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1
Rabineau, Phyllis. "David Dean. Museum Exhibition: Theory and Practice.:Museum Exhibition: Theory and Practice." Museum Anthropology 19, no. 1 (March 1995): 88–89. http://dx.doi.org/10.1525/mua.1995.19.1.88.
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2
Waller, Laurie. "Curating actor-network theory: testing object-oriented sociology in the Science Museum." Museum and Society 14, no. 1 (June 9, 2017): 193–206. http://dx.doi.org/10.29311/mas.v14i1.634.
Повний текст джерелаАнотація:
Across different traditions of social research, the study of science exhibitions has often taken the form of an ‘object-oriented’ inquiry. In this tradition, actor-network theory (ANT) has focused on how the processes of exhibiting objects mediate relations between science and society. Although ANT has not developed as a theory of curating, it nonetheless contributes to revaluing the work performed by curators in relation to the practice of science. This article describes an ethnographic engagement with a curatorial experiment in a science museum which staged a ‘multi-viewpoint’ exhibition of an object. A display of an object ‘in process’, I take the opportunity of this curatorial experiment to explore analogies drawn in ANT studies between museums and laboratories in attending to the ways that curatorial practices mediate science. I ask whether, and to what extent, ANT can account for curating as a material practice that not only participates in domesticating objects for science but also in problematizing, multiplying and redistributing relations between objects and the social.Key words: actor-network theory, sociology, science studies, curating, objects.
3
NicGhabhann, Niamh. "Curatorial Practice and Public History: Reflections on the ‘World Within Walls’ Exhibition." Irish University Review 52, no. 1 (May 2022): 77–90. http://dx.doi.org/10.3366/iur.2022.0543.
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This essay explores the potential for curatorial practice in a public history context to be engaged as a research practice. It focuses on the development of an exhibition on the history of St Davnet’s Hospital in Monaghan, which first opened as the Monaghan District Lunatic Asylum in 1869. The essay traces the development of this exhibition, and the significance of its location in a local authority museum context. Positioning the exhibition in the context of similar or related public history projects on the subject of psychiatric history, the essay reflects on the processes and practice of curating as a way of generating new insights. In particular, it considers practices of engagement and shared authority that are at the heart of public history practice, as well as contemplating the significance of working with material objects and their associated narratives. This examination of the ‘World Within Walls’ case study identifies curating as a significant research practice that generates new knowledge, rather than as a means of demonstrating or showcasing the results of prior work, particularly in the public history context.
4
Antonova, Lidia. "On the question of the imperial rivalry (based on materials of British exhibitions at the last third of the XIX – early XX centuries)." Metamorphoses of history, no. 30 (2023): 0. http://dx.doi.org/10.37490/s241436770029061-7.
Повний текст джерелаАнотація:
In the practice of British imperial propaganda, international and colonial exhibitions occupied a prominent place, which made it possible to demonstrate the prosperity and unity of the vast possessions of the metropolis. The 1886 Exhibition was the first event of its kind and left behind a huge amount of sources which made it possible not only to present exhibition sites, but to draw conclusions about the theory and practice of British imperial building. The last third of the 19th century is characterized by the intensification of colonial rivalry between the great powers, which was expressed not only in trade, economic and military, but also in ideological confrontation. In this regard, it is interesting to analyze what assessment was given in the context of the exhibitions to «other colonialists» and by what parameters British imperial practices were compared with the policies of the competing powers. The article concludes that colonial exhibitions were indeed based on opposition, but it was not an opposition between Britain and other modern empires, but an opposition between the past and present of the British possessions themselves. In the past there was savagery and barbarism by the «uncivilized» natives or oppression by «bad» colonizers such as the French and Dutch. In the present, everything testified to progress, prosperity and peace within the British family.International exhibitions have always been an effective way to establish cooperation and have not been a method of demonstrating conflicts. The experience of the 1908 exhibition clearly demonstrated the peaceful potential of such projects.
5
Crowe, Katherine, Robert Gilmor, and Rebecca Macey. "Writing, archives and exhibits: Piloting partnerships between special collections and writing classes." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 145–73. http://dx.doi.org/10.1177/0955749019877084.
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The University of Denver (DU) Libraries has been producing exhibitions for close to a decade and has recently increased its efforts to partner with classes, campus units and community organizations to integrate exhibit practices and resources into curricular and co-curricular opportunities. Student- and class-curated exhibitions feature prominently in the DU Libraries’ strategic plan, and the long-term partnerships between the Libraries and the DU Writing Program are central to the library’s agenda. Through an interdisciplinary lens of critical information literacy, archival theory, museology and Writing Studies, this article explores the 5-year collaboration and exhibition project between DU Special Collections and Archives and a faculty member of the DU Writing Program. The authors cover the background of the partnership, the evolution of the instructive and creative elements of the course, with a particular focus on the integration of archival research and exhibition practice, and examples of various iterations of the student-curated exhibits produced as part of the coursework. The article concludes with a discussion of the cross-disciplinary outcomes and challenges of initiating and managing a collaborative university writing and research course incorporating archives and exhibition in an academic library in the United States.
6
Wessman, Anna, Xenia Zeiler, Suzie Thomas, and Pilvi Vainonen. "The Durga Puja pop-up exhibition at the National Museum of Finland. Designing and hosting an exhibition as university educationmuseum collaboration." Nordisk Museologi 29, no. 2 (December 21, 2020): 96. http://dx.doi.org/10.5617/nm.8445.
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In autumn 2018, eight Museum Studies students from the University of Helsinki had the opportunity to put theory into practice and to gain hands-on experience making a real exhibition. The ‘Museum Content Planning’ course was a collaborative project between the National Museum of Finland and the university in which the students, together with the museum staff, built a pop-up exhibition about the Indian festival Durga Puja in only five weeks. The exhibition showed in the National Museum for two weeks, and the students were involved in most stages of the exhibition’s development. They also blogged about their learning experience. In this case study, we present our reflections on both the benefits and challenges of collaboratively creating an exhibition, which is simultaneously an accredited learning experience for university students.
7
Arnfred, Anne Julie. "The researching art exhibition. Curatorial approaches and methods in an interdisciplinary field." Nordisk Museologi 26, no. 2 (December 6, 2019): 5–23. http://dx.doi.org/10.5617/nm.7493.
Повний текст джерелаАнотація:
Building upon art theorist Simon Sheikh’s notion of two different translations of the word ‘research’ as on one hand the French recherché and on the other hand the German Forschung, the article explores the possibilities for combining art and research. Extending Sheikh’s idea of the art exhibition as Forschung, the article suggests a notion of the researching exhibition, exploring the possibilities of the art exhibition as an active contributor to, and generator of knowledge through a practice to theory approach in a (non-art) academic research project. The article contributes to reflection regarding which approaches and methods can be used in the collaborative practice-theory research process during work with the researching exhibition. It does so by examining what constitutes this type of exhibition, as well as the processes it produces and by which it is produced. The important thing is that the exhibition does not end up as a mere illustration of already conducted research, but rather as an active contributor to and facilitator of research.
8
Goldman, Jane. "Virginia Woolf and Post-Impressionism: French Art, English Theory and Feminist Practice." Miscelánea: A Journal of English and American Studies 20 (December 31, 1999): 173–91. https://doi.org/10.26754/ojs_misc/mj.199911244.
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Roger Fry's historic exhibition of 1910, "Manet and the Post-Impressionists", was a defining moment in avant-garde aesthetics, marking European modernism's revolutionary impact on the practices of British artists. But it also marked the start of British formalist theorists' influence on the critical apparatus for modernism. It is often cited to explain Virginia Woolf's enigmatic statement, in "Mr. Bennett and Mrs. Brown" (1924): "on or about December 1910 human character changed". The formalist aesthetics of Roger Fry and Clive Bell with which this date has become linked are also invoked in readings of To the Lighthouse (1927) to explain the painting practice of Lily Briscoe and the modernist aesthetics of Woolf herself. But 1910 saw other events surrounding the exhibition that we might acknowledge as relevant: in particular, the suffragette activism occurring at the time of the exhibition, culminating in the notorious demonstration on "Black Friday". Woolf's manifesto on 1910 seems to resonate both with the formulations by Fry and Bell on European art and with the formulations and practices of British suffragist artists. The stained-glass artist and organiser of suffragist colours, Mary Lowndes, published a number of essays in 1910 and 1911 which are of particular interest. The combined influences of French art, English formalist theory, and suffragist aesthetics may be at work in Woolf's Künstlerroman of 1927.
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Knutz, Eva, and Kathrina Dankl. "Urban experiments exhibited: Exploring practice-based design research and agency in urban space." Artifact 9, no. 1 (December 1, 2022): 26.1–26.26. http://dx.doi.org/10.1386/art_00026_1.
Повний текст джерелаАнотація:
This article explores the methodological considerations regarding the organization of a site-specific exhibition in urban space and the design research experiments that may be part of such an exhibition. The aim is to encourage design research as ‘exhibition’ and to propose a format that allows theory to enter the exhibition programme for the purpose of aligning exhibition contributions with theoretical contributions. Through the proposed analytical approach, we offer a method and a model to analyse interventions in public space in relation to agency and the participatory agenda for humans and non-humans. The main contribution is an exploration of the specificalities of curating an exhibition in urban space as a distinct practice-based design research project, where programme, research questions and experiments create knowledge on scaling agency in regard to temporality, citizenship and the value of urban space.
10
Bal, Mieke. "Guest Column: Exhibition Practices." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 9–23. http://dx.doi.org/10.1632/pmla.2010.125.1.9.
Повний текст джерелаАнотація:
What the public gets to see of museums is in the exhibitions in which their holdings are presented; beyond the archival functions of conservation, categorization, and restoration, this presentation is at the heart of museums as cultural institutions. Until a few decades ago, exhibitions were predictable in format and structure. Visitors attended monographic and period exhibitions to be instructed and to enjoy themselves according to the old adage of utile dulci. Every exhibition was an episode in a traditional conception of the management of art's relation to the public. Curators were also conservators; they studied, preserved, and categorized art objects and presented a selection of these according to the knowledge acquired. The space in which the objects were presented was kept as neutral as possible, so as not to disturb the viewer.
11
Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (March 4, 2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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Bawin, Julie. "L’artiste contemporain dans les musées d’ethnographie ou la « promesse » d’un commissariat engagé." RACAR : Revue d'art canadienne 43, no. 2 (December 14, 2018): 48–56. http://dx.doi.org/10.7202/1054382ar.
Повний текст джерелаАнотація:
For over three decades, ethnographic museums have been engaged in a process of redefining both their missions and their collections. Forced to reinvent themselves, as well as develop exhibition strategies in response to post-colonial theory, many of these museums have adopted a self-critical attitude and invited artists to intervene in their collections. What do such practices reveal ? When artists turn their attention to the collecting, archiving, and exhibition practices of colonial museums, does it follow that their approach is more engaged ? By considering the first exhibitions of this kind, while also tracing the evolution of this phenomenon since the 1980s, this paper seeks to respond to these questions. It also strives to understand the specific nature of critical curating as it is practiced in museums that are, more than any others, loci for identity politics.
13
Bartlett, Vanessa. "Psychosocial curating: a theory and practice of exhibition-making at the intersection between health and aesthetics." Medical Humanities 46, no. 4 (October 9, 2019): 417–29. http://dx.doi.org/10.1136/medhum-2019-011694.
Повний текст джерелаАнотація:
A recent Manifesto for a Visual Medical Humanities suggested that more in-depth analysis of the contribution of visual art to medical humanities is urgently required. This need perhaps arises because artists and curators experience conflict between the experimental approaches and tacit knowledge that drive their practice and existing audience research methods used in visitor studies or arts marketing. In this paper, I adopt an innovative psychosocial method—uniquely suited to evidencing aesthetic experiences—to examine how an exhibition of my own curation facilitated audiences to undertake psychological processing of complex ideas about mental distress. I consider the curator working in a health context as a creator of care-driven environments where complex affects prompted by aesthetic approaches to illness can be digested and processed. My definition of care is informed by psychosocial studies and object relations psychoanalysis, which allows me to approach my exhibitions as supportive structures that enable a spectrum of affects and emotions to be encountered. The key argument of the paper is that concepts from object relations psychoanalysis can help to rethink the point of entanglement between curating and health as a process of preparing the ground for audiences to do generative psychological work with images and affects. The case study is Group Therapy: Mental Distress in a Digital Age, an exhibition that was iterated at FACT (Foundation for Art and Creative Technology), UK and University of New South Wales Galleries Sydney, with an emphasis on audience response to key artworks such as Madlove—A Designer Asylum (2015) by the vacuum cleaner and Hannah Hull. It is hoped that this paper will help to reaffirm the significance of curating as a cultural platform that supports communities to live with the anxieties prompted by society’s most complex medical and social issues.
14
Malygina, Yuliya I. "Costume of the second half of the XX – beginning of the XXI century in Russian museum practice." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 60–66. http://dx.doi.org/10.30725/2619-0303-2021-2-60-66.
Повний текст джерелаАнотація:
The article considers the main stages in developing museum attitudes to the costume of the second half of the XX – beginning of the XXI century, collecting and exhibiting costume in foreign and Russian museums. There is examined the theory of Danish researcher M. R. Melchior separating the history of collecting and exhibiting costume in museums into «dress» and «fashion» museology. While the «dress» museology is largely based on the study of garments and their classification, «fashion» museology focuses on organizing events that could be considered fashionable themselves, creating spectacular exhibitions that attract the attention of the public and ensure the museum’s recognition, organizing communications around the museum. The limitations and contradictions of the theory are noted and the issue of the applicability of the theory to the national museum practice is brought up. In the view of the fluidity of terms that comprehend vestmental practices in the human sciences, there is given the analysis of the use of the term «fashion» in relation to stylistic changes in the costume of the Soviet period. There is given a view at the costume collections of the State Historical Museum and the All-Russian Museum of Decorative Art including the main sources of acquisition of the collections and the prospects for their further formation. In both cases, the most representative part of the collection belongs to the 1960s–1980s. And while in the State Historical Museum the costume was gathered mostly as background material for illustrating historical events the All-Russian Museum of Decorative Arts’ acquisition was purposefully based on the artistic quality of the items, which helped to form up the collection of the author’s costume. In the concluding part of the article there is given a view upon the exhibition practice of the State Historical Museum and the All-Russian Museum of Decorative Art representing the costume of the second half of the XX and early XXI centuries
15
Osorio Sunnucks, Laura, Nicola Levell, Anthony Shelton, Motoi Suzuki, Gwyneira Isaac, and Diana E. Marsh. "Interruptions: Challenges and Innovations in Exhibition-Making." Museum Worlds 8, no. 1 (July 1, 2020): 168–87. http://dx.doi.org/10.3167/armw.2020.080112.
Повний текст джерелаАнотація:
Anthropology and its institutions have come under increased pressure to focus critical attention on the way they produce, steward, and manage cultural knowledge. However, in spite of the discipline’s reflexive turn, many museums remain encumbered by Enlightenment-derived legitimating conventions. Although anthropological critiques and critical museology have not sufficiently disrupted the majority paradigm, certain exhibitionary projects have served to break with established theory and practice. The workshop described in this article takes these nonconforming “interruptions” as a point of departure to consider how paradigm shifts and local museologies can galvanize the museum sector to promote intercultural understanding and dialogue in the context of right-wing populism, systemic racism, and neoliberal culture wars.
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Ржепка, Элина, and Elina Rzhepka. "Theory and practice of business tourism in Irkutsk: regional development of destinations." Services in Russia and abroad 9, no. 3 (November 26, 2015): 63–73. http://dx.doi.org/10.12737/14394.
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This article continues the author´s researches of resources and prospects of business tourism in Irkutsk and Irkutsk region. The author states the basic theoretical and practical conclusions of the five years’ monitoring researches of business tourism market. Particular attention is paid to the geographical component as an integral part of the global factor, which specialization of a territory. Business tourism has different forms of organization: congresses, exhibitions, fairs, discussions and seminars. All participants of the events have different purposes of the visit according to their interests, capabilities and types of business. Most expressed the requirement of a mobile infrastructure to carry out the adaptation of the premises to the needs of particular organizers. According to research results, Irkutsk as a center of business tourism has great potential in this sphere of recreation. The article shows the main theoretical approaches and practical methods for determining the capacity of congress and exhibition market. The 8 main development trends of Irkutsk are identified, and the latest information about the tourist state of the city and region is presented. The city is a main transit center, where there is the distribution of tourist flows, following from west to east and back. Irkutsk also has a distinctive competitive advantage - its proximity to Lake Baikal, which certainly makes it stand out from other Russian cities. Thus, the specificity of the business tourism, considered in this article, consists in the integrated approach to satisfaction needs of tourists who travel for business purposes.
17
Michalik, Magdalena. "THE INSTITUTION OF MUSEUM, MUSEUM PRACTICE AND EXHIBITS WITHIN THE THEORY OF POSTCOLONIALISM – PRELIMINARY RESEARCH." Muzealnictwo 59 (April 3, 2018): 28–33. http://dx.doi.org/10.5604/01.3001.0011.7254.
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The article contributes to considerations on the exhibits of colonial origin that exist in Western culture, and on the institution of museum with regard to the terms of postcolonial theory. Moreover, it addresses practical issues concerning museum’s policy towards artefacts of non- European origin. I referred to the basic concepts used in the theory of postcolonialism, such as: otherness, hybridity, mimicry, the Third Space, and to the interpretation of collectibles – “semiophores” (carriers of meaning) – as named by Krzysztof Pomian. I presented issues related to museum exhibitions, and the existence of museums in countries affected by colonialism, using the examples of: the return of Maori heads (mokomokai) from French museums to New Zealand, permanent exhibitions of the Cinquantenaire Museum in Brussels and the Rijksmuseum in Amsterdam, activities of the AfricaMuseum in Tervuren, and the temporary exhibition in Berlin – “Deutscher Kolonialismus: Fragmente seiner Geschichte und Gegenwart” from 2017. The problems that have been examined reveal the hybrid structure of “semiophores” coming from outside Europe, which makes both their reception by the viewer and the way of their presentation by the museum difficult. The article helps to realise that displaying the “otherness” of the non- European cultures is quite a challenge for curators, similarly as the concept of such institution like museum must be for these cultures. This results in creation by the museum of the so-called Third Space. The soonest research should give an answer to the question asked by Professor Maria Poprzęcka: To what extent history of art co-created the massive structure of cultural supremacy and intellectual and artistic domination, which found its institutional and material form in museums that were being erected all over the world.
18
Nikonova, Antonina A. "Encyclopedia as a form of presentation of the museum’s research activities." Issues of Museology 15, no. 2 (2024): 290–98. https://doi.org/10.21638/spbu27.2024.210.
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The article analyzes the significance of the encyclopedia “Literary Museums of Russia” as a scientific reference publication, its role in the study of theoretical and terminological issues of museology. The status of an encyclopedic publication, an interdisciplinary type of publication,which presents the whole variety of activities of literary museums in Russia in the context of modern humanitarian knowledge, is considered. In the process of working on the encyclopedia articles, the authors conducted additional scientific research on the theory and history of the formation of the scientific discourse of museology and on the issues of preserving cultural heritage objects, which required not only an increase in the vocabulary, but recorded the state of museological research at the present stage. The collective nature of the work helped the authors avoid subjectivity in describing the complex phenomena of modern museum activity and at the same time raise controversial issues. These include the creation of a refined classification of literary museums. Thus, the existing difficulties in defining the very term “literary museum” were reflected in articles devoted to exhibition activities. The modern thesaurus of the theory and practice of exhibition activities captures the dynamic process of accumulation of various information and multimedia practices and accompanying concepts and requires careful study, since it often neutralizes the specifics of a literary museum. The concept of “museum practices” is one of the key concepts used to describe modern activities of museums and is associated with the concept of “museum culture”. Consequently, the task of an encyclopedia as a scientific reference publication is not only to record the results of the activities of a particular type of museum, already tested by science and practice, but also to identify poorly studied areas of museum theory and practice.
19
Liscombe, Rhodri Windsor. "Refabricating the Imperial Image on the Isle of Dogs: Modernist Design, British State Exhibitions and Colonial Policy 1924–1951." Architectural History 49 (2006): 317–48. http://dx.doi.org/10.1017/s0066622x0000280x.
Повний текст джерелаАнотація:
Historical analysis of the 1951 Festival of Britain has tended to overlook its ideological genealogy, and also to give less consideration to the Exhibition of Architecture, Town Planning and Building Research at Lansbury in Poplar on the Isle of Dogs than to the architecture and displays at the South Bank site (Figs 1 and 2). That genealogy reflects an intersection between the formulation of colonial policy and the adaptation of Modern Movement theory and practice during the final phase of British imperialism. Consequently the purpose of this paper is to recover various aspects of this intersection, during the nearly three decades from the British Empire Exhibition of 1924. Focusing on design practice in the Empire, especially the national exhibition buildings erected at those major international expositions that led up to and culminated in the Festival of Britain, it also examines the wider representation of architectural and colonial development in professional media and public propaganda.
20
Pleiger, Henriette. "The 'Inter-Disciplined' Exhibition - A Case Study." Museum and Society 18, no. 4 (October 30, 2020): 349–67. http://dx.doi.org/10.29311/mas.v18i4.3132.
Повний текст джерелаАнотація:
This article contributes to the analysis and transparency of the practical processes of interdisciplinary exhibition-making. It identifies the academic discourse on interdisciplinarity as having the potential to provide a meaningful input to the formation of theory on temporary exhibition-making. The subject of enquiry is a recent case study from Germany. It investigates the relationships and decision-making processes that underpinned the production of the interdisciplinary exhibition Weather Report – About Weather Culture and Climate Science (Bundeskunsthalle, Bonn, 2017/18), which combined curatorial perspectives from the fields of art, cultural history and science. It traces the curatorial process, from forming an interdisciplinary team and negotiating conceptual ideas and methods, to object choices, interpretation and exhibition design. I argue that the complexity of interdisciplinary exhibition-making calls for a more precise and practice-oriented application of what is an often generalized notion of interdisciplinarity. By discerning between multi-, inter- and transdisciplinarity, and understanding the three terms as offering different qualities of interaction and integration, I suggest using these terms as a finer vocabulary for a detailed description and analysis of the practical processes of collaborative exhibition-making. Taking interdisciplinarity seriously also inevitably leads to the question of institutional consequences.
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Arsentyev, Nikolay M., and Anatoly V. Sludnyh. "EXHIBITION ACTIVITY OF RUSSIA’S OPTICAL COMPANIES IN THE 19TH CENTURY." Ural Historical Journal 73, no. 4 (2021): 155–63. http://dx.doi.org/10.30759/1728-9718-2021-4(73)-155-163.
Повний текст джерелаАнотація:
The relevance of the presented topic is due to the presence of analogies between the heyday of the exhibition movement in the 19th century and the rise of the movement of exhibitions, expositions, forums in the early 2000s. Many modern processes of marketing communication have a prehistory in the exhibition movement of the 19th century. The authors relied on the modernization theory. The exhibitions were considered not from a narrow economic point of view, but in a broader socio-cultural context. Their influence on the development of Russia’s optical industry is analyzed. The following research methods are applied: historical-genetic, comparative, narrative, sociohistorical. One of the most important factors in the development of Russia’s optical industry was the participation of optical workshops in Russian and international industrial, artistic and scientific exhibitions. Russian and international exhibitions became a platform for the exchange of information between the bourgeoisie, scientists, representatives of zemstvos and city selfgovernment, scientific and educational institutions. Exhibitions performed an educational function, increased the social activity of merchants, entrepreneurs, public structures, and ensured live communication between different strata of the population. Optical workshops became participants of industrial exhibitions from the very beginning of the exhibition movement. Participation in exhibitions stimulated inter-industry cooperation, trade in optical products, expanded the target audience, accelerated marketing communication. In a broad socio-cultural context, the exhibitions contributed to the development of trade, the spread of new technologies, and the enrichment of business practices of the bourgeoisie.
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Nikonanou, Niki, and Thouli Misirloglou. "'Together We Curate': Cultural Participation and Collective Curating." Museum and Society 21, no. 1 (May 16, 2023): 31–44. http://dx.doi.org/10.29311/mas.v21i1.4048.
Повний текст джерелаАнотація:
In the frame of the museums’ reflexive and participatory turn and given that curation has rarely been used as an inclusive practice, the co-curating program 'Together We Curate', initiated by the MOMus-Experimental Center for the Arts (Thessaloniki, Greece) after the first lockdown of the covid-19 pandemic, has served as an attempt to break with established theory and practice. The paper discusses the participatory experience of a co-curating exhibition and critically examines if and how such an approach enables curating to become an inclusive practice. Via a practice-led research methodology, the paper reflects on how a radical shift in the institution’s received practices can serve as a vehicle for togetherness, enabling visitors to become active agents and transforming curating into an inclusive practice, possibly opening new spaces for thought and action in the process of democratizing art and culture.
23
Yao, Si Hang, and Sungho Yoon. "A Study of the Exhibition Characteristics of Modern Art Museums from the Perspective of Heterotopia." Korea Institute of Design Research Society 9, no. 4 (December 31, 2024): 947–63. https://doi.org/10.46248/kidrs.2024.4.947.
Повний текст джерелаАнотація:
This study explores the characteristics of planning spaces in contemporary art museums and their application in exhibitions through Foucault's theory of 'Heterotopia.' It examines four case studies: “Electronic Forest” at the National Museum of Modern and Contemporary Art in Seoul, Korea; “INFINITY CHINA AEROSPACE” at Today Art Museum in Beijing, China; “Refik Anadol: Unsupervised” at the Museum of Modern Art in New York, USA; and “Yayoi Kusama: Infinity Mirror Rooms” at Tate Modern in London, UK. The study analyzes how these museums utilize space design, interactive experiences, and digital technologies to construct heterotopic exhibition spaces. The findings demonstrate that contemporary art museum planning practices transcend the limits of traditional space and time, creating immersive exhibition experiences through digital art, VR, interactive devices, and more. These experiences prompt viewers to reflect on the relationship between individuals and society, reality and virtuality. This study reveals the crucial role of contemporary art museums as heterotopic spaces in art exhibitions, offering insights into future planning practices.
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Apter, Emily. "A Conversation with Aliza Shvarts." October, no. 176 (2021): 85–110. http://dx.doi.org/10.1162/octo_a_00428.
Повний текст джерелаАнотація:
Abstract Aliza Shvarts first came to widespread attention when her Untitled [Senior Thesis] (2008), consisting of a yearlong performance of self-induced miscarriages, was declared a “fiction” by Yale University and censored from public exhibition. That controversial work was on view for the first time in New York as part of her 2020 exhibition Purported at Art in General. It frames the areas of inquiry she has continued to explore: how the body means and matters and how the subject consents and dissents. In this in-depth conversation, Emily Apter and Aliza Shvarts discuss the exhibition and a wide range of topics relevant to contemporary feminist practice and thought: the genealogy of citation; the uses of theory; speech action; rape kits; nonconsensual collaboration; queer kinship; and memes.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
Повний текст джерелаАнотація:
The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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Loureiro, Leonor, Ricardo Triães, and Cláudia Falcão. "Educational tools for involving higher degree students within the Project Creative Conservation." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 7 (January 27, 2016): 32–40. http://dx.doi.org/10.18844/prosoc.v2i7.1177.
Повний текст джерелаАнотація:
Background: The Project Creative Conservation was developed at the Conservation and Restoration Laboratory / Polytechnic Institute of Tomar (IPT) as a form to recover, preserve and show in a new way industrial remnants and derelicts, complying with well-defined criteria for collection and selection of those fragments. As a new concept, it needed to be experimented, so students were involved in its practice, which enabled theory demonstrations and maintained a dynamic university learning atmosphere. Purpose: This paper presents the challenges posed to three Conservation and Restoration teachers: different ways to explain new and controversial information, engaging students for the Creative Conservation concept, developing practical extra work, learning and improving hands-on skills, and to practice team-work within a Conservation Laboratory and a Museum environment. Methods: A series of three different workshops were designed as learning tools to allow students to develop conservation skills, discuss problem solving and practice “out of the box†thinking, under the Project Creative Conservation, within the specialties of ceramics, tiles, metal, plastics and paper remnants preservation. It was also provided the chance to create different exhibition methods, installation and exhibition display. Results: A good percentage of students were enthusiastic and complied with the conservation challenges posed by teachers and by remnants themselves. The fragments were properly preserved and differently displayed in exhibitions. Conclusions: The IPT conservation teacher’s competencies and enthusiasm towards teaching a different concept within a practical frame enabled students to broad their view in the conservation field and widen the classical approach to conservation and restoration.
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Syska, Rafał. "Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices." Kultura Popularna 60, no. 2 (January 31, 2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.
Повний текст джерелаАнотація:
The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.
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Dos Santos Coutinho, Bárbara, and Ana Cristina Dos Santos Tostões. "The role of architecture in an engaging and meaningful experience of the physical exhibition." Sophia Journal 5, no. 1 (December 1, 2020): 36–53. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_04.
Повний текст джерелаАнотація:
While recognising the part that digital media play in bringing about greater accessibility to artworks display and ensuring that they are more visible, this paper argues that the physical exhibition continues to be the primary place for the public to encounter the arts, as it can offer an engaging and meaningful aesthetic experience through which people can transcend their own existence. As such, it is essential to rethink now, in the scope of an increasing digital world, the exhibition in conceptual and methodological terms. For this purpose, the exhibition space must be considered as content rather than container and the exhibition as a work, often with the intentionality of a “total work of art”, rather than just a vehicle for exhibiting artworks and objects. Having the former purpose in mind, this paper proposes a re-reading of the exhibition designs of Frederick Kiesler (1890–1965), Franco Albini (1905–1977) and Lina Bo Bardi (1914–1992) in order to evaluate how their theory and practice can provide useful lessons for our contemporary thinking. The three architects, assuming the role of curators, use only the specific language of an exhibition and remix conventional modes of communication and architectural vocabulary, exploring the natural and artificial light, materials, layouts, surfaces and geometries in innovative ways. They considered the exhibition to be a work of art, overcoming the container/content dichotomy and trigging an intersubjective and self-reflective participation. Kiesler, Albini and Bo Bardi may all be considered visionaries of our time, as they offer a landscape that stimulates our curiosity through a multiplicity of information arranged in a multisensory way, allowing each visitor to discover associations between himself and his surroundings. None of them simply created an opportunity for distraction or entertainment. This perspective is all the more pertinent nowadays, as the processes of digitalising information and virtualising the real may well lead to the dematerialization of the physical experience of art. By drawing upon these historical examples, this paper seeks to contribute to current study on how an exhibition can stimulate the cognitive, emotional and spiritual intelligence of each visitor and clarify the importance of this effect in 21st century museums and society at large.
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Cohen, Orna, and Andreas Heinecke. "Dialogue Exhibitions: Putting Transformative Learning Theory into Practice." Curator: The Museum Journal 61, no. 2 (March 30, 2018): 269–83. http://dx.doi.org/10.1111/cura.12254.
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Palmer, Nicholas. "Seeing the forest for the trees: The International Baccalaureate Primary Years Programme exhibition and Global Citizenship Education." Journal of Research in International Education 15, no. 3 (October 17, 2016): 208–23. http://dx.doi.org/10.1177/1475240916669029.
Повний текст джерелаАнотація:
The purpose of this research was to determine the depth and scope of Global Citizenship Education (GCE) through the International Baccalaureate (IB) Primary Years Programme (PYP) exhibition. The small-scale qualitative study describes how a fifth-grade cohort and teachers at The International School of Azerbaijan uncover GCE in situ. Drawing on GCE literature, including Irene Davy’s IB position paper and UNESCO’s Global Citizenship: Education Topics and Learning Objectives, the study seeks to align current theory on GCE and the components of the exhibition. The research is underpinned by communicative action and reflection, denoting a critical stance on epistemology. The resulting conceptual GCE framework positions authentication, co-creation and substantiation as key enabling features of the PYP exhibition. As the presented framework is based on practice, the key assertions are applicable to educators, schools and networks seeking to enliven contextual modes of global learning.
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GHOUSE, NIDA. "An Archaeology of Sound: A Slightly Curving Place Introduction." Theatre Research International 46, no. 2 (July 2021): 209–24. http://dx.doi.org/10.1017/s0307883321000110.
Повний текст джерелаАнотація:
The life and work of Umashankar Manthravadi is a history of sound and technology through the second half of the twentieth century. As a self-taught acoustic archaeologist, he began measuring the acoustic properties of a premodern performance space in the mid-1990s, and has been building ambisonic microphones since the early 2000s in order to carry out his project in further locations. Bringing together writers, choreographers, dancers, musicians, field recordists and sound designers, A Slightly Curving Place is an exhibition that responds to Umashankar's practice and proposes possibilities for listening to the past and its absence which remains. Umashankar asserts that we cannot just look for theatres in landscapes of the past; we must listen for them. In this dossier, contributors to the exhibition extend the notion of listening to an archaeological site to include practices of listening to text, textures, technologies, the body and the fields of recording.
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Lobanova, Olga S., Tatiana S. Makarova, and Tamara A. Glazyrina. "ROLE OF MULTIMEDIA TECHNOLOGIES IN MUSEUM EXPOSITION." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-21.
Повний текст джерелаАнотація:
The article is an attempt to reconsider the theoretical postulates related to multimedia in museum business through the prism of the exhibition experiences gained by the Ural Regional Institute of Museum Projects. The main issues raised in the article are the classification of digital technologies, their interaction with other elements of the exposition, the potential of using IT-technologies in museum space. The staff of the Institute review their mistakes made in project work, combining theory and practice. The most serious shortcomings in the creation of exhibitions with multimedia technologies are considered to be visual disharmony against the general design of the museum space, lack of multimedia technology unity and disengagement of digital technologies from the scientific concept. Consideration is also given to the current state of museum business in the current context of overall digitalization.
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Cvjetićanin, Tatjana. "Objects or Narratives. Archaeological Exhibitions in Serbia: Foundations of Museum Archaeology." Issues in Ethnology and Anthropology 9, no. 3 (February 26, 2016): 575. http://dx.doi.org/10.21301/eap.v9i3.2.
Повний текст джерелаАнотація:
Although every local museum or parts of national museums keep archaeological finds, museums in general play a very limited role on the archaeological scene, often being passive and marginalized. Well-grounded investigation into the archaeological objects kept in museum collections and, above all, the public domain of museums, the nature of collections and exhibitions, both permanent and occasional, have not been adequately recognized, discussed or considered. In spite of the fact that museum exhibitions legitimize the dominant social and political norms of the present, museums remain marginalized, separated from the currents of various pertinent disciplines, and not prepared for the necessary changes. Archaeological theory, shaping the archaeological practice of museums as well, is not understood as its constituent part, and the interpretive context in which exhibitions are created, contents and nature of interpretation are not considered. The analysis of the exhibitions of the National Museum in Belgrade, being the paradigm of museum archaeology in Serbia up to the middle of the 20th century, has shown that the culture-historical approach, the idea of continuity and dynamic artistic presentations of alienated past have marked this public presence of museums. The Museum has developed from the storage space and knowledge presentation, over exhibition space to an ideal museum, dominated by estheticized expositions, establishing various official representations of the past. The changes in the theory of museology, somewhat coinciding with the changes in archaeological theory, have posed a new challenge to museum archaeology, that may be defined in short as the need for the new interpretation of the past.
34
Pullan, Nicola. "Anastasia's Journeys: Two Voices in a Limited Space." Public History Review 20 (December 31, 2013): 104–14. http://dx.doi.org/10.5130/phrj.v20i0.2719.
Повний текст джерелаАнотація:
Anastasia’s Journeys was a temporary exhibition in the Australian History Museum, Macquarie University, Australia. Developed from the oral history of a post-World War Two Russian immigrant who survived Stalin’s policies of forced collectivisation and engineered famine, the display communicated primarily through audio tracks, supported by text panels and objects. This article articulates the creative tensions between theory and practice of public history which were encountered when planning the target audience, content, and design of the exhibition. It describes the process by which the oral history was placed at the centre of the presentation while objects were used both to illustrate changing social situations and introduce an opposing interpretation. The attributes of the oral history which made it suitable for an audio presentation are then discussed.
35
Richardson, Sarah Harvey. "The Art Gallery and its Audience: Reflecting on Scale and Spatiality in Practice and Theory." Museum and Society 16, no. 2 (July 30, 2018): 201–19. http://dx.doi.org/10.29311/mas.v16i2.2769.
Повний текст джерелаАнотація:
This paper explores scale and spatiality in the practice and theory of the art gallery. Through the example of Des Hughes: Stretch Out and Wait, an exhibition at The Hepworth Wakefield, I unpick the construction of scaled notions such as ‘local’, ‘(inter)national’ and ‘community’, in particular, a ‘local’ versus‘(inter)national’ binary; and explore how we may seek alternatives to such hierarchized thinking and practice. By testing and developing Kevin Hetherington’s approach of analyzing the topological character of the spaces of the museum (1997), I treat the space of Des Hughesas one which is complex, contingent and folded around certain objects on display. In so doing, this paper argues that scale and spatiality should not only be attended to as a subject of study for museums, galleries and heritage; but that they can also form a useful methodological lens through which productive alternatives for the knowledge and practice of these organizations may be explored.
36
Dubey, Madhu. "Museumizing Slavery: Living History in Colson Whitehead’s The Underground Railroad." American Literary History 32, no. 1 (December 27, 2019): 111–39. http://dx.doi.org/10.1093/alh/ajz056.
Повний текст джерелаАнотація:
Abstract This essay examines Colson Whitehead’s novel in relation to the museumizing of slavery that has gained momentum since the 1990s, focusing in particular on the Living History exhibition practice in which the Underground Railroad has played a vital part. Taking as my point of departure Whitehead’s signature move of building narrative worlds based on the logic of literalizing metaphor, I argue that his literal rendering of the Underground Railroad casts the novel as a grotesque tour of the US racial history. Structured as a train ride that transports readers to different historical sites, the novel at once stages and travesties the Living History practice of materializing the past in all its concrete particularity. I argue that Whitehead’s literalizing move also deviates from earlier literary efforts to stage a visceral, affective confrontation with the history of slavery. Responding to the heightened visibility rather than the absence of slavery from public memory, the novel casts into bold relief the historical frameworks (of American freedom stories and up-from-slavery narratives of racial advancement), pedagogical aims (of racial reconciliation and pluralist inclusion), and aesthetic strategies (of affective identification and cathartic confrontation) at play in current commemorations and exhibitions of slavery.
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Gosine, Andil. "Everything Slackens in a Wreck." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 119–43. http://dx.doi.org/10.1215/07990537-9901696.
Повний текст джерелаАнотація:
This is a curatorial essay in which the author explains his research and process for the conception and production of everything slackens in a wreck, a visual arts exhibition running at the Ford Foundation Gallery in New York from June to September 2022. Gosine elaborates his thinking about the title of the exhibition, which is taken from a Khal Torabully poem, and explains the relevance of and his intrigue with the four artists whose works comprise the exhibition: Wendy Nanan (Trinidad and Tobago), Margaret Chen (Jamaica/Canada), Andrea Chung (Jamaica/United States), and Kelly Sinnapah Mary (Guadeloupe). Each of the four women is a descendant of indentured workers who traveled to the Caribbean in the late nineteenth and early twentieth centuries, and for each this history is a reference point in her practice. Gosine proposes a consideration of the Americas as a consequence of three wreckages: the ship landings of European colonizers and the arriving ships of enslaved and, later, indentured peoples.
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Palhegyi, Joel. "Revolutionary Curating, Curating the Revolution: Socialist Museology in Yugoslav Croatia." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 17–34. http://dx.doi.org/10.57225/martor.2018.23.02.
Повний текст джерелаАнотація:
The communist period for Yugoslav Croatia brought about dramatic changes in museum practice and theory between the early 1950s and late 1970s. Driven by questions concerning how to properly develop socialist museums, Croatian museum professionals sought to transform the bourgeois history museum into a truly popular institution that would make Croatia’s cultural legacy accessible to the masses and allow visitors to understand their place in the socialist Yugoslav imaginary. To this end, museum professionals developed two new museum models, the Revolutionary Museum and the Native Place Museum. Revolutionary Museums were charged with memorializing the founding myths of socialist Yugoslavia, chief among them the anti-fascist, communist revolution during World War Two, and the postwar building of socialism. Native Place Museums similarly reinforced the Yugoslav state by exhibiting local history and culture within the larger trajectory of socialist Yugoslavism. Furthermore, these two models were front and center for new museological experimentation intended to create a distinctly socialist museum space that would engage the everyday working-class visitor. Analyzing contemporary museological journals and museum planning documents, I argue that these museum models were successful in implementing much of the new museological theory, but in doing so moved away from one of the fundamental principles of museum practice: the exhibition and explanation of authentic material culture to the museum visitor.
39
Tong, Jing, and Tingkui Ren. "Research on Multi-modal Intelligent Navigation and AI+AR Display Design Theory." Journal of Research in Science and Engineering 6, no. 8 (August 29, 2024): 38–41. http://dx.doi.org/10.53469/jrse.2024.06(08).09.
Повний текст джерелаАнотація:
The multi-modal intelligent navigation and AI+AR display construction space art system is a rational and logical system, and its design and construction form is open logic, and it maintains an inclusive position in the structural organization and order generation of the design connotation system. As an important branch of the field of modern art, multi-modal intelligent navigation and AI+AR display art space, as an important branch of modern art, aims to integrate artworks, audiences and the cultural meaning behind them through space planning and design, creating a unique and in-depth artistic experience. In this field, many outstanding artists and theorists have put forward their unique insights and works, which have greatly enriched the theory and practice of exhibition art space.
40
Орлова, Е. В. "“Zeitgeist” of the 1980s – early 2000s: French-German artistic theory and practice." Iskusstvo Evrazii [The Art of Eurasia], no. 2(33) (June 28, 2024): 82–95. http://dx.doi.org/10.46748/arteuras.2024.02.006.
Повний текст джерелаАнотація:
В статье анализируется философско-мировоззренческое понятие «дух времени» в контексте научного диспута французского постструктуралиста Лиотара и немецких ученых — Юргена Хабермаса, Тильмана Борше, Манфреда Франка. Повествование включило обзор отдельных философских работ, которые имеют большое значение для развития художественной теории постмодерна. На примере кураторского замысла интернациональной выставки «Дух времени» («Zeitgeist», 1982, ФРГ, Берлин) выявлена идейная и образная основа «духа времени», связанного с принципами восприятия классического наследия в искусстве постмодерна. Сделана характеристика крупных произведений художников Йозефа Бойса, Зигмара Польке, Георга Базелица и др. Обоснован вывод о реконтекстуализации самого понятия «дух времени» в эпоху постмодерна. Данная работа выполнена с использованием иконографического и семиотического методов искусствоведческого анализа. The article analyses the philosophical and world-view concept of “spirit of the times” in the context of a scientific debate between the French poststructuralist Jean-François Lyotard and German scientists — Jürgen Habermas, Tilman Borsche, Manfred Frank. The narrative includes an overview of selected philosophical works that are important for the development of postmodern artistic theory. The curatorial concept of the international exhibition "Zeitgeist" ("Zeitgeist", 1982, FRG, Berlin) provides an illustrative example of the ideological and figurative basis of the "spirit of time", which is connected with the principles of perception of the classical heritage in the art of postmodernity. A description of the major works of artists Joseph Beuys, Sigmar Polke, Georg Baselitz, and others is made. The conclusion regarding the recontextualisation of the concept of "zeitgeist" in the postmodern era is substantiated. This work was carried out using iconographic and semiotic methods of art history analysis.
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Wallace, Eloise, and Kay Morris Matthews. "The partnering of museums and academics: working together on history that matters." History of Education Review 47, no. 2 (October 1, 2018): 119–30. http://dx.doi.org/10.1108/her-12-2017-0028.
Повний текст джерелаАнотація:
Purpose Museums and academics collaborating to create knowledge and learning opportunities is a current innovative strand of museum theory and practice. Working together across boundaries, incorporating a range of communication tools both inside and outside of the exhibition, the objective is to make the past more accessible to adults and children alike. The paper reflects the authors’ respective recent experiences of presenting alternative perspectives and interpretations on history that mattered, namely, a unique exhibition and publication entitled Recovery: Women’s Overseas Service in World War One. The authors offer a number of “signposts” for museums and academics to consider ahead of embarking on collaborative projects. The paper aims to discuss these issues. Design/methodology/approach Theorising and reflecting on the research and curation of a public history museum exhibition that included high levels of community engagement. Findings The authors offer a number of “signposts” for museums and academics to consider ahead of embarking on collaborative projects utilising a collective impact framework and argue that these “signposts” are likely pre-requisites for successful museum-academic partnerships. Originality/value Successful partnerships and collaborations between the museum and the tertiary sector do not happen through goodwill and shared philosophies alone. This paper reflects the authors’ respective recent experiences of presenting alternative perspectives and interpretations on history that mattered, namely, a unique exhibition and publication entitled Recovery: Women’s Overseas Service in World War One.
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Irwin, Julia A. "Exhibition Ergonomics: The Interactive Film and Media Theory of Lillian Moller Gilbreth." Film History: An International Journal 35, no. 1 (2023): 1–30. http://dx.doi.org/10.2979/filmhistory.35.1.01.
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ABSTRACT: This article examines the 1910s media pedagogy of Dr. Lillian Gilbreth, industrial psychologist and collaborator of Frank Gilbreth in the development of motion study. Intending to reconcile the incongruities between workers and modern machines, Lillian drew on the psychology of William James to devise the theoretical grounds for the Gilbreths' production and use of moving images. The essay shows how Lillian Gilbreth positioned film as an interactive medium, directing experimental exhibition practices that instantiated mimesis among spectators; treated features of bodily difference as individually addressable and serviceable to productivity; and exploited the human body's predisposition for habituation, and therefore predictability.
43
Irwin, Julia A. "Exhibition Ergonomics: The Interactive Film and Media Theory of Lillian Moller Gilbreth." Film History: An International Journal 35, no. 1 (2023): 1–30. http://dx.doi.org/10.2979/fih.2023.a911555.
Повний текст джерелаАнотація:
ABSTRACT: This article examines the 1910s media pedagogy of Dr. Lillian Gilbreth, industrial psychologist and collaborator of Frank Gilbreth in the development of motion study. Intending to reconcile the incongruities between workers and modern machines, Lillian drew on the psychology of William James to devise the theoretical grounds for the Gilbreths' production and use of moving images. The essay shows how Lillian Gilbreth positioned film as an interactive medium, directing experimental exhibition practices that instantiated mimesis among spectators; treated features of bodily difference as individually addressable and serviceable to productivity; and exploited the human body's predisposition for habituation, and therefore predictability.
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Sandvad Mengers, Line, Nanna Balslev Strøjer, and Trine Friis Sørensen. "Light Bulbs and Round Tables." Peripeti 19, no. 35 (February 1, 2022): 139–48. http://dx.doi.org/10.7146/peri.v19i35.130638.
Повний текст джерелаАнотація:
Why seek further education when working in the curatorial field? How does practice and theory feed off each other in curatorial work? And what is the status of the white cube? Do we need to move beyond this naturalised institution of exhibition making in order to engage with the urgencies of today? These are the main questions of the conversation between Line Sandvad Mengers and Nanna Balslev Strøjer, curators and graduates of the study programme MA in Curating at Aarhus University, and programme coordinator Trine Friis Sørensen.
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Shirazi, Sadia. "Slo Curating: Restitution, Archives, Access and Care." Journal of Curatorial Studies 11, no. 2 (October 1, 2022): 208–33. http://dx.doi.org/10.1386/jcs_00070_1.
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This article elaborates a theory of slo curating as a durational practice and methodology. It interrogates concepts such as provenance, chain of relation, collections and conservation that it establishes are part of a colonial episteme undergirding the museum and its exhibitionary practices. Starting from recent digitization projects of museum collections, I analyse artist-led curatorial projects, legal cases and requests for restitution by colonized and Indigenous peoples across the world that challenge long-standing imperial concepts that inform museum studies. Projects by the Rapa Nui, Iqbal Geoffrey, Julie Tolentino, Constantina Zavitsanos and سراب/Saraab (Shahana Rajani and Omer Wasim) are discussed alongside El Paquete Semanal (2008–ongoing) and Exhibition Without Objects (2012–ongoing), foregrounding their alternative theoretical approaches to archives, access, labour, temporality and borders. Slo curating offers a set of curatorial practices and methods that are at the service of people instead of institutions.
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Bois, Yve-Alain, and Benjamin H. D. Buchloh. "A Conversation with Manuel Borja-Villel." October, no. 184 (2023): 3–26. http://dx.doi.org/10.1162/octo_a_00481.
Повний текст джерелаАнотація:
Abstract One could argue that Manuel Borja-Villel fuses the position of the melancholic museum director, mourning the loss of the emancipatory projects of the recent past, with that of the activist utopian museum director, elaborating, if not enacting, the urgently needed changes necessary for a different future of institutional and cultural practices to be achieved. Since his initial appointment at the Tàpies Foundation in Barcelona in 1990 and continuing on to this January, when he left his directorship of the Reina Sofía, Borja-Villel has advanced, or rather re-embodied, the great tradition of the progressive museum director of the 1920s and ‘30s, from Alexander Dorner in Hannover to Alfred Barr in New York. Theirs was a tradition that defined the functions of the curator as being those of a scholar, cultivating historical memory as a form of collective enlightenment and visionary innovation as the dissemination of current critical thought and oppositional practice. As directors, they had imagined the museum to be an extension of the public sphere, one whose functions were comparable to those of libraries and the various faculties of the university: to collect and organize knowledge and critical and historical reflection in order to satisfy the largest possible public's desire for cultural literacy, beyond the inherited or enforced distinctions of class privileges. Unlike that of his contemporary American colleagues, Borja-Villel's institutional success was not the result of incessant compromises with the ever-intensifying demand to turn the museum's exhibitions into an expanded field of spectacle culture. Nor did he expand the museum's collections to serve as the affirmative substrate of speculative investment. Borja-Villel—until now protected by the legal principles of a recently restituted liberal-democratic state—could develop and sustain his exemplary practice of organizing truly historical exhibitions and building a formidable collection within the boundaries set by his comparatively limited access to public resources. Not to have yielded to those pressures, to private capital and its property control, is undoubtedly one of the reasons the newly emerging reactionary forces in Spain (as everywhere else) determined that it was time to conclude its support for the aspirations that had emerged from the oppositional practices of Conceptual art and institutional critique that had been formative for Borja-Villel (much more so than for any other museum director known to us in either Europe or the United States). Typically, to mention just a few examples, the first great comprehensive retrospective exhibition of Hans Haacke's work was organized by Borja-Villel, as were the first major European retrospectives of Marcel Broodthaers and James Coleman, of Lygia Clark and Nancy Spero. And another, equally ground-breaking exhibition (among dozens of others), Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer's The Potosí Principle—one of the first comprehensive projects to construct a site-specific mirror for Spain's colonial history—could not have happened anywhere but at the Reina Sofía.
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Bao, Weihong. "Archaeology of a Medium: The (Agri)Cultural Techniques of a Paddy Film Farm." boundary 2 49, no. 1 (February 1, 2022): 25–69. http://dx.doi.org/10.1215/01903659-9615389.
Повний текст джерелаАнотація:
This essay explores a critical dialogue between methods and conceptions of cultural techniques—the second wave of media archaeology—and a case in contemporary Chinese documentary. I examine filmmaker Mao Chenyu, who is also an organic farmer, a critical thinker and writer, and a film exhibitor. Mao provides an intriguing case of how ethnography, ecology, and cosmology intertwine; how media art can take the form of media activism by redefining its boundaries and exhibition space; and how media art can be rethought by replacing its usual focus on media as object with a focus on media as space, community, and social process. By engaging Mao's film practice and critical writings, I test the promise and limits of cultural techniques to reopen the question of culture and public sphere without privileging the a priori of technical operations as the programmability of society.
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Hewett, Beth L. "Cradle of Public Discourse: Bowdoin College Public and Literary Society Exercises (1820–1845)." Journal for the History of Rhetoric 8, no. 1 (January 1, 2005): 73–98. http://dx.doi.org/10.5325/jhistrhetoric.8.1.0073.
Повний текст джерелаАнотація:
Abstract A case study of Bowdoin College in Brunswick, Maine, can inform nineteenth-century North American rhetorical history by exposing the interplay of rhetorical theory and practice in an educational setting during the antebellum period. Evidence of this interplay emerges in the subject matter of students' quarterly exhibition and commencement orations and of their literary society presentations from 1823 to 1845. When considered as a curricular whole, this evidence suggests a symbiotic relationship between the primarily moralistic and belletristic discourse favored by the college's curriculum and the more broadly civic judicial and deliberative discourse favored by its literary societies.
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Gallardo, Milena, and Natalia Morales. "“Poner el cuerpo” y “tomar la palabra”: violencias, afectos y autorrepresentación en el documental feminista contemporáneo en Chile (2010-2019)." Catedral Tomada. Revista de crítica literaria latinoamericana 10, no. 19 (December 20, 2022): 200–244. http://dx.doi.org/10.5195/ct/2022.577.
Повний текст джерелаАнотація:
This article analyzes three contemporary Chilean documentaries from an interdisciplinary framework and places them in a context of feminist practices, interpreting a certain corpus of recent documentaries made by women in Chile in light of the growing politicization process that the country has experienced during the last decade. This analysis considers the use of a series of resources and strategies of self-exposure in film, as means through which the complex affects derived from the intersection of multiple violences experienced and elaborated in the films, are embodied and put in language and on stage. In this way, we propose the development of a political self-exhibition of the bodies in documentary, which, from the exercise of self-representation, inserts these works into current feminist political practice.
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Buchloh, Benjamin H. D. "The Dialectics of Design and Destruction: The Degenerate Art Exhibition (1937) and the Exhibition internationale du Surréalisme (1938)." October 150 (October 2014): 49–62. http://dx.doi.org/10.1162/octo_a_00200.
Повний текст джерелаАнотація:
As a genre of cultural production, where iconic (painterly or photographic), sculptural, and architectural conventions intersect to represent the uniquely specific and current conditions of experience in public social space, exhibition design by artists has only recently emerged as a category of art-historical study. While earlier discussions of El Lissitzky's design of the Pressa exhibition in Cologne in 1928, an exhibition that likely had the widest-ranging impact and is the central example of such an emerging genre in the twentieth century, might have served as a point of departure,1 Romy Golan's important, relatively recent book Muralnomad2—primarily concerned with the history of mural painting and its various transitions into exhibition design—has to be considered for the time being the most cohesive account of the development of these heretofore overlooked practices. Yet, paradoxically, two of the most notorious cases of the historical development of exhibition design after Lissitzky are absent from her study: the infamous Degenerate Art exhibition that opened in Munich on July 19, 1937 (two days after the opening of Nazi Fascism's first major propaganda building, Paul Ludwig Troost's Haus der Deutschen Kunst, and its presentation of German Fascist art in the Grosse Deutsche Kunstausstellung),3 and the Exposition internationale du Surréalisme in Paris, which was installed by André Breton and Marcel Duchamp six months later and 427 miles to the west, on January 17, 1938, at Georges Wildenstein's Beaux Arts Galleries in Paris.4