Artigos de revistas sobre o tema "Culture in art – Exhibitions"
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1
Helmreich, Anne. "Victorian Exhibition Culture: The Market Then and the Museum Today1". Articles, n.º 55 (20 de abril de 2010): 0. http://dx.doi.org/10.7202/039556ar.
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Abstract This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.
2
Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach e Olga Zulabueva. "Exhibitions". Museum Worlds 6, n.º 1 (1 de julho de 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.
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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
3
Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective". Communications in Humanities Research 9, n.º 1 (31 de outubro de 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.
4
Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s". Art & Culture Studies, n.º 4 (dezembro de 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.
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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginalized layers of artistic culture into scientific circulation and the public sphere. In relation to this work, these are research exhibitions of the Russian-Soviet avant-garde and artistic movements of the 1920s-1930s and non-conformism of the 1940s-1980s. The goals of attraction exhibitions (the proposed term is based on S. Eisenstein’s well-known method of “the montage of attractions”) are associated with the creation of an entertaining visual environment that affects the viewer, offering them ways of understanding the Soviet past ideologized in the Soviet style. The purpose of the article is also to show how the cultural policy of temporary exhibitions affects the re-expositions of the State Russian Museum and the State Tretyakov Gallery, that is, the formation of certain patterns or scenarios for the presentation of the art of the Soviet past.
5
Waterfield, Giles. "A culture of exhibitions: the Manchester Art-Treasures Exhibition in context". Bulletin of the John Rylands Library 87, n.º 2 (setembro de 2005): 21–36. http://dx.doi.org/10.7227/bjrl.87.2.3.
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T., Tishkina, e Tishkina K. "EXHIBITIONS IN BARNAUL DEDICATED TO THE 100TH ANNIVERSARY OF THE FORMATION OF THE UNION OF SOVIET SOCIALIST REPUBLICS". Preservation and study of the cultural heritage of the Altai Territory 29 (2023): 342–50. http://dx.doi.org/10.14258/2411-1503.2023.29.52.
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The Union of Soviet Socialist Republics existed from December 30, 1922 to December 26, 1991. During this period of time, significant successes were achieved in industry, agriculture, science and culture, and a victory was won over the Fascist conquerors was won in 1945. To the 100th anniversary of the formation of the USSR in Barnaul, there were exhibitions: “Soviet Porcelain” and “The Country of the Soviets” (the State Art Museum of the Altai Territory); “The USSR in the Mirror of Art” (exhibition hall of “Museum “City”); “Art that has become History” (“Shchetinins Art Gallery”); “Greetings from the USSR” (Altai State Museum of Local Lore). The exhibitions displayed photos, works of fine and decorative art, and items of material culture created in the 1920s-1980s. The purpose of the exhibitions is to expand visitors’ knowledge of the history of Russia, form a positive image of the USSR in the minds of the younger generation and improve the patriotic mood of the citizens.
7
Yu, Shiyang. "The Research on the Characteristics and Forms of Immersive Experience in Art Exhibitions—Take “Van Gogh—the Immersive Experience” as an Example". Journal of Education, Humanities and Social Sciences 6 (31 de dezembro de 2022): 154–59. http://dx.doi.org/10.54097/ehss.v6i.4417.
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Immersive experience is a new type of interaction that integrates culture and technology, and it shows great promise for application by combining with multi-panel content. With the continuous development of virtual technology, immersive experience is also applied to art exhibitions and obtains surprising effects. People are not satisfied with the original way of art appreciation, and the increase of aesthetic demand also requires more diversified ways of exhibition, which has led to the prevalence of immersive exhibitions. In recent years, there have been few attempts at immersive art exhibitions, and the organizers have succeeded in creating very creative presentations. This paper takes “Van Gogh’s Secret World” as an objective, and the result shows the features of the immersive experience, include the concept and history of immersive experiences, and the expressions and characteristics of immersive experience in art exhibitions, hope can help people look into the future of the interactive art.
8
Flores-Marcial, Xóchitl M. "Getting Community Engagement Right". Latin American and Latinx Visual Culture 3, n.º 1 (1 de janeiro de 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, n.º 1 (1 de janeiro de 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.
10
Ortiz-Torres, Rubén. "Mexicos and Americas". Latin American and Latinx Visual Culture 3, n.º 1 (1 de janeiro de 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.
11
Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821". Latin American and Latinx Visual Culture 3, n.º 1 (1 de janeiro de 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.
12
Richter, Kim N. "Golden Kingdoms at Getty". Latin American and Latinx Visual Culture 3, n.º 1 (1 de janeiro de 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.
13
Josten, Jennifer. "Dialogues". Latin American and Latinx Visual Culture 3, n.º 1 (1 de janeiro de 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.
14
Kestner, Joseph A. "Victorian Art History". Victorian Literature and Culture 26, n.º 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.
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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
15
Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza". Lehahayer 8 (19 de dezembro de 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
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Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
16
ZHAO, J., e O. YEZHOVA. "IMPACT OF DIGITAL ART ON DESIGN OF ONLINE MUSEUM: USER-CENTERED DESIGN, NARRATIVE DESIGN, AND INTEGRATION OF TECHNOLOGY". Art and Design, n.º 3 (11 de novembro de 2023): 92–100. http://dx.doi.org/10.30857/2617-0272.2023.3.8.
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This research aims to explore the means by which digital art presented in online museum exhibitions will contribute to an improved visitor experience of the museum exhibition. Theoretical and practical research methods are used, namely, analysis of scientific and professional literature on the impact of digital culture on museum exhibits, analysis of design analogs of online museums. Based on the research analysis, the influence of digital culture on art museums was established, which allowed them to go beyond physical spaces, display digital art and implement virtual reality technologies. The cases of the Museum of Modern Art, TATE, the Victoria and Albert Museum, as well as China's Palace Museum and Shaanxi History Museum have demonstrated the significant benefits of integrating digital culture into the art world. The use of augmented reality (AR), virtual reality (VR) and mixed reality (MR) in digital museum exhibitions was analyzed. It is substantiated that the impact of digital culture on art museums is evidence of the importance of digital technologies in the design of online museums. The scientific novelty lies in the fact that the design principles of digital art exhibitions of online museums have been further developed in the work, which allows them to reach a wider audience of visitors and improve the aesthetic perception of museum expositions by viewers. The results of the study can be used in their introduction into the modern practice of designing museum.
17
Wang, Jiaxin. "Research on the dynamic design of art exhibitions based on digital media". Advances in Education, Humanities and Social Science Research 7, n.º 1 (21 de novembro de 2023): 676. http://dx.doi.org/10.56028/aehssr.7.1.676.2023.
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In today's art exhibitions, art works are no longer the traditional static display exhibition, but have a more diversified space to create, communication channels, experience ways. Dynamic design has become an irresistible force in today's art exhibition, which greatly innovates the form of art display, improves the effect of art communication, and plays an important role in promoting the construction of public culture. Based on digital media, this paper mainly puts forward corresponding dynamic design strategies from four aspects of dynamic information chart, dynamic observation perspective and dynamic exhibition narrative, so as to enrich the exhibition form and promote the integration of art and technology.
18
Kenigsberg, Ekaterina. "THE GENESIS OF THE DOCUMENTA INTERNATIONAL EXHIBITION OF CONTEMPORARY ART AS A DIALOGUE PLATFORM FOR ELITE ART AND MASS CULTURE". Herald of Culturology, n.º 3 (2022): 158–75. http://dx.doi.org/10.31249/hoc/2022.03.10.
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The article examines the genesis of the documenta exhibition as the largest forum in the world of contemporary art, based on the dialogical character of elite art and mass culture. On the example of 14 exhibitions held from 1955 to 2017 documenta traced the long path of development from a single art event as part of the Federal Exhibition of Gardens to a regular global event, studied the role of its artistic directors - curators.
19
Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)". Ikonotheka 26 (26 de junho de 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
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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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Popper, Frank. "Art, Science, Technology: Six Exhibitions 1966–1998". Leonardo 52, n.º 2 (abril de 2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
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From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
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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, n.º 4 (4 de março de 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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Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern". Digital Age in Semiotics & Communication 5 (30 de dezembro de 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events. This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system. In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.
In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate.
This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
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O'Connor, Maureen Sarah. "Education in Motion: The Virginia Museum of Fine Arts Artmobile, 1953 – 1994". Museum and Society 17, n.º 1 (10 de março de 2019): 19–36. http://dx.doi.org/10.29311/mas.v17i1.2780.
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This essay explores five exhibitions created for the Virginia Museum of Fine Arts Artmobile, the first mobile art museum in the United States. The mission of the Artmobile was to bring works of art directly to citizens throughout the state of Virginia from 1953 to 1994. In analyzing educational and exhibition materials, such as exhibition booklets, audio guide recordings, press releases, and speeches, this research examines the educational philosophies of each exhibition in relation to contemporaneous museum education literature. Applying Tony Bennett’s analysis of the impact of culture on the social to the creation of educational philosophies, this essay argues that while the mission of the Artmobile remained constant, there was a shift in the educational objective from the development of cultured citizens through art appreciation and the improvement of public taste to fostering individual visual literacy and encouraging visitors to make art historical and personal connections.
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Jensen, Kirsten, e Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process". Museum and Society 13, n.º 3 (1 de julho de 2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.
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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.
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Meng, Lin. "The Research on the Development of the Fashion Curations and Its Current Situation in China". Journal of Education, Humanities and Social Sciences 5 (23 de novembro de 2022): 6–11. http://dx.doi.org/10.54097/ehss.v5i.2876.
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With the thriving of various types of art exhibitions in China, fashion displays also approach the view of people gradually. However, as a new art-related form of exhibition, related researches and practices in China are comparatively limited and the audience lacks the common sense of fashion curation and fashion display. Indeed, the site and forms of fashion display are various, such as the window display in malls and department stores or exhibitions in the gallery or museums. Nonetheless, this research would mainly focus on the museum or gallery aspect. This paper aims to learn about related research and case studies in order to explore the innovative ways and the possible future orientation of fashion curation in China, and the results find that besides exhibitions hold by fashion brands with less or more commercial intention, the local department of culture and fashion brands need to develop creative methods and techniques to spread the local culture, design inspiration, and process innovation to empathize with the audience, such as cross-border cooperation and hold non-commercial fashion curation in China.
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Rusakov, Serhii. "Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition". Studia Warmińskie 59 (31 de dezembro de 2022): 111–24. http://dx.doi.org/10.31648/sw.8330.
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The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from different Ukrainian regions and on. The art market is considered as a value-semantic space, where works of art are circulated, thanks to which new ideas emerge in the Ukrainian cultural space. The author uses the cultural-historical method, which allows to analyze, describe and generalize the patterns of origin, formation and development of the art market as an important component of socio-cultural evolution of Ukrainian culture. The important role of patronage, which contributed to the development of the Ukrainian art market, is considered. The origin and development of art exhibitions, which gained popularity in the 19th century, despite the long-standing tradition of exhibition activities in Ukraine, are studied. Mobile art exhibitions became a unique phenomenon, which determined the main trend in the fine arts of the last third of the 19th century. The activities of the Taras Shevchenko Scientific Society, which contributed to the creation of a portrait gallery – the largest project related to the fine arts, headed by M. Hrushevsky – are reviewed separately. The author emphasizes that the activities of progressive Ukrainian of art contributed to the creation of many artistic associations, which played an important role in promoting the works of Ukrainian artists, awakening public interest in art.
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Kapoor, Punita. "The Punjab Exhibition of 1881 and Politics of the British Raj". Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (25 de dezembro de 2021): 40–48. http://dx.doi.org/10.12944/crjssh.4.special-issue.05.
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In 1849, Punjab was annexed by the English East India Company. This paper deals with the Punjab Exhibition of 1881, where along with textiles, arts and other local handicrafts of India were put on display. Claiming to revive the indigenous Indian arts, crafts and textiles, the exhibition represents the politics of selected exhibits that catered to the taste1 and choice of the British. The exhibition helps in understanding the objective and importance of conducting imperial exhibitions, as exhibitions were also redefining the European homes. A detailed analysis of the exhibition foregrounds how colonial rule redefined the idea and representation of indigenous handicrafts and art. The indigenous handicraft was also immensely being guided by the European market. Thus, the paper focuses on the aspects and strategy adopted by the British at promoting and preserving Indian art and textile. Moreover, efforts at preservation of the arts got institutionalised in the form of art schools. These were set up for the purpose of promoting and building taste for Indian traditional art in the British markets. The paper attempts to understand how the British shaped the notion of heritage and cultural difference between the coloniser and colonised and the ‘self’ and the ‘other’ through the exhibition. By analyzing the Punjab Exhibition 1881, the paper aims to deal with some pertinent issues such as strategic organisation and representation of the exhibits, as well as the legacy of the exhibition during colonial rule. The paper argues that though the British took to organising exhibitions to promote and preserve Indian art and textile, but in reality, it was a disguise aimed at establishing imperial supremacy over the colonised and maintain a hierarchical relationship of aesthetic and traditional culture between the ruler and the ruled.
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Zychowicz, Karolina. "The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions". Ikonotheka 26 (26 de junho de 2017): 63–94. http://dx.doi.org/10.5604/01.3001.0010.1673.
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The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exhibitions hosted in the main building of the Central Bureau of Art Exhibitions, i.e. the Zachęta. Foreign exhibitions prepared by the Committee were intended to justify the state’s cultural strategy based on promoting the aesthetics of Socialist Realism, which programmatically referred to 19th-century Realism and its historical traditions. Exhibitions of art produced in the countries of the Eastern bloc presented the local version of Social Realism plus 19th-century painting that could be described as “Critical Realism”. Bringing to Poland exhibitions of folk art from the “brotherly” countries of the Eastern bloc was an important element of the Committee’s policy, as in the years 1949–1956 attempts were made to use folk art in the process of remodelling the country in the Socialist spirit. The Committee for Cultural Cooperation with Foreign Countries was established in 1950 in order to centralise, expand and politicise artistic exchange. On the whole, however, the idea to centralise all of the cultural exchange with foreign countries turned out to be a utopia. In 1955, just as the so-called thaw was beginning, the Ministry of Culture and Art offered the proposal to decentralise the exchange and to dissolve the Committee.
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Shamraeva, Elena Yu. "The Mentality of a Museum on a Library Site: Book Exhibitions and the Representative Function". Observatory of Culture 19, n.º 3 (5 de julho de 2022): 236–46. http://dx.doi.org/10.25281/2072-3156-2022-19-3-236-246.
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The development of digital culture has made significant changes in the field of culture and information, in particular in the field of library activities. Digitization of library collections forms a digital resource of knowledge, which requires reflection and identification of its potential, strengths and weaknesses. The strengths of the digital resource include a multiple increase in the availability of the book collections and a qualitative change in the opportunity of their research. The problematic aspects of digitalization include the issue of reliability of the digital sources and authenticity of a book unit translated into digital format. One of the verification solutions to this issue may be creating a digital information block accompanying a digital book to collect, accumulate and preserve information about the paper book unit and the history of its existence.Due to the development of digital technologies, a paper book ceases to be the only medium of information. From an information document, it turns into an object of culture with a memory value, historical and artistic features. The translation of the book into the category of a cultural object brings together the position of libraries and museums as medium socio-communicative institutions that act as a platform for the presentation of their collections, one of the most optimal forms of which are exhibitions. The article considers the issues of representativeness of book exhibits and book exhibitions in the conditions of development of the digital environment and digital technologies. There is examined the representativeness of book exhibitions using the example of thematic and artistic-mythological exposition methods.The article considers the activities of the Museum of Painting Culture (MZHK) and the Higher Art and Technical Workshops (VKHUTEMAS) and their experimental searches of the first third of the 20th century in the field of creating new museum exposition forms and exhibition formats. The author draws parallels between universal methods of working with an art object developed by MZHK and VKHUTEMAS and working with book exhibits when creating an exhibition today. The article briefly outlines the tasks solved by the curatorial and design group to strengthen the representative function of an exhibit-book. There are analyzed modern forms of real and virtual exhibitions, their interrelation and mutual influence, formats of interaction. The article notes the importance of exhibitions for the self-presentation of cultural institutions in the digital space.
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Tamimi Arab, Pooyan. "Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures". Journal of Material Culture 26, n.º 2 (5 de março de 2021): 178–200. http://dx.doi.org/10.1177/1359183521997503.
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Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition developments up until 2019, Ahmed’s framework is demonstrated as a guide for critical interpretations of exhibitions of Islamic art and material culture. This perspective lays bare a tension that contemporary museums struggle with in response to nationalist pressures to integrate Muslim citizens in Western Europe: between a diverse Islamic heritage, on the one hand, and orthodox desires to materially purify the very idea of Islam, on the other.
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Hopfener, Birgit. "Complicating Narratives of Contemporary Chinese Art as Global Art through the Lens of Exhibition Histories". ARTMargins 12, n.º 3 (1 de outubro de 2023): 89–101. http://dx.doi.org/10.1162/artm_r_00365.
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Abstract This essay reviews two publications on Chinese contemporary art and its relation to the global through the lens of exhibition histories. The monograph Die chinesische Avantgarde und das Dispositiv der Ausstellung. Konstruktionen chinesischer Gegenwartskunst im Spannungsfeld der Globalisierung (The ‘Chinese avant-garde’ and the exhibition as dispositive. Constructing contemporary Chinese art in the global context) authored by Franziska Koch (2016), and the edited volume Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000, (2020) published in the Exhibition Histories series by Afterall Books. The former seeks to re-write the history of contemporary Chinese art exhibitions from a transcultural perspective with a particular focus on group exhibitions of contemporary Chinese art in the West. The latter focuses on exhibitions that took place in the wake of China's “global turn in the year 2000. It examines the first international Shanghai biennial and so called “satellite shows,” unofficial exhibitions that took place concurrently with the biennial. Both books examine how Chinese contemporary art's relation to the global has been conceptualized and operated differently at different times, in different yet often transculturally/transnationally entangled locales, socio-political contexts, power structures and geopolitical currents, in different discursive contexts, according to specific political and discursive conditions and agendas, and through various agents and institutions. This essay argue that by shedding light on specific locales, and their transnational and transcultural entanglements, and the various agents involved in the formation of global contemporary Chinese art both publications critically intervene into top-down universalist discourses of the “global contemporary.” Speaking from different positionalities, they seek to complicate narratives and understandings of contemporary global and Chinese art from the bottom-up. Informed by the post-colonial critique of historicism a bottom-up perspective they conceive of global art not as a universalistic concept, but as plural articulations of global contemporaneity conceived as “disjunctive unity,” a shared yet heterogenous present constituted by multiple contemporaneities.
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Nosenko, Anna, Yanina Tverdokhlibova e Dmytro Velychko. "Exhibition activity as a pedagogical factor in the formation of the personality of culture". Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2023, n.º 2 (143) (29 de junho de 2023): 7–18. http://dx.doi.org/10.24195/2617-6688-2023-2-1.
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The article presents the conceptual essence exhibition activities of art education institutions in addressing issues of aesthetic education of a person of culture; pedagogical views on the problem are highlighted, the phenomenon of exhibition activities of participants in the educational process of art education institutions; characteristics of creative assets exhibitions demonstrated by participants of educational process as well as the role of exhibition work in creating cultural and artistic space as an effective factor of aesthetic education of a person of culture are considered. The author indicated priority tasks of exhibition activities of educational institutions of different levels in the field of multicultural space and in the life of modern society, a number of issues related to methodological support and system solution of a complex of tasks arising within the exhibition process under current conditions of education based on methodology of the scientific theory of pedagogical management are identified.
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MUŞKARA, Üftade, Oylum TUNÇELLİ e Serpil ŞAHİN. "ART AND ARCHAEOLOGY CLOSE ENCOUNTERS OF THE THIRD KIND". TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, n.º 2 (1 de abril de 2021): 732–49. http://dx.doi.org/10.7456/11102100/024.
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Art and archaeology have a growing interaction, which is expressed mainly in displaying the material culture of ancient civilizations. The post-modernist concept suggests that art is for everyone. Likewise, archaeologists recognize the idea that archaeological narratives are supposed to be everyone to understand and enjoy. Today, many museum displays and special exhibitions consist of contemporary design features of art. The technology-driven exhibition techniques applied in the “Curious Case of Çatalhöyük” exhibition and Göbeklitepe Animation Center to increase the perception of visitors establish the basis of the study. The paper examines the backgrounds of the relation between two disciplines by “digging” up the history of archaeological theories and analyzing main art movements corresponding to a period from Dadaism to contemporary art. Archaeological storytelling of history and culture using post-modern rhetoric is defined as the “close encounter.” The interactive display provides new directions in the visual reconstructions of past societies. We proposed that the Çatalhöyük exhibition and Göbeklitepe Animation Center are among the best examples of the new approach for presentation in archaeology.
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Xia, Yanqing. "How Has Online Digital Technology Influenced the On-Site Visitation Behavior of Tourists during the COVID-19 Pandemic? A Case Study of Online Digital Art Exhibitions in China". Sustainability 15, n.º 14 (11 de julho de 2023): 10889. http://dx.doi.org/10.3390/su151410889.
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The COVID-19 pandemic has had a significant impact on the global tourism industry, leading to a decrease in peoples’ willingness to travel and a sense of insecurity regarding tourist destinations. Therefore, restoring people’s willingness to travel is the greatest challenge faced by this industry in the post-pandemic era. The tourism industry requires innovative solutions to achieve sustainable recovery. While there is a considerable amount of research on its recovery during the pandemic, there are few studies exploring people’s willingness to travel to encourage sustainable and resilient recovery in the post-pandemic era. This study employed a quality model to examine the satisfaction and intention of tourists towards the application of online digital art exhibitions under the influence of COVID-19. The aim was to investigate the promoting role of online digital art exhibitions in the sustainability and resilient recovery of the tourism industry. To achieve these objectives, this study focuses on the online digital art exhibition of Song Dynasty figure paintings launched by China Central Television (CCTV), with post-exhibition surveys conducted and 512 valid questionnaires collected. The research model and hypotheses are tested using structural equation modeling. The results of this study indicate that travelers’ intentions to engage in on-site visits through online digital exhibitions are determined by three factors: perceived value, satisfaction, and art therapy. Furthermore, online digital art exhibitions not only represented the most important form of tourism during the pandemic, but they also provided significant psychological healing. They have become a driving force for the transformation of the current culture and tourism industry and the promotion of its sustainable development. This research provides a benchmark for future research on the tourism industry, and it offers new research directions in the field of sustainable tourism.
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Fisher, Laura, e Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas". Media International Australia 158, n.º 1 (11 de janeiro de 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.
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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART". Art and Science of Television 16, n.º 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Ramli, Muhamad Firdaus, Rofidah Musa, Norkhaizatul Erma Mohd Khairuddin e Nurazry Basiron. "Cultural Sharing Through Visual Art Exhibition ‘Dalam Bingkai’ by JSRB-UPSI with FSRD-ISBI". EDUCATUM Journal of Social Sciences 6, n.º 2 (19 de novembro de 2020): 25–34. http://dx.doi.org/10.37134/ejoss.vol6.2.3.2020.
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The cultural sharing of artworks and the creation of visual art can be expressed through exhibitions and demonstrations of artistic involvement. The artistic exhibitions can facilitate the factors of appreciation and understanding of visual art culture. Through the field of visual arts program, artworks and creation was inspired by the Department of Art and Design, Faculty of Art, Computers and Creative Industry (FSKIK) in collaboration with the Faculty of Design and Design (FSRD), Indonesian Institute of Cultural Arts, Bandung (ISBI). The ‘Dalam Bingkai’ Visual Art Exhibition associates the influence of internal sensible factors on the construction of an artwork. Art and cultural contribution programs are generated to achieve the field-sharing approach and mechanism. The objectivity towards this article sharing is due to the knowledge of the artistic delivery in preferring the style and gaining the experiences based on the artwork requirements. The article addresses the inquiries related to the fundamental aspect of visual art and the extension of artistic fundamental practice demands. The article is also based on an exploration of the pragmatic factors of the artwork construction. The quality of the visuals art argument of reflection related to the quality of the artwork that opens up the success of the impact upon the acceptance and attention. The understanding of the cultural sharing can be associated with logical thinking and the perception of awareness in the artwork making. The concept of visual practice is related to the factors of observation that need to be defined through the perception of the artist. The methodology relates to the artwork collection in exhibition space that indicates the content in presenting at UPSI Art Gallery. The appointed exhibition curators express the visual description into the reality of the artwork making. The observation processes promote the data based such as from field notes, interviews, photos and video recordings. The understanding of the elements and principles of visual arts technically meant as guidance. The duration of the exhibition was four (4) days aimed at the impact of the subject of ‘Dalam Bingkai’ meaning. Visual art exhibitions and cultural programs through a collective of an artistic understanding contribute to the stress-free condition from the artist perspective.
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Oikarinen-Jabai, Helena. "Young Finnish People of Muslim Background: Creating “Spiritual Becomings” and “Coming Communities” in Their Artworks". Open Cultural Studies 3, n.º 1 (1 de fevereiro de 2019): 148–60. http://dx.doi.org/10.1515/culture-2019-0013.
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Abstract In this essay I discuss artworks by a sample of young people with a Muslim background who participated in the Numur—Islam and I exhibition, which was organised as part of the Young Muslims and Resilience (2016-2018) research project. Art exhibitions were staged in November 2017 and March 2018 with eighteen young adult participants/co-researchers. Their artworks included video and textile installations, photo collages, paintings, calligraphy and poetry, dealing with issues such as faith, dialogues between religious communities, gender, belonging and sexual diversity. Here I concentrate on some works by the participants who stated that they leaned on Sufism or spirituality in their working processes, or whose works expressed qualities that may be reflected through the spectrum in which rhizomes of Sufi ways of understanding human existence in the world are present. In their artworks, the participants created fresh ideas about possible encounters, which I interpret as being linked to modern and postmodern ideas of relationships between spaces and “becoming communities.” Likewise, these ideas can be traced to our common philosophical heritage, which is partly based on spiritual mystic thought and practices of different religions. By using art, the participants could embody this legacy, create spaces for themselves and open landscapes for discussions between Muslim believers and people with different religions and worldviews.
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T., Tishkina, e KULIKOVA T. "ART COLLECTIONS IN SCHOOL MUSEUMS, EXHIBITION HALLS AND GALLERIES OF MUNICIPAL BUDGET INSTITUTIONS OF ADDITIONAL EDUCATION IN BARNAUL". Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 413–18. http://dx.doi.org/10.14258/2411-1503.2021.27.63.
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Since the 1960s, art schools have been created in Barnaul for the aesthetic education of children and adolescents. There are currently seven art schools for children and one art school in the city. Teachers attach great importance to the organization of exhibitions of students ‘ works, which are arranged in classrooms and recreation areas. Specialized exhibition halls operate in Children’s Art Schools No. 1 and No. 6. Since 2003, the Children’s Art Gallery “Lukomorye” has been in operation. The collections of works of art are formed and demonstrated in some museums of municipal budgetary educational institutions of the city. They include the works of professional masters (F.S. Torkhov, A.P. Shchetinin, etc.). These collections play a significant role in the aesthetic education of students. All interested persons are invited to get acquainted with the expositions. Creative meetings with artists and sculptors help to introduce participants to culture and art. Under the guidance of teachers, students ‘ educational and research activities are carried out. Students can present their works on the platforms of galleries and exhibition halls. Keywords: art collection, museum, gallery, exhibition, Barnaul
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T., Tishkina, e KULIKOVA T. "ART COLLECTIONS IN SCHOOL MUSEUMS, EXHIBITION HALLS AND GALLERIES OF MUNICIPAL BUDGET INSTITUTIONS OF ADDITIONAL EDUCATION IN BARNAUL". Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 413–18. http://dx.doi.org/10.14258/2411-1503.2021.27.63.
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Since the 1960s, art schools have been created in Barnaul for the aesthetic education of children and adolescents. There are currently seven art schools for children and one art school in the city. Teachers attach great importance to the organization of exhibitions of students ‘ works, which are arranged in classrooms and recreation areas. Specialized exhibition halls operate in Children’s Art Schools No. 1 and No. 6. Since 2003, the Children’s Art Gallery “Lukomorye” has been in operation. The collections of works of art are formed and demonstrated in some museums of municipal budgetary educational institutions of the city. They include the works of professional masters (F.S. Torkhov, A.P. Shchetinin, etc.). These collections play a significant role in the aesthetic education of students. All interested persons are invited to get acquainted with the expositions. Creative meetings with artists and sculptors help to introduce participants to culture and art. Under the guidance of teachers, students ‘ educational and research activities are carried out. Students can present their works on the platforms of galleries and exhibition halls. Keywords: art collection, museum, gallery, exhibition, Barnaul
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Boitunova, S. I., S. V. Maksimova e O. V. Shlykova. "BOOK CULTURE AND ART IN YAKUTIA". Arts education and science 1, n.º 1 (2021): 164–71. http://dx.doi.org/10.36871/hon.202101019.
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The work reveals the specific features of book art, which integrates the achievements of artistic means and forms, as well as scientific research. The authors focus on the regional Arctic locus of book art. The article traces the origin of Yakut book illustrations from the first attempts of amateur artists on the pages of the periodical press in the 1920s to the activities of various institutions: the scientific research society "Sakha kehskileh" (1925–1930), the cultural and educational societies "Manchaary" and "Sakha omuk" (1920–1930) and The Union of Soviet Artists of Yakutia (since 1940s), that pioneered the accumulation of cultural practices and development of art trends in the region. The characteristics of the first Yakut artists-illustrators are presented: P. P. Romanov, who created illustrations to the image of the heroic Olonkho epos "Byudyuryubet Myuldzu Bege" and G. M. Turalysov, who illustrated the collection of poems and songs by Ilya Chagylgan "The Rise", thus initiating the development of professional graphic art in Yakutia. The creation of the art school in Yakutsk in 1945, the emergence of publishing houses became a new page in the development of the book graphics in the works of the first graduates of the school — E. Shaposhnikov, E. Shestakov, M. Lukin, O. Kovalevsky, V. Petrov and others. Special attention is paid to creativity of E. S. Sivtsev, the founder of Yakut prints. The First (1958) and The Second (1963) All-Union Exhibitions of prints opened to the public the names of Yakut illustrators. Later A. P. Munkhalov exhibited his series of engravings "My North" at the International Exhibition "Intergraphy — 67" in Berlin, and his engraving "Listening to the World" was included in the German school textbooks. The article also reveals the modern stage in the development of book art, from the activities of "Bichik" publishing house to graduate projects of The Arctic Institute of Culture and Arts and The Yakutsk School of Art.
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Колісник, О. В., e К. І. Подобєд. "Спадщина Василя Єрмилова в культурному контексті незалежної України". Art and Design, n.º 4 (15 de fevereiro de 2021): 114–22. http://dx.doi.org/10.30857/2617-0272.2020.4.9.
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To examine Ukrainian art projects and studies of the period of independence, dedicated to the legacy of the outstanding artist and designer Vasyl Yermilov, and to actualize the significance of the artist's work for the contemporary art and design process. Methods of systematization and actualization of the analytical information gained by studying specialized professional literature and websites of cultural institutions. The main tendencies of work with the legacy of Vasyl Yermilov in the context of the problems of the Ukrainian avant-garde are determined and characterized. The issue of the importance of differentiating the Ukrainian and Russian avant-garde on the international art scene for the formation of a positive image of Ukraine has been actualized. Key projects were analyzed, including museum and contemporary art exhibitions, and the difficulty of working with the artist’s legacy due to the lack of iconic works in Ukrainian collections and the loss of some of the works of the 1920s was raised. Systematized Ukrainian art projects and studies of the period of independence, dedicated to Vasyl Yermilov, which cover various areas of culture: art history works, museum exhibition projects, contemporary art practices. The study shows current trends in working with the heritage of the Ukrainian avant-garde and can be used to develop further cultural projects and create exhibitions.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK". Muzealnictwo 59 (5 de outubro de 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art". ARTMargins 10, n.º 2 (junho de 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
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Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
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Yan, Keyu. "Modernizing Sculpture: Print Culture and the New Discourse on Sculpture in China, circa 1880–1929". East Asian Publishing and Society 13, n.º 2 (8 de setembro de 2023): 133–69. http://dx.doi.org/10.1163/22106286-12341378.
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Abstract Much of the current scholarship on the art of China in the 1910s and 1920s focuses on artworks, art academies, and art groups that were associated either with traditional Chinese painting (guohua 國畫) or with oil painting (youhua 油畫). By contrast, other mediums such as sculpture have rarely been discussed by scholars of modern Chinese art. Similar to guohua, the association of which with lofty literati values and imperial eras was hotly debated at the beginning of the Republic of China (1912–1949), the art of sculpture – a category that has long been considered as funerary art, craft, or decorative art – and its relevance to modern China was also discussed by artists and intellectuals at that time. In early twentieth-century China, sculpture eventually gained a new status within the fine arts. This article argues that one important factor that promoted the changing perception of sculpture in the public sphere was the blossoming print culture and its connections with photography and exhibitions in Republican China. Print materials such as newspapers, newspaper supplements, pictorial magazines, and exhibition catalogs/pamphlets promoted the process of modernizing sculpture.
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Pan, Liang. "The forms of positioning of Russian fine art in the cultural space of modern Shanghai". Культура и искусство, n.º 6 (junho de 2024): 235–48. http://dx.doi.org/10.7256/2454-0625.2024.6.70814.
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The purpose of the study is to identify the main forms of presentation and positioning of Russian fine art, in particular the St. Petersburg art school, in the cultural space of modern Shanghai. The research material is the works of fine art by artists from Russia, which were presented during this period at exhibitions and other cultural and educational events in Shanghai. Tasks: to determine the range of events in Shanghai in which the works of Russian artists participated in the 2010-2020s.; to characterize the works of Russian authors presented at exhibitions, including through the artistic analysis of the latter; to identify the authors, themes, genres and images of Russian painting, and historical periods that are in demand by residents of the Chinese city. The theoretical and methodological basis of this research is the works on the history and theory of Soviet and modern Russian art, the art market, philosophy and aesthetics, as well as factual materials related to the artistic life of modern Shanghai, especially those presented in announcements and descriptions of exhibition projects and other events in Shanghai with the participation of Russian painting. The novelty of the study is due to the fact that it highlights the current situation in the field of presentation of Russian art by Chinese institutions on the example of Shanghai, a city that is traditionally famous for its ties with the culture of its northern neighbor, especially with St. Petersburg – the cradle of the artistic traditions of Russian art. By referring to the material of art exhibitions of the 2010-2020s, which took place in different spaces of Shanghai, the author analyzes which approaches the curators of such projects prefer in the presentation of Russian painting, both modern and Soviet period. An artistic analysis of the pictorial material of the exhibitions is carried out. The main function of these events is determined by the comparison of Russian and Chinese painting, which is important for new generations of masters.
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Sekulić, Nada. "Ukradena autentičnost: recepcija primitivne umetnosti i kulture na reprezentativnim međunarodnim sajmovima krajem XIX i početkom XX veka". Issues in Ethnology and Anthropology 11, n.º 3 (2 de novembro de 2016): 897. http://dx.doi.org/10.21301/eap.v11i3.12.
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The colonial expansion has marked the beginning of the collecting of the art objects from the conquered countries and regions. Spanish conquistadors transported various cultural artifacts of Aztecs and Incas in Europe, where they became curiosities at the chambers of the royalty. With further geographical discoveries, through trade routes and wars, the number of these items considerably increased and in the 18th century the first museums were established where they were exposed for public exhibitions. At a time when there was no photographs nor film, for people who were not able to travel, museums and public exhibitions became the main source of information about primitive cultures, but also the main source for the construction of stereotypes about them. The most important among them were the great world exhibition fairs of technology and art. They represented the foundation of the global (imperialist) integration and vision of the world. The primitive cultures and various conflicting aspects of imperialist conquest were deleted by creating the image of their timelessness and backwardness, as well as of their exotic beauty and authenticity. Primitive culture and imperialism were framed in the common picture of their mutual harmonious complementarity. The authenticity of the cultural artifacts of primitive cultures together with the entire nations and their resources have been colonized and exploited giving way to the ideology of modernism and the development of capitalism.
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Kannike, Anu, e Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses". Eesti Rahva Muuseumi aastaraamat, n.º 60 (12 de outubro de 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Pieczka, Michał, e Bogusław Wowrzeczka. "Art in Post-Industrial Facilities—Strategies of Adaptive Reuse for Art Exhibition Function in Poland". Buildings 11, n.º 10 (18 de outubro de 2021): 487. http://dx.doi.org/10.3390/buildings11100487.
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Along with the socio-economic changes in Poland after 1989 and the beginning of the industrial restructuring process, many industrial architecture objects lost their original purpose. At present, sustainable processes of reusing the building stock left over from the industrial period are proceeding. One of the possibilities includes adaptation to culture-related goals, where such activities have an established tradition in the world. The aim of the article is to analyze the adaptive reuse of post-industrial facilities in Poland for the functions of art exhibitions, such as museums, galleries, and art centers. The study was based on descriptive qualitative and quantitative research, in the following stages: identification and analysis of adapted objects; developing a typology of adaptive reuse strategies; questionnaire research aimed at institutions located in adapted facilities. The analyses show that the leading group of adapted facilities constitute former power plants, which ensure favorable exhibition conditions. The main result is the recognition of five types of adaptive reuse strategies implemented in Poland, resulting from a diversified approach to the historic substance, such as: the method of extension of an object; placing an exhibition; the character of the exhibition space, along with the type of intervention in the interior of a historic building.
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Palkovljević-Bugarski, Tijana, e Lolita Pejović. "Activities of the gallery of Matica Srpska in the service of cultural diplomacy". Kultura, n.º 173 (2021): 113–24. http://dx.doi.org/10.5937/kultura2173113p.
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Within the framework of rich and diverse activities of museums, which include exhibitions, publishing, educational and conservation / restoration activities, a special place is given to international cooperation programs which, if well designed, can play an important role in the cultural diplomacy system of each country. In the process of transformation from a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed an important part of its activities towards international cooperation and thus cultural diplomacy. These activities are realized through hosting of exhibitions of foreign institutions, visiting exhibitions of the Gallery in European museums, organization of joint exhibitions with museums in the region, cooperation with foreign cultural centers and through protocol visits. Well-designed themes and programs that promote national art, connections with other cultures and the culture of other nations, museum activities - exhibitions and publications - become an important tool for better international relations and a foundation for active cooperation among museum institutions throughout Europe.