cooperation, trade in optical products, expanded the target audience, accelerated marketing communication. In a broad socio-cultural context, the exhibitions contributed to the development of trade, the spread of new technologies, and the enrichment of business practices of the bourgeoisie.
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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (October 31, 2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.
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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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Green, Denise Nicole, Jenny Leigh Du Puis, Lynda May Xepoleas, Chris Hesselbein, Katherine Greder, Victoria Pietsch, Rachel R. Getman, and Jessica Guadalupe Estrada. "Fashion Exhibitions as Scholarship: Evaluation Criteria for Peer Review." Clothing and Textiles Research Journal 39, no. 1 (November 22, 2019): 71–86. http://dx.doi.org/10.1177/0887302x19888018.
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Curated exhibitions are places where research practice, creative design, storytelling, and aesthetics converge. In this article, we use the term “fashion exhibition” to refer to the organized display of extant dress-related items within museums or other public spaces. Curation, as a form of creative design research, produces numerous outcomes including museum exhibitions, digital archives, and associated publications; however, our field has not yet established a method to peer review fashion exhibitions. In this article, we build upon the work of previous scholars to propose criteria for evaluating fashion exhibitions. In doing so, we aim to elevate the scholarly status of fashion exhibitions, particularly those mounted by modestly funded institutions, and use the recent fashion exhibition, “Women Empowered: Fashions from the Frontline,” as an example to illustrate our argument.
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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (September 1, 2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.
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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.
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Liu, Xiuli. "Research on the Influencing Factors of Agricultural Exhibition Development Based on Regression Analysis." Advances in Engineering Technology Research 4, no. 1 (March 21, 2023): 223. http://dx.doi.org/10.56028/aetr.4.1.223.2023.
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The exhibition industry plays a strong role in promoting economic development. Agricultural exhibitions have the functions of promoting the production and marketing of agricultural products, displaying agricultural products, cultivating brands, and insight into agricultural development trend. Agricultural exhibitions play an important role in improving the scientific and technological level of agriculture and extending the agricultural industry chain. In the context of China's implementation of the rural revitalization strategy, local governments actively promote rural economic development and achieve rural revitalization by holding agricultural exhibitions. This paper conducts empirical analysis on the data of China Agricultural Exhibition held in the 10 years from 2012 to 2021, and conducts multiple regression analysis on the panel data of agricultural exhibitions held in various provinces of China in the 10 years by using Stata17 software to find out the factors that affect the development of agricultural exhibitions, so as to promote the high-quality and rapid development of agricultural exhibitions, thus promoting rural development and realizing rural revitalization.
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Ponomareva, Varvara Vitalievna. "First Russian National exhibition dedicated to hygiene and public health, 1893." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 2 (May 22, 2023): 113–22. http://dx.doi.org/10.32521/2074-8132.2023.1.113-122.
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Introduction. Since 1820s, it became customary in the Russian Empire to hold various exhibitions - dedicated to manufacture and consequently industry; agricultural, local and national, as well as take part in international exhibitions. Towards the end of the nineteenth century, the number, scale and thematic diversity of such exhibitions grew significantly. Exhibitions related activities, which claimed such wide range and popularity, marked the change in public thought process about the new economic structures being established, and the understanding of the issues and risks associated with them, following industrial revolution. One of the problems identified was the deterioration of sanitary and hygiene conditions in cities, caused by growth in industrial production and population. Materials and methods. Catalogues of the Russian National Hygiene Exhibition of 1893 are the sources for this work. As well as documenting activities of the exhibition, they contain illustrative materials, scientific and academic reports on urban life, data from the periodicals of that era, in the study of which historico-typological and historico-descriptive methods are used. Results. In the majority of differently themed exhibitions, natural science and medical sections were established, which confirmed the need for targeted development of medical and sanitary aspects. These sections, which were partly organised by scientific societies, were seen, for example, at the Polytechnic Exhibition in 1872, the Craft Exhibition in 1885, Siberian-Ural Scientific and Industrial Exhibition in 1887 in Ekaterinburg, and Scientific and Industrial Exhibition of the Volzhsko-Kamskii region in Kazan in 1890. Finally, in May 1893, Russian National Exhibition was opened in St Petersburg dedicated solely to the development of sanitary and hygienic issues. Exhibition’s organisers declared enlightenment to be its main goal- popularisation of knowledge, scientific discoveries, and inventions in the field of hygiene and sanitation. A large number of state institutions and departments, scientific and public organisations, and private entrepreneurs helped to prepare this exhibition, presenting about 50 thousand exhibits that describe all aspects of human life from both medical and sanitary points of view. Various models and mockups, drawings, sketches and photographs, devices, equipment and tools, demonstrated achievements both in scientific and practical terms. Conclusion. This exhibition attracted high levels of attention, and its exhibits convincingly proved existence of serious problems and threats in the area of public hygiene and sanitation. It became apparent that in order to solve these on a contemporary level, it was necessary to rely on joint scientific and technological resources. Russia’s participation in the World Hygiene Exhibition in 1911 was another step in this direction, followed by the launch of Russia’s second National Hygiene Exhibition in 1913, the footprint of which grew even larger. @ 2023. This work is licensed under a CC BY 4.0 license.
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Raharjo, Timbul. "INDONESIAN CRAFT IN THE WORLD TRADE." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (September 1, 2018): 177–82. http://dx.doi.org/10.24821/ars.v21i3.2899.
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Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta
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Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
Full textAbstract:
From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).
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Lee, Kwangpyo. "The Acceptance of the Lee Kun-hee Collection and the Exhibition of Donated Works from the Perspective of the Collection Story." Korean Society of Culture and Convergence 45, no. 5 (May 31, 2023): 971–84. http://dx.doi.org/10.33645/cnc.2023.05.45.05.971.
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This study sought to examine the achievements and limitations of the exhibition of donated works of the Lee Kun-hee collection and to explore the sustainable direction in the process of accepting and enjoying the Lee Kun-hee collection. To this end, the flow and characteristics of 18 exhibitions of Lee Kun-hee collection donated works were analyzed. Over time, the exhibition of donated works has diversified into collaborative exhibitions and theme exhibitions, and has developed into an exhibition that makes spectators think about the meaning of the Lee Kun-hee collection. Nevertheless, almost all exhibitions failed to show the story of the Lee Kun-hee collection and only displayed donated works themselves. Based on this analysis, it was emphasized that in order for the acceptance and enjoyment of the Lee Kun-hee collection to continue, various stories of collector Lee Kun-hee should be discovered and actively reflected in the exhibition of donated works.
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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.
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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Andrianto, Tomy, Any Ariani Noor, Ratna Padmi Trihartanty, Tamara Herlinda Erwin, Dinarsiah Chendraningrum, and Sri Hastuti. "Training and Making Guidelines for Organizing Hybrid Exhibitions." JATI EMAS (Jurnal Aplikasi Teknik dan Pengabdian Masyarakat) 7, no. 1 (December 27, 2022): 21. http://dx.doi.org/10.36339/je.v7i1.683.
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Exhibition is a sub-sector of the creative economy and part of the tourism industry that developed well in Indonesia before Covid-19. Exhibition activities, which were actually gathering large numbers of people, became one of the industries hardest hit and even stopped completely, even though alternative technologies that facilitated online meetings began to develop at that time. Currently, after the handling of Covid-19 has improved considerably, the concept of hybrid exhibitions has begun to emerge and provides an alternative for industry players in conducting exhibitions. Unfortunately, many industry players do not understand how the concept of hybrid exhibitions does not try to completely replace conventional exhibitions. In addition, there is a need for training and guidance that will facilitate industry players in carrying out hybrid exhibitions. Community Service with this community partnership program (PKM) scheme helps ASPERAPI (Exhibition Organizer Association) DPD West Java as a partner in making Hybrid Exhibition Organizing Guidelines and training its members. Another objective is to provide additional skills and knowledge for ASPERAPI members in facing the challenges of present and future exhibition activities. The challenges facing partners today are how to restore business while at the same time reaching more audiences by utilizing hybrid technology/applications. The implementation method is mentoring, training and making guides with the outputs of intellectual property rights and scientific articles and service articles as activity reports.
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Mikićević, Jelena. "Izložbena delatnost Istorijskog arhiva Šumadije u Kragujevcu sa osvrtom na period od 2012. do 2022. godine." Šumadijski anali 19, no. 13 (2023): 280–93. http://dx.doi.org/10.46793/sanali19.13.280m.
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The tradition of archival exhibitions in Serbia is not a long one. The first exhibition was held in the late 1940s, and in Kragujevac in 1955. Over the course of more than fifty years, from 1952 to 2004, the Historical Archive of Šumadija organi- zed only twenty-two exhibitions. Initially, exhibitions were organized as part of archi- val weeks from 1954 to 1957. They were planned in various ways, but mostly, experts from the archive used newspapers and exhibitions to talk about the preservation of archival materials stored in archives. The exhibitions were themed around regional history, the history of the Šumadija District, the history of the city of Kragujevac, and the history of city institutions. These exhibitions illustrated the flow of national history but also, from a different perspective, reflected the ideology of the socialist governme- nt at the time, with a clear political propaganda role. After six decades of existence, the Historical Archive of Šumadija revitalized its exhibition activity. Significant pro- gress was made in the period from 2012 to 2022 when fifteen exhibitions were orga- nized. These exhibitions mostly focused on themes from the national history of the 19th century and were organized on the occasion of anniversaries and major jubilees. The authors of the exhibitions mostly presented materials preserved in the Historical Archive of Šumadija. Additionally, significant cooperation was established with other cultural institutions in the country and abroad.
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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (March 4, 2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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Wang, Shao-Ping, Miao-Sheng Chen, and Mou-Jian Li. "Taiwan’s Marketing Strategies for Green Conferences and Exhibitions." Sustainability 11, no. 5 (February 26, 2019): 1220. http://dx.doi.org/10.3390/su11051220.
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This study investigates the status of conference and exhibition industry in Taiwan and its future development by examining the “green conferences and exhibitions” marketing strategy. The findings show that factor and demand conditions are the most important determinants of exhibition location. Moreover, a SWOT analysis of the industry’s features and a holistic marketing strategy will ensure that countries with limited resources, such as regional Asian economies, derive integrated economic benefits from such exhibitions. The results and recommendations should provide organizations with a useful reference for promoting green conferences and exhibitions.
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Sidorov, Igor. "Geographical aspects of organizing industry exhibition activities in the Northwestern Federal District of Russia." Pskov Journal of Regional Studies 20, no. 1 (2024): 40. http://dx.doi.org/10.37490/s221979310027263-2.
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The exhibition industry is a relatively new and dynamically developing type of economic activity. It has a great influence on the development of trade and economic relations, promotes goods, services, technologies, forms the image of the region and generally helps the development of individual sectors of the economy, regions and the country. The author sees the main task in identifying the geographical aspects of exhibition activities in the Northwestern Federal District as one of the most vulnerable in the conditions of modern sanctions policy. The article formulates the results of the study, which are based on a database created by the author of 195 exhibitions held in the Northwestern Federal District and containing comparable information about each exhibition (venue, number of domestic and foreign exhibitors, visitors, specialization, trade policy, etc.). Its analysis made it possible to determine the region’s position in the country’s industry exhibition activities; industry structure based on the comparative geographical characteristics of exhibitions in the service sector, industrial exhibitions, exhibitions of the agro-industrial complex (the leadership position of industrial exhibitions is noted in terms of the ability to influence the economy of the region), the geographical features of industry exhibition activities in the region are identified based on the ranking of the constituent entities of the Russian Federation according to the studied indicators. The calculation of the coefficients of specialization, localization and shower production in the sectoral exhibition activities of the district made it possible to develop a classification of subjects of the Russian Federation according to the level of activity of exhibition activities.
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Hanifati, Khusnul. "Koloniale Tentoonstelling Semarang as an Industrial Tourism Destination." RUANG-SPACE, Jurnal Lingkungan Binaan (Space : Journal of the Built Environment) 11, no. 1 (April 30, 2024): 139. http://dx.doi.org/10.24843/jrs.2024.v11.i01.p08.
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The idea behind the world exhibitions event was to promote international trade by exhibiting goods, colonial achievements, and the identities of the colonies. However, Georg Simmel’s notes in “The Berlin Trade Exhibition” showed that the exhibitions developed during the nineteenth century specifically responded to the competitive demands of the industrial mode and money economy. Thus, the purpose of the world exhibition is not merely as an annual fair; rather, it has socioeconomic and cultural aspects represented by the colony on a smaller scale. A similar pattern was also found in the Colonial Exhibition of Semarang. As one of the biggest exhibitions held in Southeast Asia in the early 20th century, the exhibition displayed the Dutch Colonial’s highest achievement in the Dutch East Indies. It represents modern life's industrial and technological advancement and temporarily serves as the center of world civilization. Yet there is a distinct contrast between the natives and European visitors, which causes a contradiction between modernism and traditionalism exhibited in the exhibition. This paper examines Koloniale Tentoonstelling Semarang as the representation of an industrial city and an attraction for a touristic destination. It aims to investigate how world exhibitions served not only as platforms for promoting international trade but also as reflections of the socioeconomic and cultural dynamics of the time. Keywords: exhibition; colonial; Semarang; Sentiling; Tentoonstelling AbstrakGagasan di balik kegiatan world exhibitions adalah untuk mempromosikan perdagangan internasional dengan memamerkan barang, pencapaian kolonial, dan identitas koloni. Namun, catatan Georg Simmel dalam “The Berlin Trade Exhibition” menunjukkan bahwa pameran yang dikembangkan di abad kesembilan belas secara khusus menanggapi tuntutan kompetitif industri dan ekonomi. Oleh karena itu, tujuan pameran dunia bukan hanya sebagai pameran tahunan; namun juga memiliki aspek sosial, ekonomi, dan budaya yang diwakili oleh koloni dalam skala yang lebih kecil. Pola serupa juga ditemukan dalam Pameran Kolonial Semarang. Sebagai salah satu eksibisi terbesar yang diselenggarakan di Asia Tenggara di awal abad ke-20, pameran ini menampilkan pencapaian tertinggi Kolonial Belanda di Hindia Belanda. Hal ini mencerminkan kemajuan industri dan teknologi kehidupan modern yang ditampilkan untuk sementara waktu sebagai pusat peradaban dunia. Namun terdapat kondisi yang mencolok antara penduduk asli dan pengunjung dari Eropa, sehingga menimbulkan kontradiksi antara modernisme dan tradisionalisme yang dipamerkan dalam pameran ini. Tulisan ini akan mengkaji Koloniale Tentoonstelling Semarang sebagai representasi kota industri dan daya tarik destinasi wisata. Tulisan ini bertujuan untuk menyelidiki bagaimana pameran dunia tidak hanya berfungsi sebagai wadah untuk mempromosikan perdagangan internasional tetapi juga sebagai cerminan dinamika sosial ekonomi dan budaya pada saat itu.Kata kunci: pameran; kolonial; Semarang; Sentiling; Tentoonstelling
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Chychkalo-Kondratska, Iryna, Vladyslav Zhytnyk, and Aapis Bairamov. "Exhibition and Trade Fair Activities in the System of Support for National Exporters." ЕКОНОМІКА І РЕГІОН Науковий вісник, no. 3(78) (December 15, 2020): 49–54. http://dx.doi.org/10.26906/eir.2020.3(78).1996.
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The article substantiates the role of the state in supporting participants of national and foreign exhibitions and fairs and processes of development of exhibition infrastructure. The international exhibitions and fairs are not only an important communication tool, but also a mechanism for promoting new technologies and products in national and international markets. A comparative description is made and the differences between fairs and exhibitions are determined. The structure of the distribution of exhibition areas in the world is analyzed and it is found that Europe has the largest number of exhibition complexes, the share of which is 46% of the global indicators. The dynamics of the main characteristics of exhibition activity in Ukraine from 2015 to 2019 is considered, which indicates the development of this area, but in 2018–2019 there was a certain decline in some indicators, including attendance at these events. The state of exhibition and fair activity in 2019 is analyzed in detail. The article identifies the prospects of exhibition and fair activities in Ukraine. Especially urgent is the solution of training, retraining and advanced training of employees of exhibition and fair activities, as well as the active participation of government agencies in the formation and development of international and national exhibitions and fairs.
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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (September 27, 2019): 126. http://dx.doi.org/10.3390/arts8040126.
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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (February 1, 2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.
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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new world of works experience. the immersive exhibition composed of the combination of technology and art has become an important exhibition method to attract audiences. The creation of immersive exhibitions relies on the application of technologies such as Front-projected Holographic Display and Augmented Reality. At present, immersive exhibitions around the world are emerging in an endless stream. Under the general trend of information exhibition, how to combine works of art with digital media and endow them with connotation, and how digital technology is involved in the exhibition to form the final immersive effect, are issues worth considering at present.
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Jang, Jina, and Yumi Kim. "Aspects and meanings of exhibitions expressed in children's play." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 22 (November 30, 2022): 369–93. http://dx.doi.org/10.22251/jlcci.2022.22.22.369.
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Objectives The purpose of this study was to look at the exhibitions that are naturally expressed in children's play, and to see how children-led exhibitions appear and what their meanings are.
Methods From November 21, 2019 to February 21, 2020, 18 children in a 4-year-old class participated and observed at a workplace daycare center located in Seoul. Data was collected. Based on the collected cases, meaningfully described dialogues were extracted through the process of ‘transcription-coding-topic generation’, and analyzed by categorizing them into 5 areas according to context.
Results Depending on the purpose and intention of the children, children's exhibitions are ‘exhibits without an audience only for me’, ‘exhibits that I want to show to someone’, ‘exhibits to play afterwards’, ‘exhibits to keep safely and to possess’. It was categorized as ‘Exhibition’. From secret private exhibitions that only oneself knows, to the types of exhibitions that change and expand while communicating with the members of the daycare center (children, teachers, parents, etc.), they appeared in a new and colorful appearance as they gradually changed. Children's play was exhibited as a single scene, and as time passed and the exhibition changed again, the circulation of play and exhibition was meaningful as a way for children to communicate with the world.
Conclusions Children's exhibitions were not simply intended to show the outcome of the work, but were a process that contained experiments and challenges that followed by play. Through exhibitions expressed in play, children expressed what they were interested in as a representation, and exhibited them in their own way to establish their own identity. By paying attention to the value of exhibitions led by children as a process of play where children's learning takes place, teachers should support children so that they can exhibit them in any way they want.