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Journal articles on the topic 'Cultural exhibition'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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 (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 1

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2

Ding, Haimeng, Kuang-Peng Hung, Norman Peng, and Annie Chen. "Experiential Value of Exhibition in the Cultural and Creative Park: Antecedents and Effects on CCP Experiential Value and Behavior Intentions." Sustainability 13, no. 13 (2021): 7100. http://dx.doi.org/10.3390/su13137100.

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The protection of industrial cultural heritage is related to sustainable urban development. Cultural and creative parks (CCPs) are a way for many cities to protect their industrial cultural heritage. In the context of CCPs, this study examines the relationships among the antecedents of exhibition experiential value, CCP experiential value, and behavioral intentions. Surveying 428 visitors in two well-known CCPs in Taipei, this study found that the four antecedents (attractiveness, existential authenticity, self-congruence, and exhibition–park image congruence) have a positive impact on exhibit

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Juříčková, Miluše. "Two Art Exhibitions as Dialogic Events in the History of Czech-Norwegian Cultural Relations." AUC PHILOLOGICA 2021, no. 1 (2021): 121–27. http://dx.doi.org/10.14712/24646830.2021.16.

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The article analyses two art exhibitions in the context of Czech-Norwegian relations, presenting both the Czechoslovak book exhibition in Oslo (1937) and the Norwegian painting and applied art exhibition in Prague (1938) as important parts in a bilateral cultural dialogue. The promising initial communication in form of a mutual information exchange was soon disrupted by the beginning of World War II and post-war politics.

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Baldini, Andrea Lorenzo. "六/6: Finding Meaning. The Expanded Exhibition and the Post-Pandemic World". Journal of Public Space, Vol. 5 n. 4 (1 грудня 2020): 301–12. http://dx.doi.org/10.32891/jps.v5i4.1382.

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How will artistic exhibitions function in the post-pandemic world? Visiting museums and galleries is a health hazard. 六/6: Finding Meaning is an attempt to offer an alternative. It embodies a novel exhibiting format called the expanded exhibition, which inhabits an expanded public space, between the physical and the digital. 六/6shows us that, once liberated spatially, exhibitions can be effective tools of meaning-making and social change even in a post-pandemic world. By exploiting the interplay between the digital and the physical domains, expanded exhibitions such as 六/6 can build alternativ

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Karm, Svetlana, and Art Leete. "Uurali kaja Eesti Rahva Muuseumis." Eesti Rahva Muuseumi aastaraamat, no. 61 (October 11, 2018): 14–43. http://dx.doi.org/10.33302/ermar-2018-001.

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The Echo of the Urals exhibition at the Estonian National Museum Our objective was to analyse the process of preparing the Echo of the Urals permanent exhibition we produced for the Estonian National Museum. We focused on the historical background of the exhibition and the methodological and ideological positions that the exhibition committee relied on. In this article, we dealt with how the concept for the exhibition developed and the principles for the technical solutions used at the exhibition. We also tried to analyse the retrospective views taken by the exhibition’s content and design com

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Iuga, Anamaria. "“Coming into the World: From Spirits to the Spirit”. The First Childhood Museum in Romania." Folklore: Electronic Journal of Folklore 80 (December 2020): 215–30. http://dx.doi.org/10.7592/fejf2020.80.iuga.

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The present paper follows the National Museum of the Romanian Peasant (Romania) in its endeavour to display the Virtual Museum of Childhood. The context prior to exhibiting material and intangible heritage related to childhood is analysed, and the curatorial challenges of this project are mentioned. This article also refers to the museum’s activities dedicated to childbirth (exhibitions, cultural activities), from 1990 to the present day, but it especially focuses on the first exhibition of the Museum of Childhood, “Coming into the world: From spirits to the Spirit”, dedicated to birth.

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Zegeye, Abebe. "Exhibition Review." African Identities 8, no. 3 (2010): 303–4. http://dx.doi.org/10.1080/14725843.2010.491628.

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Grinko, Ivan Aleksandrovich, and Anna Aleksandrovna Shevtsova. "Anthropology of the mannequin: traps and prospects in the museum exhibition." Человек и культура, no. 4 (April 2020): 92–102. http://dx.doi.org/10.25136/2409-8744.2020.4.33547.

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This article is dedicated to specificity of using mannequins in the museum exhibitions. Emphasis is made on the nuances of selection and preparation of a museum mannequin from the perspective of anthropology, and primarily such aspects as anthropological correspondence and symbolic component that allow turning the mannequin from a technical element into a constituent part of exhibition, which would translate the elements of intangible cultural heritage. The goal this research consists in the analysis of potential risks associated with neglecting the specificity of mannequin as a constituent pa

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Lorenc, Magdalena. "„Obok. Polska – Niemcy. 1000 lat historii w sztuce” jako przykład wystawy politycznej." Przegląd Politologiczny, no. 2 (June 19, 2018): 163–76. http://dx.doi.org/10.14746/pp.2013.18.2.14.

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The objective of the paper is to analyze and assess the institutional conditions of the exhibition entitled Side by Side. Poland – Germany. 1000 years of Art and History, organized in Martin-Gropius-Bau in Berlin between September 23, 2011 and January 9, 2012. In terms of the number of works of art presented this undertaking was unprecedented in the history of Polish- German relations. The exhibition, and the catalogue that accompanied it, were a part of the Cultural Program of the Polish Presidency in the EU Council in 2011, becoming an exemplification of the issue of the politicization of ex

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10

Baghery, Sohrab. "Grimaldi Forum: Cultural and Exhibition Centre, Monaco." Structural Engineering International 11, no. 2 (2001): 113–15. http://dx.doi.org/10.2749/101686601780347039.

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Лапина and N. Lapina. "Characteristics of Development of Exhibition and Fair Activities in Moscow." Management of the Personnel and Intellectual Resources in Russia 3, no. 5 (2014): 38–42. http://dx.doi.org/10.12737/5792.

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The paper presents the analytical information about the development of exhibition activity in Moscow as an information, communication and intellectual resources of socio-economic development of the region. On the basis of extensive statisticsthe author traced the dynamics of quantitative and qualitative development indexes of the sphere of exhibition and fair activities, which directly depends on the state of economics and investment activity in the territory. Exhibitions and fairs in Moscow is one of the most important sectors of the economy of the city, that largely determi

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12

Tybjerg, Karin. "Exhibiting Epistemic Objects." Museum and Society 15, no. 3 (2018): 269–86. http://dx.doi.org/10.29311/mas.v15i3.2540.

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Scientific and medical collections contain many of what we may call epistemic objects, i.e. objects that have played important roles in the production of knowledge. Drawing on the work of H.-J. Rheinberger on ‘epistemic things’ and J. Pickstone on ‘ways of knowing’ this paper considers ways of exhibiting epistemic objects that utilize their knowledge-generating potential and allow them to continue to stimulate curiosity and generate knowledge in the exhibition. The epistemic potential of the objects can then be made to work together with the function of the exhibition as a knowledge-generating

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Tillotson, Giles. "The Jaipur Exhibition of 1883." Journal of the Royal Asiatic Society of Great Britain & Ireland 14, no. 2 (2004): 111–26. http://dx.doi.org/10.1017/s1356186304003700.

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The exhibition of decorative and industrial arts that was held in Jaipur in 1883 under the patronage of Maharaja Sawai Madho Singh II (1880–1922) brought together the work of artists and craftsmen from many regions of India, but gave special treatment to the neighbouring states of Rajasthan, and to the pupils of Jaipur's own recently established School of Art. It led to the establishment of a permanent museum of industrial arts in Jaipur, which still exists and continues to hold many of the original exhibits. One of many ambitious exhibitions that followed in the wake of the Great Exhibition o

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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821." Latin American and Latinx Visual Culture 3, no. 1 (2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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20

Van Holsten, E., A. A. Koroleva, and A. N. Nikiforova. "Cultural Networks Italiart and Ruart: International Art Partnership." Concept: philosophy, religion, culture, no. 1 (July 7, 2020): 181–85. http://dx.doi.org/10.24833/2541-8831-2020-1-13-181-185.

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The networking format becomes the most widespread form of international cooperation in the field of culture at the present stage. First, it attracts subjects of the international market of culture and art by reducing costs and the price of implementing projects. Both previously existing organizations and new partner projects have adopted this format and transformed themselves into networks, building their structure on the principle of horizontal communications. Along with representatives of state structures and international organizations, there are networks initiated by independentexperts int

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21

Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.

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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a

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22

Dykhuis, Peter. "Eye (Level) Chart: twenty years of programming at Eye Level Gallery." Art Libraries Journal 27, no. 2 (2002): 8–10. http://dx.doi.org/10.1017/s030747220001261x.

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An exhibition entitled Eye (Level) Chart reviewed the twenty year history of Eye Level Gallery, an artist-run centre in Halifax, Nova Scotia. The temporal history of the Gallery was presented as a chronological gallery display of exhibition announcements, posters and graphic ephemera. More than a mere summary of exhibitions, significant social and cultural information was revealed through the charting of promotional materials that were astutely archived over a twenty-year period.

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Lo, Patrick, Holly H. Y. Chan, Angel W. M. Tang, et al. "Visualising and revitalising traditional Chinese martial arts." Library Hi Tech 37, no. 2 (2019): 273–92. http://dx.doi.org/10.1108/lht-05-2018-0071.

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Purpose The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong. Design/methodology/approach A questionnaire survey in both online and paper-based formats was used for identifying visitors’ ex

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Bal, Mieke. "Guest Column: Exhibition Practices." PMLA/Publications of the Modern Language Association of America 125, no. 1 (2010): 9–23. http://dx.doi.org/10.1632/pmla.2010.125.1.9.

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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 con

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Gibbons, Patti. "Assessing Risk and Safeguarding Rare Library Materials During Exhibition Loans." International Journal of Risk and Contingency Management 5, no. 1 (2016): 15–25. http://dx.doi.org/10.4018/ijrcm.2016010102.

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Rare book and archival materials on loan to libraries and other cultural heritage institutions are very often historically significant, highly valuable, and frequently irreplaceable. Lenders minimize risks present during exhibitions loans of these valuable materials by identifying and addressing possible threats during the loan review process. This article provides information on specific ways special collection libraries assess and limit risks presented during exhibition loans to better safeguard important cultural heritage materials.

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Grace, Claire, and Kevin Lotery. "Artists Design Exhibitions: Introduction." October 150 (October 2014): 3–8. http://dx.doi.org/10.1162/octo_a_00197.

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In the first half of the twentieth century, exhibition design served a central and multivalent function: As spaces of the public sphere, exhibitions offered sites for aesthetic experimentation, for the confrontation with new technologies, and for the dissemination of propaganda materials. Rather than elaborating a medium per se, artists who turned to exhibition design sought tactical, site-specific—even project-specific—interventions in the pressing questions of their present, and they did so by positioning their work within the terms, materials, and technologies then active. One need only con

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Yang Gongxia and Si Yun. "Visual environment for the exhibition of cultural relics." Lighting Research & Technology 22, no. 4 (1990): 175–81. http://dx.doi.org/10.1177/096032719002200402.

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Lie, Siv B. "Placing Django: Narratives of heritage and race in a Parisian exhibition." French Cultural Studies 32, no. 4 (2021): 315–29. http://dx.doi.org/10.1177/09571558211007438.

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Django Reinhardt: Swing de Paris, an exhibition that took place at the Cité de la musique in Paris, depicted the life and environment of famed Manouche (French Romani/”Gypsy”) guitarist Django Reinhardt. In this article, I explore how the exhibition performed a spatialized centre-periphery model of citizenship that both reflected and reinforced Manouche marginality in relation to broader French society. I argue that museum exhibitions generate and harness place-oriented narratives to reinforce hegemonic conceptions about ideal citizens. In marking out an ethnoracially segregated imaginary of s

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Di Trocchio, Paola. "Exhibition Review: Maison Martin Margiela “20” The Exhibition." Fashion Theory 15, no. 1 (2011): 99–107. http://dx.doi.org/10.2752/175174111x12858453158309.

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Purkis, Harriet. "Making Contact in an exhibition zone: Displaying contemporary cultural diversity in Donegal, Ireland, through an installation of visual and material portraits." Museum and Society 11, no. 1 (2015): 50–67. http://dx.doi.org/10.29311/mas.v11i1.222.

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The ‘museum as contact zone’ (Clifford 1997: 192) has been a concept that has theoretically framed the inclusion of different cultures in museums. The contact zone concept has been revisited, for example by Boast 2011. Further, the idea of the ‘dialogic contact zone’ (Witcomb 2003; Bennett 2006) is used in relation to exhibition communication techniques that aim to establish a dialogue on cultural diversity between visitors, exhibitions and curators. This paper sets out to reframe the contact zone concept, by considering both the nature and form of contact in an exhibition. The method used is

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KARAKAŞ TABAK, Dilara. "EXHIBITING EVERYTHING: A REVIEW ON DAMIEN HIRST’S “REAL” EXHIBITION." ATLAS JOURNAL 7, no. 44 (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 em

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Hanus, Jozef, and Emília Hanusová. "Public Use of Rare Archives and Valuable Library Documents." Atlanti 26, no. 2 (2016): 225–32. http://dx.doi.org/10.33700/2670-451x.26.2.225-232(2016).

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Digital conversion of cultural artefacts of all kinds has advanced rapidly in the past few years. People can explore many of the most known and popular artworks, artefacts, books, videos and sounds, etc. from all over the world via the Internet from the comfort of their living rooms. Despite this fact the exhibition of rare archival and valuable library documents still remains one of the most popular and significant way of presentation of this cultural heritage type to the broad public. On the other hand the exhibitions represent also the most possible cause and risk of their physical degradat

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Smith, Daniella Ohad, and Paul Micklethwaite. "Exhibition Review." Interiors 1, no. 1 (2010): 151–57. http://dx.doi.org/10.2752/204191210791602249.

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Kwiatkowska, Hanna. "EXHIBITION REVIEW." East European Jewish Affairs 37, no. 1 (2007): 109–11. http://dx.doi.org/10.1080/13501670701309079.

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Lutz, Barbara. "Von der documenta lernen? Über die kulturelle Dringlichkeit im Ursprung der Ausstellungsreihe und ihre transkulturellen Implikationen für das kuratorische Konzept der documenta 14." Kulturwissenschaftliche Zeitschrift 2, no. 1 (2017): 76–87. http://dx.doi.org/10.2478/kwg-2017-0004.

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Abstract With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 2017 both in the Greek metropolis of Athens and the German city of Kassel. As such, documenta 14 did not appear as a touring exhibition but as two single and at the same time correlated exhibitions in two different countries located in the middle of Europe and on its outskirts. With this curatorial approach, Artistic Director Adam Szymczyk goes counter the basic parameters of the well-established Western exhibition institution, which was founded in 1955 and, since then, is implemented as a pe

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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art

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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (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 rea

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Bowlt, John E. "Sergei Diaghilev’s “Exhibition of Historic Russian Portraits”." Experiment 17, no. 1 (2011): 76–93. http://dx.doi.org/10.1163/221173011x611842.

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Abstract The article treats of the “Exhibition of Historic Russian Portraits” which Sergei Diaghilev organzed at the Tauride Palace, St. Petersburg, in 1905. Reference is made to the precedents to the event such as Nikolai Vrangel’s exhibition “Russian Portrait Painting of the Last 150 Years” of 1902 and to the primary supporters such as Tsar Nicholas II, Alexandre Benois, and the Grand Duke Nikolai Mikhailovich. Key works in the exhibition, especially the 18th century aristocratic portraits, promotiojnal materials, including the catalog, public and critical reaction, installation and design,

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Goodrum, Alison L. "Exhibition Review: The First New Zealand Fashion Week Exhibition." Fashion Theory 8, no. 1 (2004): 99–104. http://dx.doi.org/10.2752/136270404778051825.

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Levine, George. "THE DARWIN EXHIBITION." Victorian Literature and Culture 35, no. 1 (2007): 334–38. http://dx.doi.org/10.1017/s1060150307231547.

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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.

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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment

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Kushner, Marilyn S. "Exhibiting Art at the American National Exhibition in Moscow, 1959: Domestic Politics and Cultural Diplomacy." Journal of Cold War Studies 4, no. 1 (2002): 6–26. http://dx.doi.org/10.1162/152039702753344807.

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Vedel, Karen. "Theatricalization in the Cultural History Museum." Nordic Theatre Studies 31, no. 2 (2020): 23–36. http://dx.doi.org/10.7146/nts.v31i2.120118.

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The article examines theatricalization and visitor participation as curatorial strategies in new museological practices. It asks: How are theatrical and participatory elements put into use and what is their effect on the visitor experience in terms of meaning-making. Based on a first-person phenomenological description, the analysis centres on the exhibition An Army of Concrete in The Tirpitz Museum on the west coast of Denmark. Looking at the processes of theatricality in the exhibition, it is argued that meaning-making ultimately relies on visitor participation and is produced self-reflexive

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Heesen, Anke Te. "On the History of the Exhibition." Representations 141, no. 1 (2018): 59–66. http://dx.doi.org/10.1525/rep.2018.141.1.59.

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This comment on The Object as Ambassador forum provides the basis for a deeper understanding of the history of exhibitions through its historical analysis of the terms museum, collection, and exhibition.

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van den Berg, Nanda. "Exhibition Review: Woman." Fashion Theory 8, no. 2 (2004): 237–44. http://dx.doi.org/10.2752/136270404778051762.

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Pine, Julia. "Exhibition Review: Camouflage." Fashion Theory 15, no. 3 (2011): 381–86. http://dx.doi.org/10.2752/175174111x13028583328964.

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CIUREA, Cristian, Alin ZAMFIROIU, and Alin GROSU. "Implementing Mobile Virtual Exhibition to Increase Cultural Heritage Visibility." Informatica Economica 18, no. 2/2014 (2014): 24–31. http://dx.doi.org/10.12948/issn14531305/18.2.2014.03.

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Catton, Freyja, and Laura Smith. "Museums Without Walls." Pathfinder: A Canadian Journal for Information Science Students and Early Career Professionals 2, no. 2 (2021): 72–85. http://dx.doi.org/10.29173/pathfinder31.

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The purpose of this paper is to explore the possibilities of virtual exhibitions (VEs) for GLAM institutions. While VEs continue to be secondary to physical exhibitions, an effective VE uses technology to engage viewers and present opportunities for interactivity to support further learning and discovery of collection materials. Cultural heritage organizations can use VEs to make the “digital version of a cultural artefact accessible even when the physical access is restricted” and leads GLAM institutions and LIS scholars to reflect on how “users receive and interact with information in a virt

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Aveyard, Karina, and Albert Moran. "Cinema-Going, Audiences and Exhibition." Media International Australia 139, no. 1 (2011): 73–79. http://dx.doi.org/10.1177/1329878x1113900110.

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This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences seek out film content? How are films accessed and by whom? What place does film have in popular social memory? How does the site of consumption shape th

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Jung, Soo-Jin. "The Exhibition of Intangible Cultural Heritage in Museum: Between Cultural Diversity and Universality." ASIAN COMPARATIVE FOLKLORE 67 (December 31, 2018): 115–44. http://dx.doi.org/10.38078/acf.2018.12.67.115.

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