Bibliografie tematiche / Exhibitions

Letteratura scientifica selezionata sul tema "Exhibitions"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 26 luglio 2024

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Articoli di riviste sul tema "Exhibitions"

1

Lovett, Bob. "ASE exhibitions: Manufacturers' exhibition". Physics Education 22, n. 3 (1 maggio 1987): 149–50. http://dx.doi.org/10.1088/0031-9120/22/3/421.

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Lowe, Trevor, e Ken Dobson. "ASE exhibitions: Publishers' exhibition". Physics Education 22, n. 3 (1 maggio 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, n. 3 (1 maggio 1987): 153–54. http://dx.doi.org/10.1088/0031-9120/22/3/423.

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4

Aarbakke, Thea. "Musealiserte relasjoner mellom liv og litteratur på Olav H. Hauge-senteret". Nordisk Museologi 28, n. 1 (27 maggio 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, n. 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, e Brad Hokanson. "Informal Learning". International Journal of Designs for Learning 13, n. 2 (5 dicembre 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, n. 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 (13 settembre 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, e Choon Sung Shin. "Study On Online Platform For Personal Exhibition In Metaverse Emvironment". Korean Institute of Smart Media 11, n. 6 (31 luglio 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, e Lutfi Prayogi. "Perspective of Virtual Exhibition during the COVID-19 pandemic". International Journal of Built Environment and Scientific Research 6, n. 1 (10 giugno 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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Tesi sul tema "Exhibitions"

1

Fernández, López Olga. "Dissenting exhibitions by artists (1968-1998) : reframing Marxist exhibition legacy". Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1346/.

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The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.
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Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000". Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.

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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable category of 'Conceptual art,' but played an active role in the construction of that category. Through individual case studies, this thesis analyses the processes through which the history of this relatively recent art 'movement' has been elaborated. It seeks to understand how works of art can be accommodated to a museum-based art history and how they can be called upon to support particular curatorial narratives. At the same time, it considers to what extent they may be able to resist the conditions of display imposed upon them and may, instead, continue to signify independently of curatorial intention. In so doing, this thesis re-emphasizes the notion of critical practice, as well as the performative and discursive dimensions of Conceptual art that have often been passed over in historical exhibitions. It rejects the "oppositional" model of radical artists pitted against conservative institutions and argues for an understanding of Conceptual art based upon the recognition that claims for its independence from the institutional art world were made within the available rhetorics of a discourse that sustains the self-identities of both artists and institutions. Ultimately, this thesis reflects the understanding that to continue to regard artist and institution, artwork and exhibition, in their isolated functions is to fail to attend to the ways in which art, as a social practice, may support broader ideological structures.
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Evans, Caitlin Irene. "EXHIBITING VOICES THE PRESENCE OF NATIVE AMERICAN VOICES IN MUSEUM EXHIBITIONS". Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192336.

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Taxén, Gustav. "Towards Living Exhibitions". Licentiate thesis, KTH, Numerical Analysis and Computer Science, NADA, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-1616.

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This thesis introduces the concept of living exhibitions:continuously evolving museum exhibitions that are cooperativelydeveloped and evaluated by teams of museum professionals andvisitor representatives. The author argues that the livingexhibition design process should draw its inspiration frommultiple resources, including current research on museumlearning, interaction principles and technology. As acase-in-point, the thesis provides a description of how suchresults have inspired the design of The Well of Inventions, apublic installation at the Museum of Science and Technology inStockholm. Furthermore, the thesis describes how an evaluationmethodology from cooperative design was adopted andsuccessfully applied within the museum domain. The ultimate aimof the work is to increase the opportunities for communicationbetween museum professionals and their audiences.

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Sommer, Michelle Farias. "Teoria (provisória) das exposições de arte contemporânea". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/151285.

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A tese concentra-se em estudos expositivos, especificamente em proposições curatoriais e artísticas que questionam o topos expositivo contemporâneo. O recorte temporal dessa pesquisa concentra-se em exposições vivenciadas no período 2012-2016, em contextos geográficos distintos: Porto Alegre, Curitiba, São Paulo, Rio de Janeiro, Berlim, Veneza e Londres. A metodologia de pesquisa constrói-se a partir da experiência em exposições visitadas, configurando estudos de caso da tese. Quais são os limites das canonizações ocidentais que reforçam tendências particulares e inscrevem ortodoxias em estudos expositivos? Entre “lá fora” e “aqui dentro”, se lá está a dicotomia, aqui está o hibridismo como matriz experimental das produções expositivas nacionais. Nesse contexto aqui e agora, desenvolve-se o conceito de ‘contraexposição’, que redefine o lugar expositivo através da experimentação direta na investigação, produção, apresentação e documentação de proposições curatoriais e artísticas em sua dimensão pública. Considera-se, ainda, o âmbito das megaexposições, especificamente bienais, debatendo a suposta crise do modelo através do mapeamento dos padrões recorrentes como possível estratégia de reinvenção do formato hegemônico internacional. (Continuação ) Nessa tese, entre exposições, megaexposições, contraexposições, são verificadas tentativas de engatar o sujeito para um primeiro plano das experiências expositivas, fazendo com que o questionamento direcione-se aos endereçamentos expositivos e à produção de associações obra-públicoS. Em tese: seja em instituições culturais – topos expositivo reconhecido como lugar da arte – ou no topos expositivo outro – qualquer lugar –, a exposição contemporânea está em incessante redefinição.
Situated within the realm of exhibition studies, this thesis focuses specifically on those curatorial and artistic proposals which question the topos of contemporary art exhibitions. The research was carried out between 2012 and 2016, visiting exhibitions in different geographical locations: Porto Alegre, Curitiba, São Paulo, Rio de Janeiro, Berlin, Venice and London. The research methodology was built on the experience at these exhibitions, through which the thesis’ case studies have been configured. What are the limits of the Western canons, which reinforce particular trends and generate orthodoxies within exhibition studies? Between the ‘out there’ and the ‘in here’, whether there resides the dichotomy, here lies hybridity, as an experimental matrix for the making of exhibitions in Brazil. It is in this context, here-and-now, that the thesis develops the concept of “counter-exhibition”, redefining the exhibition space through direct experimentation in the investigation, production, presentation and documentation of curatorial and artistic proposals in their public dimension. The thesis also takes into account the context of mega-exhibitions, and specifically biennials, discussing the supposed crisis of the model by mapping its recurring patterns, as a possible strategy to challenge the hegemony of the current international format, and reinvent it. Among exhibitions, mega-exhibitions and counter-exhibitions, the thesis explores attempts to bring the subject of the exhibition experience to the fore, in this way directing the debate towards what or on who the exhibitions are addressing, exhibition approaches, as well as on the associations between artworks and publics that they (seek to) produce. In essence: either within cultural institutions – the exhibition topos recognised as the place of art –, or other exhibition topos – that is, anywhere –, contemporary exhibitions are being constantly redefined.
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Lee, Stephanie Maria. ""The Will to Create" Exhibition Photographic Documentation of, and Narrative on the Body of Work in Sculpture, Painting and Mandala". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LeeSM2008.pdf.

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Hsieh, Ching-yueh. "Exhibiting minority culture : an exploration of exhibitions of indigenous culture in museums of Taiwan". Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/38217.

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The research subjects of this study are temporary museum exhibitions of indigenous culture in Taiwan. Via three case studies, each typifying a different approach to exhibition making, this study isolates the factors that affect the process of making museum exhibitions of indigenous culture in Taiwan, examines the effects that exhibition making has on the exhibited subject and delineates the nature and characteristics of such exhibitions themselves. The key findings of this study are that such factors as the rules and resources generated by cultural policy, administration and performance evaluation, the values, exhibition-making experience and reflexive insights -of exhibition planners, and the relationships among key actors in the exhibition-making process function to both constrain and enable the process; and via a mutually interlocking, mutually influencing means construct the exhibition content. The common characteristics produced during the process include 1) rule and resource constraint and enablement, 2) a marked effect on the exhibition produced by multiple-status actors, 2) mutual validation or recognition as the starting point of relationships between actors, and 4) reciprocity as the core behaviour in interpersonal relationships during the process. This study also examines the effects that the making of such exhibitions has on the exercise and development of indigenous rights in Taiwan. Among its discoveries are that top-down cultural policy intended to promote the exhibition-making development of local-level museums ends up narrowing their cultural representation options. Also, cooperation between exhibition planners and the source community can promote indigenous cultural self-determination but also can constrain cultural representation diversity and produce power inequalities within the source community. Based on the findings from its various case studies, this research provides recommendations for concrete ways that museums can foster the enhanced understanding and exercise of indigenous rights.
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Altınkaya, Nilufer Seçkin Yavuz. "Mobile Display Design/". [s.l.]: [s.n.], 2004. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000506.pdf.

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Christophe, Alice. "Exhibiting connections, connecting exhibitions : constructing trans-Pacific relationships through museum displays in Oceania (2006-2016)". Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/63757/.

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This research explores the correlation between exhibitions and networks in the context of the 21st century Pacific. Firstly, exhibitions are envisioned as relational and connective practices that trigger interactions through their making. Secondly, exhibition-­‐products are regarded as the result of these relationships, which bring together a wide range of agents including makers, things, spaces and epistemologies. Applying the Actor-­‐Network-­‐Theory to the field of exhibition studies, this thesis follows the path of six trans-­‐Pacific museum displays. These case studies were developed between 2006 and 2016 by three major institutions of Oceania, located in Aotearoa New Zealand (Auckland Museum), Hawai‘i (Bernice Pauahi Bishop Museum) and Taiwan (Kaohsiung Museum of Fine Arts). After a theoretical and methodological introduction, Chapter 2 dwells on the history of the institutions included in this research and pieces together the genealogical grounds for each exhibition case study. Short-­‐term exhibitions and their capacity to open new museum routes are explored in Chapter 3. Long-­‐term displays and the musealisation of temporary pathways are presented in Chapter 4. While reassembling the trajectories of each exhibition in Chapter 3 and 4 and connecting their genealogies, this study examines the existence of parallels, translations and echoes amongst the case studies in Chapter 5. Chapter 6 further emphasises these relationships and equally dwells on the limitations and impacts of connective narratives by analysing the Pacific maps displayed in these trans-­‐Pacific exhibitions. By and large, this research explores the increasing development of a trans-­‐Pacific culture of display in Oceania, which is examined through the lens of exhibitions developed and presented in this region at the dawn of the 21st century.
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Fernsebner, Susan R. "Material modernities : China's participation in World's Fairs and expositions, 1876-1955 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3059908.

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Libri sul tema "Exhibitions"

1

Jenny, Baxter, e Key Note Publications, a cura di. Exhibitions & conferences. 7a ed. Hampton: Key Note, 2004.

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Kirsten, Johnson, e Key Note Ltd, a cura di. Exhibitions & conferences. 4a ed. Hampton: Key Note Ltd, 1997.

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Dominic, Fenn, e Key Note Publications, a cura di. Exhibitions & conferences. 5a ed. Hampton: Key Note, 1998.

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Designing exhibitions. New York: Whitney Library of Design, 1989.

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Velarde, Giles. Designing exhibitions. London: Design Council, 1988.

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Gallery, Harewood House Terrace. 1994 exhibitions. Harewood: Harewood Terrace Gallery, 1994.

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Institutet, Svenska. Exhibitions 1985. Stockholm: Swedish Institute, 1985.

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Zoe, Ratcliff, e Key Note Ltd, a cura di. Exhibitions & conferences. 3a ed. Hampton: Key Note Ltd, 1996.

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Emma, Wiggin, e Key Note Publications, a cura di. Exhibitions & conferences. 6a ed. Hampton: Key Note, 2002.

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Aubitz, Shawn. Developing archival exhibitions. [Charlottesville, Va.]: Mid-Atlantic Regional Archives Conference, 1990.

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Capitoli di libri sul tema "Exhibitions"

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Codell, Julie F. "International Exhibitions". In A Companion to British Art, 220–40. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.

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Lange, Volker. "Industrial Exhibitions". In Meeting Madness, 66–69. Heidelberg: Steinkopff, 2003. http://dx.doi.org/10.1007/978-3-642-57350-7_13.

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Achiam, Marianne. "Immersive Exhibitions". In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-6165-0_346-4.

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Sonvilla-Weiss, Stefan. "Installations Exhibitions". In Synthesis and Nullification Works 1991–2011, 149–98. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1029-4_4.

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Achiam, Marianne. "Immersive Exhibitions". In Encyclopedia of Science Education, 485–87. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_346.

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Cole, Lori. "Paper Exhibitions". In Historic Avant-Garde Work on Paper, 91–106. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003413356-9.

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Tanga, Martina. "Extramural Exhibitions". In Arte Ambientale, Urban Space, and Participatory Art, 24–62. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9781351187954-2.

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Evans, Nigel. "Reed Exhibitions". In Strategic Management for Tourism, Hospitality and Events, 710–25. Third Edition. | New York: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429437601-27.

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Bianchi, Pamela. "(Public) Exteriors". In The Origins of the Exhibition Space (1450-1750). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728676_ch04.

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This chapter focuses on outer spaces and studies how and why collections were exhibited in gardens, open arcaded corridors, courtyards of palaces, and in religious spaces and inside the entire city. The study proposes the city as a field of experimentation for shaping the ideas of exhibition space and exhibiting. For churches, cloisters and adjacent squares, the analysis follows the study traced by Francis Haskell and considers them at the origin of the history of exhibitions. The chapter continues with the study of other venues of exhibiting (Italian botteghe, northern panden, Parisian alternative exhibitions), thus suggesting a reinterpretation of the spatial and cultural history of seventeenth- and eighteenth-century society.
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"Exhibitions". In The Anatomy of a Museum, 167–82. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119237051.ch12.

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Atti di convegni sul tema "Exhibitions"

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"Exhibitions". In 2016 IEEE NetSoft Conference and Workshops (NetSoft). IEEE, 2016. http://dx.doi.org/10.1109/netsoft.2016.7502399.

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Sobolevskaya, Irina Nikolaevna, e Alexander Nikolaevich Sotnikov. "Virtual exhibition as a model of an element of the Common Digital Space of Scientific Knowledge". In 25th Scientific Conference “Scientific Services & Internet – 2023”. Keldysh Institute of Applied Mathematics, 2023. http://dx.doi.org/10.20948/abrau-2023-19.

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The article is devoted to the virtual exhibitions formation in order to popularize science, provide access to a variety of information in various fields of science, as well as to attract attention to current problems and achievements in the scientific field, as well as the integration of such exhibitions into a Common Digital Space of Scientific Knowledge. The article formulates the basic principles of the formation of virtual exhibitions, namely the approaches to the content selection, the allocation of the main sections, the typification of virtual exhibitions (autonomous, remote combined) is proposed. The methodology of the formation of virtual exhibitions in the MSC RAS is considered. As an example of an interdepartmental combined virtual exhibition containing heterogeneous content, the virtual exhibition "Madame Penicillin" dedicated to the penicillin creator Z.V. Yermolyeva is described in detail.
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Aydoğan, Derya. "Art Exhibitions During the Pandemic". In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual reality exhibitions became a notable alternative to online exhibitions in a lot of respects such as allowing typical curatorial arrangements as well as adding digital methods, and making the audience feel like they are actually visiting an exhibition. However, it obviously causes overcrowding and loss of aura as a result of a phenomenon based on excessive display in structures open to the participation of everyone. In order to preserve the aura of art and exhibition and to maintain its compatibility with new technologies, it’s necessary to introduce new curatorial understandings, new aesthetic perceptions, and new quality elements. In this study, the existence of art exhibitions in online environments, especially during the pandemic, will be evaluated within the context of qualitative descriptive analysis.
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"Commercial exhibitions". In 2007 International Topical Meeting on Microwave Photonics. IEEE, 2007. http://dx.doi.org/10.1109/mwp.2007.4378116.

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Mihaylov, Pelo. "TOURIST RESOURCES FOR BUSINESS TOURISM IN SOFIA AND PLOVDIV". In TOURISM AND CONNECTIVITY 2020. University publishing house "Science and Economics", University of Economics - Varna, 2020. http://dx.doi.org/10.36997/tc2020.172.

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The article presents the resources for business tourism in Sofiya and Plovdiv. These events are described in the "Catalogue of fairs and exhibitions in Bulgaria". In Sofia, such events are held at the Inter Expo Center, the Central Department Store, the National Palace of Culture, the Universiade Hall and Sofia Tech Park, while in Plovdiv they are organized only at the International Fair. The article uses the terms exhibition day, when a fair or exhibition is held and calendar day when one or more exhibitions are held in the city. Intensity interval is the ratio between the exhibition days and the calendar days by rounding to the second decimal place and it can be explained as the number of exhibitions that residents (visitors, tourists) of (in) a city can visit in one day.
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Maye, Laura A., Fiona E. McDermott, Luigina Ciolfi e Gabriela Avram. "Interactive exhibitions design". In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2639189.2639259.

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Macaulay, Catriona, e Hyun Yeul Lee. "Session details: Exhibitions". In DIS04: Designing Interactive Systems 2004. New York, NY, USA: ACM, 2004. http://dx.doi.org/10.1145/3244259.

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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside". In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.

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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.
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Kalenov, Nikolay Evgenevich, Irina Nikolaevna Sobolevskaya e Alexander Nikolaevich Sotnikov. "Using of educational technologies in a common digital space of scientific knowledge". In 23rd Scientific Conference “Scientific Services & Internet – 2021”. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/abrau-2021-9.

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The role of the common digital space of scientific knowledge (CDSSK) in the development of educational technologies is considered. CDSSK is implemented by a number of Russian organizations as an information and technological environment, support for scientific research, education, popularization of science and preservation of scientific heritage. The structure of the CDSSK provides general principles for building links between individual components related to school and university education. One of the elements related to education in the structure of the CDSSK is a scientific virtual exhibition. Such an exhibition can be dedicated to both a specific person and a scientific event in general. Virtual exhibitions bring together a variety of resources related to the topic of the project (biographies of scientists, related museum and archival materials, publications, copies of films, interactive multimedia resources). The work presents examples of realized virtual exhibitions used in the educational process. The exhibitions were created on the platform of the Scientific Heritage of Russia digital library.
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Chun Wai, Wilson Yeung, e Estefanía Salas Llopis. "THE SPACE BETWEEN US". In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Rapporti di organizzazioni sul tema "Exhibitions"

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Moreno Mejía, Luis Alberto, e Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, febbraio 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Sequeira, Dora María, Ileana Alvarado V. e Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, agosto 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, marzo 2013. http://dx.doi.org/10.18235/0006015.

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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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Morais, Carla, António Coelho, Alexandre Jacinto e Marta Varzim, a cura di. The I SEA Project: Digital Publications. Faculdade de Ciências da Universidade do Porto, ottobre 2020. http://dx.doi.org/10.24840/2020/978-989-746-279-5.

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The I SEA project aimed at the development of a non-obtrusive, valid and replicable method to evaluate audience attitudes about science communication projects through an immersive virtual reality environment that can improve exhibitions while educating and empowering citizens. To achieve the objectives of this highly complex, highly interdisciplinary, and innovative project, a permanent articulation of the scientific approach with the technical and design development took place, aiming the construction of the non- invasive evaluation method. Because it is an intricate project, it required constant iterations and interactions among the team members. So, we’ve learned somehow to consider limitations as engines for developing the project, instead of seeing them as obstacles.
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Booth, W. H., e S. Caesar. Greenhouse Earth: A Traveling Exhibition. Office of Scientific and Technical Information (OSTI), settembre 1992. http://dx.doi.org/10.2172/6914254.

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Henderson, D., e M. Peshkin. The E = mc{sup 2} exhibition. Office of Scientific and Technical Information (OSTI), agosto 1995. http://dx.doi.org/10.2172/166510.

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Lindo-Ocampo, Gloria Inés, e Hilda Clarena Buitrago-García. English for Business Course. Thematic Unit: Business Events. Ediciones Universidad Cooperativa de Colombia, settembre 2022. http://dx.doi.org/10.16925/gcnc.24.

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This didactic unit is aimed at the fifth semester students of the Business Administration, Marketing and International Business program, who have already completed the four basic levels of the Open Lingua program. This proposal seeks to develop skills and competencies that allow them to perform in different fields related to private, public and solidarity economy companies, and in various mediation and negotiation processes at national and international levels. The instructional design of this unit contains real-life situations, focused on the world of business, that allow students to interact in various types of business events. The grammatical and lexical concepts, necessary to interact successfully in these types of communicative situations, are introduced and applied. The educational activities are designed to offer opportunities to interact in business conferences, international exhibitions, and seminars, among others. The contents are framed in natural and meaningful contexts. This leads to a greater understanding of the type of language used in business and the way it is used to communicate. The contents are structured in three lessons in which the level of complexity of the topics, tasks, texts and transitions (4Ts) have been considered. Also, various types of activities that activate and reinforce previous knowledge and that, subsequently, evaluate the progress of the students, are included.
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Kerrigan, Susan, Phillip McIntyre e Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Yang, Eunyoung, e Martha Burpitt. Artistry in Design-Visual Connection: an Interdisciplinary Student Exhibition. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-775.

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Butyrina, Maria, e Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, febbraio 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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