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Journal articles on the topic 'Art exhibition'
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Magdalena, Agustina. "Human Resource Planning In The Art Exhibition Committee (Case Study: SODALIS Art Exhibition of 2023 Arts Management Students)." Jurnal Indonesia Sosial Sains 6, no. 3 (April 8, 2025): 956–68. https://doi.org/10.59141/jiss.v6i3.1652.
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Human Resource (HR) planning is essential in organizing events, including art exhibitions, to ensure smooth operations and alignment with organizational goals. It is crucial for both logistical tasks and fostering creativity and collaboration within the committee for a successful exhibition. This research aims to explore how HR planning is applied in the committee of the SODALIS Art Exhibition, organized by the 2023 Arts Management students. The research specifically examines how HR planning supports the exhibition's success in managing human resources effectively and achieving the exhibition's goals. The study uses a qualitative approach, utilizing participatory observation and documentation analysis. The researcher, who was involved as both the chairperson and a committee member, observed and documented the exhibition's planning and execution from its initial committee formation to its conclusion. The researcher also compared theoretical HR planning models with the actual practices observed during the exhibition. The HR planning process in the SODALIS Art Exhibition successfully met the human resource needs, organized committee members effectively, and ensured smooth coordination among them. The tasks were distributed efficiently, which helped in avoiding unnecessary resource allocation and operational costs. The planning process contributed to the development of a collaborative committee culture, fostering creativity and innovation, and achieving a successful event. HR planning is essential in organizing an art exhibition, ensuring that human resources are utilized efficiently to meet organizational goals. The study highlights the importance of proper HR planning in achieving the success of such events, demonstrating that a well-structured committee can optimize resources, improve efficiency, and enhance the overall outcome of the exhibition. This research provides valuable insights for future art exhibitions and other events requiring effective HR planning.
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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.
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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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Świtek, Gabriela. "Across Borders and Art Histories: Travelling Exhibitions." Artium Quaestiones, no. 35 (December 31, 2024): 55–82. https://doi.org/10.14746/aq.2024.35.3.
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The concept of art geography is undergoing a process of revision in light of recent research on exhibition histories. The analysis of major perennial art exhibitions is conducted in relation to the spatial, global structures of social and economic life, or as an aspect of tourism geographies. The geography of art exhibitions entails mapping circulation, analysing the spatial and temporal conditions under which art is presented, and the identifying cultural boundaries in the reception of travelling artworks. This article examines the circulation of international exhibitions that were presented at the Central Bureau of Art Exhibitions (CBAE) in Warsaw as part of cultural diplomacy i the 1970s. During this decade, the CBAE gallery hosted exhibitions of contemporary art from twenty-one countries. What kind of foreign art was seen at the state-organised exhibitions in Warsaw depended on global geopolitics. The primary case study is the exhibition Contemporary Indian Art from the Collection of the National Gallery of Modern Art in New Delhi, which was toured from New Delhi through the Middle East to Eastern Europe (including Warsaw and Prague) in 1978–79. The exhibition brought together 100 works by 80 artists, created between the 1920s and 1970s. It included paintings by pioneers of modern and contemporary Indian art, such as Jamini Roy, Amrita Sher-Gil, Rabindranath Tagore, Gaganendranath Tagore, and K.C.S. Paniker. The diplomatic circumstances of organising the exhibition in Warsaw are set in the broader context of the Polish-Indian art exchange since the 1950s. This encompasses Poland’s participation in the New Delhi Triennial (established in 1968) and the completion of the modernist building of the Polish Embassy in New Delhi (1978). Furthermore, the article examines the impact of travelling national exhibitions on fostering intercultural understanding. The Contemporary Indian Art exhibition provided a valuable opportunity to transcend the conventional boundaries of Indian and Polish art histories. While in the 1960s and 1970s Polish academic discourse typically concluded the history of Indian art in the 1910s, the exhibition’s catalogue served as the primary source of information on twentieth-century Indian art. Consequently, the reception of Contemporary Indian Art in Warsaw is contextualised within the broader discourse of global art history and postcolonial studies.
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Readshaw, Grahame. "Art Exhibition." Medical Journal of Australia 158, no. 5 (March 1993): 364. http://dx.doi.org/10.5694/j.1326-5377.1993.tb121824.x.
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Veerapen, Nadarajen. "Art exhibition." ACM SIGEVOlution 10, no. 4 (June 5, 2018): 6–7. http://dx.doi.org/10.1145/3231555.3231557.
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Machal�kov�, Pavla. "Flowers and windows : the first art exhibitions in Prague in the nineteenth century and the shaping of modern exhibition spaces." Art East Central, no. 3 (2023): 111–39. http://dx.doi.org/10.5817/aec2023-3-6.
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The staging of art exhibitions has been a decisive factor in the formation of the modern art scene since the beginning of the 19th century at the latest. The art exhibition served as a space that facilitated regular viewing and discussions of contemporary artistic production. In the Spring of 1832 an art exhibition opened in Prague that provided an alternative to the official academic exhibition held annually since 1821. The show attracted critical opinions both inland and abroad. For this reason, its analysis can provide an insight into early concepts and ideas of an art exhibiting, which can be regarded as a space of contest among the artists and of encounter between the artists and the public, as well as a site of development of modern audiences and their sensitivity.
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Ivana, Jessica, I. Ketut Mustika, and Ni Made Purnami Utami. "ISI Denpasar Fine Arts Study Program MBKM 2023 Artwork Exhibition Display at Living World Denpasar." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (November 4, 2023): 148–53. http://dx.doi.org/10.59997/ctkr.v3i2.2864.
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Display is a system of arranging objects in a room which aims to display or show off these items. Display in the exhibition space is an important element that needs to be implemented to create an exhibition space that is comfortable for viewing works of art. This becomes a challenge for the exhibiton designer/gallerist to design the best possible exhibition space. The design of the artwork display will affect the visuals and atmosphere of the displayed artwork. In designing exhibition space displays, various concepts, approaches to methods of presenting works can be used. It is this variation of display design that will determine how visitors can perceive the meaning of exhibitions and works of art. Displays that are well designed will increase aesthetic value, value and can highlight the uniqueness of the work of art.
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JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D, and PROFESSOR EDEM ETIM PETERS. "VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA." International Journal of Applied Science and Research 05, no. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.
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This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been redefined by the concept of virtual exhibition. The relevance of exhibition to artists and the significance to the public is deeply discussed with the aim of positioning visual art exhibition in its rightful place as a catalyst for social change. This assertion could be seen in the significant effort of Kenneth C. Murray as a pioneer curator and organizer of visual art exhibition in Nigeria. Murray was a British Art Teacher in Nigeria who was instrumental to the establishment of Oron Museum in Akwa Ibom State, Nigeria, and he recognized Oron Carvings since 1938 and collected them for permanent art exhibition in the Oron Museum. The above therefore formed the conceptual framework of this paper. The opinions, positions and oppositions of other authorities in this matter are considered as they form the indices for postulating the idea of art exhibition as catalyst for social unification. However, the paper concludes that for the visual art exhibition to function as a catalyst for social unification, the elements of unity and integration must be factors the exhibitions composed of, for it to engender the expression of such feelings of social togetherness.
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Cui, Dalong. "EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"." Advances in Culture and Arts 3, no. 1 (July 17, 2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.
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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of museums in the future.
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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (May 30, 2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.
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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space
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Ciric, Biljana. "Building archives through curatorial practice." Art Libraries Journal 39, no. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.
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An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.
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Khiatthong, Thongchue, Chakrit Ketruangroch, and Samutcha Apisitsuksonti. "DIGITAL EXHIBITION DESIGN OF THONBURI ART." Journal of Southwest Jiaotong University 56, no. 6 (December 24, 2021): 588–98. http://dx.doi.org/10.35741/issn.0258-2724.56.6.51.
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This research article presented the digital exhibition design of Thonburi Art. This research is to: 1) learn knowledge of art and design ideas in the digital exhibition of Thonburi Art; 2) study the design model for the digital exhibition of Thonburi Art; 3) study the satisfaction of visitors. Activities on the website of exhibitions, participants, workshops about the content and quality of the exhibition design. However, this research method uses qualitative and quantitative analysis principles. The results showed that the provider for many exhibitions, the average age of 63 years, 37% of the contributors are in the Y model, so they are satisfied with the high digital exhibition. The satisfaction of the digital exhibition of Thonburi's art (development) by the workshop participants in many ways is also high. Although many factors are at a higher level, this may be because the assessment is performed by experts and related parties that may know and understand the details and research methods. However, the satisfaction survey of Thonburi's digital exhibition, both models and development, information providers is of the high level of satisfaction and information providers from various groups. This may be derived from the components of the same model as the group. Both of the two have the Y models as the main population.
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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (September 1, 2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.
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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.
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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (August 31, 2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.
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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (February 1, 2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.
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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new world of works experience. the immersive exhibition composed of the combination of technology and art has become an important exhibition method to attract audiences. The creation of immersive exhibitions relies on the application of technologies such as Front-projected Holographic Display and Augmented Reality. At present, immersive exhibitions around the world are emerging in an endless stream. Under the general trend of information exhibition, how to combine works of art with digital media and endow them with connotation, and how digital technology is involved in the exhibition to form the final immersive effect, are issues worth considering at present.
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Lichagina, Anastasia P. "NARRATOLOGICAL ALGORITHM IN EXHIBITION NARRATIVE ANALYSIS SCHEMES." Articult, no. 4 (December 2024): 5–18. https://doi.org/10.28995/2227-6165-2024-4-5-18.
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The existence of numerous interpretations of the term “narrative”, including in the context of exhibition activities, restricts the possibilities of understanding and comparing narrative aspects of various visual art exhibitions. One possible approach to the analysis of exhibition narratives is the use of narratological tools, originally developed for the study of literary works. The article examines a visual art exhibition as a conventional narrative text, forms an idea of narratological categories adapted to the exhibition context (such as minimal history, events and characters), and, taking into account the specifics of the form-content integrity of the exhibition, offers a general definition of the exhibition narrative. In conclusion, the narrative aspects of real exhibitions of classical and contemporary art are analyzed based on the algorithm obtained. Expanding the possibilities for analyzing exhibition narratives beyond narratological approaches will be an area for further research.
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Critical Resistance, Oakland. "Prisoners' Art Exhibition." Journal of Prisoners on Prisons 16, no. 2 (December 1, 2007): 140–41. http://dx.doi.org/10.18192/jpp.v16i2.5414.
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Mantas, Kathy, and Carole Roy. "Virtual Art Exhibition." Canadian Journal for the Study of Adult Education 32, no. 2 (November 9, 2020): 165–90. http://dx.doi.org/10.56105/cjsae.v32i2.5622.
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This virtual art exhibition showcases artwork from twenty two artists/artist scholars, and is featured in this special issue entitled, Learning and Teaching Artful Narratives of Transformation of the Canadian Journal for the Study of Adult Education ( a first for this journal This exhibit is meant to complement and further discussions on the textured, colourful multi layered and complex theme of learning, teaching and transformation, defined broadly. We would like to thank everyone who submitted artwork for consideration and our external jurors for their time and expertise As well, we are grateful to the CJSAE editorial team for supporting this creative endeavour Finally, we would like to extend our congratulations to our contributing artists/artist scholars and thank them for sharing their wonderful art creations with us We hope you enjoy the exhibit and thank you in advance for viewing! Kathy and Carole
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Martin, Colin. "Exhibition Corporeal art." Lancet 376, no. 9749 (October 2010): 1292. http://dx.doi.org/10.1016/s0140-6736(10)61902-2.
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Lin, Jiajing. "Analysis of the Development and Direction of Contemporary Exhibitions." Communications in Humanities Research 9, no. 1 (October 31, 2023): 238–45. http://dx.doi.org/10.54254/2753-7064/9/20231191.
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With the advancement of civilization and the passage of time, art has steadily merged into everyday life. The quantity and variety of art exhibitions held have significantly expanded, becoming a daily activity for the majority of the public as the social process and the pace of peoples lives continue to quicken. The public is given a strong sense of connection to the art institution and the exhibition space as a result of the modern exhibitions progressive evolution and subsequent innovation and improvement. This paper looks at the potential and direction of contemporary art exhibitions, analyzes the shortcomings of contemporary art exhibitions, and looks at the current situation and development prospects of contemporary art exhibitions as well as the background of academic research at home and abroad. It examines and provides examples from four perspectives, including participatory exhibition, interactive art, and high technology, Nicholas Berriods relational aesthetic theory, and online exhibition. It also examines and thinks from the perspective of traditional Chinese context theory, reflecting various methods of presenting contemporary exhibitions and new ideas in the hopes of assisting artists and curators.
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Wang, Jiaxin. "Research on the dynamic design of art exhibitions based on digital media." Advances in Education, Humanities and Social Science Research 7, no. 1 (November 21, 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.
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Song, Jiaxuan. "Theory and Application of Interaction in Exhibitions - Take the "Good Things and Stylings" Exhibition of the Hong Kong Museum of Art as an Example." Lecture Notes in Education Psychology and Public Media 80, no. 1 (January 8, 2025): 61–65. https://doi.org/10.54254/2753-7048/2024.20357.
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As society develops, people are gradually shifting from necessities to pleasure consumption. More and more people have enough time and money to improve their self-cultivation and aesthetic taste, so the number of art exhibitions has increased significantly. However, many of these exhibitions have problems, such as being unable to guarantee quality and losing the value of the exhibition itself. In typical museums, interaction with exhibits and blending with exhibitions has become a way that can determine the exhibition to stand out, which also represents the indispensable importance of interaction in modern exhibitions. Therefore, this article takes the exhibition "Art Personalized" by the Hong Kong Museum of Art as an example. It uses two analysis methodstheoretical analysis and case analysisto explain the theory and application of interaction in the exhibition. The interaction makes the exhibition interoperable with the times without missing the classic value, attracting the audience and connecting people with the exhibition. In this way, the artist's emotions can be accurately conveyed to the public, and the effect of two-way communication can be realized.
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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.
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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
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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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Kozhura, Olga. "Dramatic Scenes and Monstrous Animals: On the First Exhibition of Chinese Art in the USSR." Arts 13, no. 5 (October 18, 2024): 160. http://dx.doi.org/10.3390/arts13050160.
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This article reconstructs the story of the “Chinese Painting Exhibition” in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the first time, presented Chinese art to the Soviet audience. Before arriving in the USSR, the show toured Europe, where it was extremely popular and considered the first successful attempt to present Chinese art in the West. In contrast, the exhibition’s perception in the Soviet Union was rather contradictory. The reasons for that could be found in the ongoing Soviet artistic discourse and preconceived vision of Chinese art. Based on archival materials, this study reveals the process of the exhibition’s organization and focuses on the image of China and Chinese art constructed by its curators. Additionally, this article examines the reception of the show by both professional and mass Soviet audiences in conjunction with the Soviet ideology towards fine art, foreign art exhibitions of the 1930s, and existing narratives on China, which shaped the optic of Soviet visitors.
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Mahendra, I. Komang Aditya, I. Wayan Sujana, and I. Made Jodog. "Spatial Arrangement of Cross-border Art Exhibitions." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 1 (April 8, 2023): 1–7. http://dx.doi.org/10.59997/citakara.v3i1.2329.
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The arrangement of an exhibition space is the main focus raised in the writing of this thesis with the title "Spatial Arrangement of Cross-border Art Exhibitions" from an observation of spatial arrangement in the previous exhibition "Makna Murni; Two Sides” in terms of spatial planning, display, lighting and circulation which is carried out without being organized. From these problems the author finally wrote an article which contained procedures for designing exhibition space arrangements, room and work lighting, work display, and circulation of exhibition visitors and also discusses making spatial planning not only display and arrange the room but also manipulate the mood of exhibition visitors so that they get the impression when visiting the exhibition that the author designed, the purpose of this thesis work is to provide an understanding of spatial arrangement, work, light and visitor circulation and also Hopefully it will be useful in the arrangement of exhibition space. The design of this art exhibition was carried out at the Arshika hotel, an exhibition room with a different type and using natural and artificial lighting to illuminate the works on display.
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Stefańska, Joanna, Agata A. Gawlak, and Paulina Kowalczyk. "ALTERNATIVE EXHIBITION SPACES. MULTI-CRITERIA METHOD OF COMPARATIVE ANALYSIS." Space&FORM 2024, no. 57 (May 13, 2024): 145–67. http://dx.doi.org/10.21005/pif.2024.57.b-08.
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The aim of this article is to make a multi-criteria analysis of various exhibition spaces of an originally non-exhibition character and to determine how these spaces affect the selection of works and the exhibition concept. The analysis is based on the exhibitions of art objects at collective exhibitions in unconventional architectural spaces: commercial, post-industrial and in the historic interior. The multi-criteria comparative analysis shows a variety of features of the studied spaces as well as the relationship between architecture and art and their mutual interaction, and the participatory role of the non-exhibition space in the process of creating an exhibition and selecting works has been proven.
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Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (March 1, 2022): 38. http://dx.doi.org/10.3390/arts11020038.
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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.
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Saragih, Agus Mariani, Jumjuma ., Juni Anggraini, and Anggiat Parlindungan. "Learning Model of Virtual Exhibition Using 3D Animation (Case Study: Exhibition Implementation Course in the Medan State Polytechnic Mice Study Program)." International Journal of Religion 5, no. 8 (May 20, 2024): 362–70. http://dx.doi.org/10.61707/tpg87f67.
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This study aims to determine the process of implementing virtual exhibitions using digital 3D animation technology, and to find out whether there are differences in students' understanding of exhibition learning before and after learning about virtual exhibitions. Research data obtained from questionnaires and tested descriptively and different test (t-test). The process of creating a virtual exhibition uses the Art steps website. The results of the study show that the process of making virtual exhibitions with Art steps is very helpful and there are differences in students' understanding before and after learning virtual exhibitions in exhibition learning. This study uses a quantitative and qualitative approach. This research develops an exhibition course that is held onsite to an exhibition that is held online so that even higher knowledge and skills are needed in the field of digital technology.
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Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (October 2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.
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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplates the implications of annual media art events in the Korean media art context.
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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (October 31, 2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.
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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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Mengmeng, Ding, Syed Alwi Bin Syed Abu Bakar, and Aznan Bin Omar. "The Convergence of Art and Technology: Insights into the Intelligent Transformation of Chinese Art Exhibitions." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 3 (March 10, 2025): e003225. https://doi.org/10.47405/mjssh.v10i3.3225.
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The application of high-tech elements in Chinese art exhibitions has become a transition from the conventional approach of art exhibition to intelligent exhibition. The purpose of this research is to examine how intelligent transformation to art exhibitions has been practiced in China through the application of the following technologies: Artificial Intelligence (AI), the Internet of Things (IoT), Radio Frequency Identification (RFID), and big data analytics. This intends to find out how these technologies improve the engagement of visitors, efficiency in the management of exhibitions, and the conservation of cultural artifacts. Altogether, with the help of the literature review and the case studies of such events as the integration of 3D data into the National Museum of China and AI in the content of the 1st Digital Art China, this research assesses the applicability of these technologies for enhancing the exhibition design and the visitors’ experience. The study reveals that technology enhances the visitor experience, operations, and conservation of cultural heritage. Therefore, this study finds that the intelligent transformation of art exhibitions is necessary to enhance access and engagement of the public in art in culturally appropriate and innovative ways. The recommendations derived from the observations benefit cultural heritage managers, those who make policies on cultural and creative industries, and those who design technologies for future smart art exhibitions in China.
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Sabinina, Anastasia A. "Project of The All-Slavic Art and Industry Exhibition in St. Petersburg: 1902–1912." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.
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The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permission from the Tsar and funding from the Minister of Finance to carry out the project. The exhibition aimed to foster new trade contacts and showcase the unity and cohesion of the Slavic peoples in response to the perceived threat of cultural expansion by Hungary and Germany. As attendees showed increasing enthusiasm for the exhibition, the organizers expanded their plans, making them more ambitious and costly. However, the exhibition ultimately did not take place due to foreign policy issues. This study contextualizes the All-Slavic exhibition within the political climate of the time and explores the role of art in international diplomacy. Additionally, the research highlights other All-Slavic art exhibition projects, including those held abroad.
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Nakagawa, Katsushi, and Tomotaro Kaneko. "A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan." Leonardo Music Journal 27 (December 2017): 82–86. http://dx.doi.org/10.1162/lmj_a_01024.
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This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.
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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.
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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
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Murashova, N. S. "Book as an Artistic Artifact." Bibliosphere, no. 2 (May 29, 2023): 64–72. http://dx.doi.org/10.20913/1815-3186-2023-2-64-72.
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A book is not only a carrier of information, but also the way of its aesthetic visualization. This actualizes the problem of understanding a book as an artistic artifact. The study of the book in this context implies the identification of several aspects: the art of the book; the existence of the book as an exhibit of museum and exhibition art space; the use of the book as a compositional and meaningful element of works of fine art, as a component of library design, living and working spaces; alterbooking and architectural structures in the form of a book. The article is devoted to the art of the book and its exhibition in museum and exhibition space. Its goal is to systematize the factors and features that should be considered in the study of the art of book for the possibility of its holistic interpretation from an art criticism perspective. The article considers the role of decoration in creating visual and verbal unity. The functions of illustration depending on the cultural and historical context as well as a purpose of the book are determined. Attention is paid to such phenomena of book art as fore-edge painting, artist’s book and art albums. The existence of the book in museum and exhibition art space is also considered. There are two types of exhibitions: single-subject exhibitions devoted exclusively to books and exhibitions with other objects participating in the realization of the semantic concept of a cultural event.
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Sinaga, Osberth, Daulat Saragi, and Ibrahim Anam. "The Improvement of Art Exhibition Quality Through Teaching Materials Development for the Management of Art Exhibition." Gondang: Jurnal Seni dan Budaya 7, no. 2 (December 20, 2023): 499. http://dx.doi.org/10.24114/gondang.v7i2.54844.
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This research is aimed to create teaching materials for art exhibition management in order to improve the implementation and management of art exhibitions. This is a research and development using the 4D model: define, design, develop, and disseminate. The instrument of this research used is a questionnaire that consists of validator questionnaire, design material and language as well as the college students’ response questionnaire as input in revising the developed teaching materials. The results of this study indicate that the teaching materials developed by the researchers are in the very good category so they are worth to be tried out. At the testing stage, the developed teaching materials were in the very good category. The response from exhibition visitors has also increased. For that reasons, the teaching materials that researchers developed can improve the art exhibitions quality.
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Ye, Tong. "Installation art challenges traditional concepts of art and exhibition space—taking "Infinity Mirror Room" as an example." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 18–23. https://doi.org/10.54097/0rrxsq03.
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Yayoi Kusama's exhibition Infinity Mirror Rooms as the main case study, the paper starts from the two aspects of artistic creation and spatial expression to analyse how installation art challenges the traditional concept of art exhibition space, and then explores the transformation of audience participation and dissemination under this influence. It also combines with other exhibitions of installation art to further explore the expression and spatial significance of installation art.
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Li, Zejia. "Digital Media Intervenes in an Immersive Exhibition in Interactive ScenesMode of Perception and Interaction in the New Era." Applied and Computational Engineering 99, no. 1 (November 15, 2024): 1–6. http://dx.doi.org/10.54254/2755-2721/99/20251756.
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Abstract: This paper will discuss how the combination of digital media and immersive art exhibition can bring new interaction and participation experience to the audience under the reform of art media, as well as the significance of this combination in artistic expression, exhibition design and audience perception.Using a case study of teamLab in Japan. This paper evaluates the immersive exhibition of digital media intervention from four aspects: transformation, integration, cases, and reflection. It is found that while the emergence of digital media technology provides a new way of display and creative means for art exhibitions, there is also a certain contradiction between artistry and technicality in such exhibitions. It is necessary to balance the relationship between art and technology in order to achieve mutual promotion and common development of the two.
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KARAKAŞ TABAK, Dilara. "EXHIBITING EVERYTHING: A REVIEW ON DAMIEN HIRST’S “REAL” EXHIBITION." ATLAS JOURNAL 7, no. 44 (September 24, 2021): 2178–94. http://dx.doi.org/10.31568/atlas.763.
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In the development process of art, it is seen that many different artistic styles follow each other. Each movement has been linked to each other in a chain and the way of expression of the artists has been directly affected by the conditions of the period and the cultural background. Contemporary art is undoubtedly completely different from any movement that comes before it. The sharpest point of the break is that the perception of beauty has changed. As a result of this change, a new type of expression that is often difficult to understand, questioning, related to concepts and contexts has emerged. With the transformative power of contemporary art, every object can gain the ability to represent and become a work of art. In this respect, making iconographic analysis in order to better understand the nature of contemporary art requires evaluating the work together with the conditions of the period. In this study, Damien Hirst's new exhibition named "Fact Paintings and Fact Sculptures" has been examined together with the subject of the works, the explicit or hidden meanings of the objects, the past exhibitions of the artist and the similarities of his works with his past works, and the artistic conditions of the period. As a result of the examination, it is seen that the exhibition clearly reflects Hirst's artistic style.
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Žukienė, Rasutė. "Unveiling the Interconnections Between Art, Politics, and Society in the Soviet System Through Art: A Case Study of the Exhibition “1972. Breaking Through the Wall”." Art History & Criticism 20, no. 1 (October 30, 2024): 148–71. http://dx.doi.org/10.2478/mik-2024-0009.
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Summary This article is dedicated to analysing the exhibition “1972. Breaking Through the Wall” from several perspectives: the curator, the viewers, and the exhibition architect tasked with creating an environment for the art exhibition in an unconventional setting. The article examines the curators’ choices, discusses the work of the exhibition architect within the context of heritage conservation requirements, and presents the results of a viewer survey. This exhibition raised the issue of the significance of alternative creativity, opposed to the official narrative, in a non-free society. It focused on Lithuanian art from the 1960s to the 1980s that countered the official Soviet cultural course. The exhibition’s prehistory includes the historical fact that in the spring of 1972, a young man self-immolated in Kaunas in protest against the lack of freedom. These events had direct and indirect reverberations in the arts, although they were not exhibited at the time due to fear of repression. This difficult experience has left its mark on Lithuanian culture and collective memory. The exhibition highlighted the role of various societal groups in opposing the ruling authorities and establishing personal and creative freedom as the highest value. The art display, composed of works from professionals (fine arts, theatre) and amateurs (rock and big beat musicians) from the 1960s to 1980s who resisted official Soviet art, clearly demonstrated how Kaunas – the capital of Lithuania from 1920 to 1940 – was influenced by the city’s prominent pre-war modernism (environment and lifestyle) and the Soviet ideology imposed on the entire country. The clash of two diametrically opposed ideological stances and artistic principles in Soviet Lithuania led to the emergence of an alternative culture. For the first time in the history of Lithuanian exhibitions, this exhibition showed how the social and the arts were affected by the pressure exerted by the official authorities. The visitor survey showed that the positive reactions to the exhibition were also due to socio-political events that have become embedded in the nation’s memory. The events stored in the collective memory of the nation correlated with specific creative artefacts and historical details, which the younger generation saw for the first time. Noteworthy was the symbiosis of emotional experiences among visitors of different ages, observing exhibits with both artistic and historical value. As indicated by the visitor survey, the exhibition facilitated the establishment of a closer connection between generations. The exhibition’s display in a cultural heritage site – the former post office building (by architect Feliksas Vizbaras, 1932) – was a complex task creatively resolved by contemporary architects.
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Gwoździewicz-Matan, Paulina. "MUSEUM EXHIBITION VERSUS COPYRIGHT." Muzealnictwo 60 (September 2, 2019): 225–32. http://dx.doi.org/10.5604/01.3001.0013.4132.
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Organisation of exhibitions from the point of view of copyright (Act on Copyright and Related Rights of 4 Feb. 1994, further copyright) is a multifaceted issue. The analysis conducted in the paper boils down to some selected aspects: beginning with the right to display, through exhibition as a separate copyrighted work, up to the exhibition author, namely curator. When purchasing items for collections or acquiring them on the ground of a loan contract, museums should make sure the work can be exploited through public display. Such agreement can be either expressed in the contract (rights or licence transfer) or can be implicit (it can be then assumed that non-exclusive licence with all its limitations has been transferred). Furthermore, the construction of fair use from Art. 32.1 of Act on Copyright can be applicable. An issue apart is the question of exhibition as a separate copyrighted work. It can be a co-authored work in the case when it combines creative efforts of e.g. curator and author of the exhibition layout. The article analyses exhibition understood as a collection of exhibits selected and arranged following a script or presented following a layout in order to fulfil the assumptions of a derivative work (Art. 2 Act on Copyright) or a collection (Art. 3 Act on Copyright). As a result of the assumption that exhibition is a work, the curator becomes an author, thus will have copyright to the created work. Depending on the formal curator-museum relationship, the author’s economic rights shall either be transferred to the museum (employee’s work, specific-task contract with rights transfer or licence granting), or shall exceptionally remain with the author.
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Saputri, Deta Anggara Wahyu, I. Made Ruta, and I. Made Jodog. "The Role of Catalogs in the Makna Murni Art Exhibition: Cross Borders 19." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 1 (April 8, 2023): 62–68. http://dx.doi.org/10.59997/citakara.v3i1.2337.
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Starting from the author's ignorance of exhibition cataloging. However, when I visited art exhibitions, I always found a catalog, so I became curious about the role of catalogs in art exhibitions. This prompted the author to examine more deeply the role of an art catalog and try to . The problem is how the catalog plays an important role in an exhibition. In the process of making it, the writer uses the method obtained from the MBKM process. The purpose and benefits are to show how a catalog plays a role in an art exhibition and to develop the creativity of writers in using digital media. In the process of making a catalog the author uses the creation method which includes several stages, namely observation, data collection, exploration, the process of creating. From this process the author produced an exhibition catalog in which there were 9 layouts of the contents of the fine art exhibition catalog. It can be concluded that the author creates works based on his interest in catalogs, with ideas originating from phenomena captured at the Rudana Museum and reading reference sources from the internet. At the processing stage the author refers to the results of the MBKM. Of all these processes are expected to find identity in the work.
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Świtek, Gabriela. "The Borderlines of the Thaw: Graphic Art from the Federal Republic of Germany in Warsaw’s “Exhibition Factory” (1956–1957)." Biuletyn Historii Sztuki 82, no. 1 (May 6, 2020): 127–58. http://dx.doi.org/10.36744/bhs.638.
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The aim of the essay is to delineate the political and artistic contexts of two exhibitions of graphic art from the Federal Republic of Germany held in the Central Bureau of Art Exhibitions, the main state art gallery in Warsaw (1956–1957). The historians consider the year 1956 – similarly to the years 1968 or 1989 – to be an important caesura in the political and social history on the global scale. In the history of modern art in Poland, the year 1956 is also perceived as a period crucial to changes in artistic life (Polish thaw). As the first show of West German artists in post-war Poland, the Exhibition of the Works of Graphic Artists from the Federal Republic of Germany opened in Warsaw on the same day when Nikita Khrushchev delivered his celebrated “Secret Speech” in Moscow (25 February 1956). The exhibition Poster Art in the Federal Republic of Germany was organized in 1957, after the events of the Polish October (1956). The idea to juxtapose art exhibitions with political events of their era follows contemporary reflections on the phenomenon of noncontemporaneity and on the heterogeneous nature of the visual time of art and exhibition histories.
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Htwe, Diana Nway. "/ Shi : A Signpost on the Blurry Map of Myanmar Art History." Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, no. 1 (March 2024): 91–116. http://dx.doi.org/10.56159/sen.2024.a924617.
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Abstract: /Shi was a citywide satellite exhibition I co-curated in Yangon, Myanmar, held from 12 November 2022 to 12 January 2023. The exhibition was chiefly sponsored by the Goethe Institute of Yangon and comprised seven venues and over fifty artists. Art exhibitions are not rare in Myanmar and there have been other large-scale exhibitions prior to /Shi in the recent decade. However, the lack of critique and documentation on these activities in the Myanmar art world have rendered these art projects and cultural endeavours generationally unable to build upon their predecessors and always having to start from square one. This essay is a preventive measure against /Shi ’s foreboding fate of becoming another unreviewed model of exhibition-making in Myanmar. /Shi established once and for all that art and exhibitions that actively engage with the general public can still happen in postcoup Yangon. May /Shi ’s successes be built upon and failings understood .
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Verling, Luke. "Exhibition Curation: Art Unlimited." Circa, no. 71 (1995): 30. http://dx.doi.org/10.2307/25562772.
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Poinsot, Jean-Marc. "The Art of Exhibition." Critique d’art, no. 8 (September 1, 1996): 72–74. http://dx.doi.org/10.4000/critiquedart.105087.
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Su, Stephanie. "Exhibition as Art Historical Space: The 1933 Chinese Art Exhibition in Paris." Art Bulletin 103, no. 3 (July 3, 2021): 125–48. http://dx.doi.org/10.1080/00043079.2021.1882808.
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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 (December 25, 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.