Academic literature on the topic 'EXHIBITION – MUSEUM - PROJECT'
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Journal articles on the topic "EXHIBITION – MUSEUM - PROJECT"
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Treit, Dominika, and Kamila Hyska. "Wdrażanie narzędzi zarządzania projektowego do procesu organizacji wystaw. Studium przypadku Muzeum Narodowego w Krakowie (2016–2019)." Zarządzanie w Kulturze 22, no. 1 (2021): 41–67. http://dx.doi.org/10.4467/20843976zk.21.005.13633.
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Implementation of Project Management Tools to the Exhibition Organization Process. Case Study of the National Museum in Krakow (2016–2019) How to thoroughly improve the process of organizing exhibitions in a cultural institution? Is project management in a museum possible? How to implement new tools? What to do after initiating a change? This article provides answers to these questions through a case study prepared by the Head of the Exhibition Organization Department and the Head of the Coordinators Section of the National Museum in Krakow, directly responsible for the exhibition organization process. The article describes the events from 2016 to 2019. This includes an audit of the existing process of exhibition organization, implementation of corrective measures, introduction of new tools, their updating and verification, taking into account such solutions as treating the exhibition as a project, PRINCE2 and Scrum methods, a detailed description of the process, and creating standardized templates of project documents, i.e. a list of objects, project charter, project schedule, partial schedule, project budget, evaluation. These activities resulted in the improvement of team cooperation, the elimination of avoidable delays, the automation and acceleration of the process of preparing project documentation, making the obligations of individual team members public, submitting project data to the stakeholders of a given project on an ongoing basis, reducing the amount of manual work, and reducing the cost of the implementation of individual projects.
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Tötszegi, Tekla. "Noi metode și tehnici de antrenare pentru persoanele cu dizabilități vizuale în activitățile de profil desfășurate în cadrul Muzeului Etnografic al Transilvaniei." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 245–58. http://dx.doi.org/10.47802/amet.2017.31.13.
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In 2009, a project funded by AFCN proposed for the first time the development of a methodology for the cultural integration of persons with visual impairments and its application to museum techniques, the outputs of which was a tactile exhibition having a permanent character. In the project "BaGMIVI PROJECT: Bridging the Gap between Museums and Individuals with Visual Impairment", the Transylvanian Museum of Ethnography has proposed the development and deepening of certain areas, presented briefly in the tactile exhibition through museum educational activities.
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Jackson, Jason. "Ethnography and Ethnographers in Museum-Community Partnerships." Practicing Anthropology 22, no. 4 (2000): 29–32. http://dx.doi.org/10.17730/praa.22.4.30l3vn01482324x4.
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During the 1999 American Association of Museums (AAM) meetings, museum workers reflected on ways in which their institutions could become more relevant. Social structures that have supported museums are rapidly changing and in which cultural diversity is increasingly recognized as both a social value and as a pragmatic challenge for public institutions. Although the forms they take are almost as diverse as the American museum community itself, models of direct collaboration between museums and specific local communities (ethnic, religious, occupational, etc.) are becoming a standard part of museum-based exhibition and research. While this common pattern is emerging, there are wide gaps existing between the aspirations and rhetoric of museum advocates of collaboration and the real work done throughout the United States. What is often missing in collaborative exhibition projects exploring local artistic, cultural, or historical traditions are the values and perspectives that are the common background of professional cultural anthropology and folklore research. In this essay I present, as a case study, an account of a collaborative exhibition project at Tulsa's Gilcrease Museum where I, until recently, served as Curator of Anthropology.
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Szeląg, Marcin. "EDUCATIONAL ASSUMPTIONS OF THE PERMANENT EXHIBITION IN THE PAN TADEUSZ MUSEUM IN WROCŁAW AND THEIR IMPLEMENTATION." Muzealnictwo 59 (September 21, 2018): 185–97. http://dx.doi.org/10.5604/01.3001.0012.5065.
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Since 2016 the Pan Tadeusz Museum of the Ossoliński National Institute in Wrocław has been opened to the public. It is dedicated to the national epic poem – the most acknowledged piece of literature by Adam Mickiewicz, titled Pan Tadeusz, published for the first time in 1834. It also presents the reception of the poem, longevity of ideas started in Romanticism and the legacy of freedom in the history of Poland in the 19th and 20th centuries. The investment was co-financed from the European budget within the project named The Pan Tadeusz Museum – an innovative space – education through culture. The project was based on the idea to create a museum of educational character, with the use of museum exhibits, multimedia presentations, and infrastructure necessary for a modern arrangement of the exhibition. Given these assumptions, the team of educators, mostly with long-term practice as museum professionals, prepared the permanent exhibition. Their practical experience, plus theoretical bases for educational goals they referred to, together with a subject of the exhibition that focuses on an exceptional masterpiece in the history of Polish culture, i.e. the Manuscript of Pan Tadeusz, determined decisions pertaining to selection of exhibits, content of multimedia applications, inscriptions under the exhibits and titles of individual rooms, the range of themes for audio guides as well as materials and facilities for visitors with disabilities. In the article the permanent exhibition “The Manuscript of Pan Tadeusz” is described from the perspective of narration applied and educational assumptions it was based upon. It is then referred to a museological reflection which analyses an educational potential of museum exhibitions, interpretation practices and strategies of narration carried out by museums through exhibitions and educational activities.
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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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Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.
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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
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Wessman, Anna, Xenia Zeiler, Suzie Thomas, and Pilvi Vainonen. "The Durga Puja pop-up exhibition at the National Museum of Finland. Designing and hosting an exhibition as university educationmuseum collaboration." Nordisk Museologi 29, no. 2 (2020): 96. http://dx.doi.org/10.5617/nm.8445.
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In autumn 2018, eight Museum Studies students from the University of Helsinki had the opportunity to put theory into practice and to gain hands-on experience making a real exhibition. The ‘Museum Content Planning’ course was a collaborative project between the National Museum of Finland and the university in which the students, together with the museum staff, built a pop-up exhibition about the Indian festival Durga Puja in only five weeks. The exhibition showed in the National Museum for two weeks, and the students were involved in most stages of the exhibition’s development. They also blogged about their learning experience. In this case study, we present our reflections on both the benefits and challenges of collaboratively creating an exhibition, which is simultaneously an accredited learning experience for university students.
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Dvorkin, Ihor. "MUSEUMS IN THE UKRAINIAN NATIONAL MOVEMENT IN RUSSIAN-RULED UKRAINE IN THE LATE XIX AND EARLY XX CENTURY." City History, Culture, Society, no. 3 (October 30, 2017): 83–91. http://dx.doi.org/10.15407/mics2019.03.083.
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The article examines the place and role of museum institutions in the legal, cultural activities of representatives of the Ukrainian national movement of the Russian Empire in the late nineteenth and early twentieth centuries. The author considers that in the absence of Ukrainian state and Russian imperial policy, which denied the existence of a separate Ukrainian people, the official, authorized institutions enabled the representatives of the Ukrainian creative intelligentsia a legitimate way to spread the idea of a "Ukrainian project" of nation-building. The author agrees that in promoting this project, Ukrainophiles actively used "invention of traditions" (by Eric Hobsbaum) - cultural practices of a ritual or symbolic nature that were intended to express community belonging and impart specific values and behaviours. In particular: life, traditional Ukrainian clothing, a celebration of anniversaries of outstanding events or anniversaries significant for the Ukrainian movement of personalities, as well as the conscious application of Ukrainian architectural modernity (Ukrainian style) in the architecture and development of Ukrainian professional theatre. Museums as sources of information about the past of Ukrainians also fit into these practices. They were accessible to the general public and had great potential to influence the society of that time. Museum exhibitions provided ample opportunities to represent Ukrainian history and culture, and by their explicit or hidden intention, their founders had the potential to become Ukrainian national. The attempt to implement such museum projects is described in the article on the example of the activity of the Kyiv Art, Industrial and Scientific Museum and the Museum of Ukrainian Antiquities V.V. Tarnovsky at the Chernihiv Provincial Zemstvo. Analyzing both the permanent exhibitions and the exhibitions held (the First South Russian Exhibition of Handicrafts in 1906, the exhibition dedicated to the fiftieth anniversary of the death of Taras Shevchenko in 1911), the author proves that there were literally "hiding places" behind the facade of the imperial museums. National ones that could well serve to shape Ukrainian identity.
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Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, et al. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.
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This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). The two museums shared the project at the UK University Museums Group (UMG) conference in 2016, where it came to the attention of colleagues at OUMNH. Following the UMG conference, the leadership and education teams of the three museums opened a dialogue to exchange knowledge and experience on leadership, innovation and education in science museums. This culminated in the first Connecting Museums conference in Porto Alegre, Brazil in October 2017. The conference was attended by 81 professionals, researchers, undergraduate and graduate students with interests in museology, the natural sciences and related areas. *** Connecting Museums: um estudo de caso sobre liderança, inovação e educação em museus de ciências universitários liderando projetos de internacionalização ***Este artigo constitui-se de um relato sobre o Connecting Museums: liderança, inovação e educação em Museus de Ciências, uma conferência internacional envolvendo três museus universitários: o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: Hancock (GNM), da Newcastle University (NU) e o Oxford University Museum of Natural History (OUMNH). A parceria entre as instituições iniciou-se a partir de um projeto para o desenvolvimento de uma exposição conjunta, organizada pelo MCT-PUCRS e pelo GNM financiada pelo Newton Fund por meio do edital Institutional Skills 2016 promovido pelo British Council. Os dois museus apresentaram o projeto na conferência do University Museum Group (UMG) em 2016 no Reino Unido, despertando a atenção de colegas do OUMNH. Após a conferência, as equipes de gestão e de educação dos três museus iniciaram um diálogo que culminou na troca de conhecimentos e experiências nas áreas de liderança, inovação e educação em museus de ciências. Este diálogo resultou na primeira edição da conferência Connecting Museums em Porto Alegre, Brasil, em outubro de 2017. Participaram do evento 81 profissionais, entre pesquisadores e alunos de graduação e pós-graduação, cujo interesse estava relacionado à museologia, ciências naturais e áreas correlatas.Palavras-chave: Museus de ciência. Liderança. Inovação. Educação em ciências. Internacionalização.
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Ivanov, A. I. "«INDUSTRIAL BIROBIDZHAN IS GROWING»: TWO EXHIBITIONS IN MOSCOW AND LENINGRAD DEDICATED TO JEWISH ECONOMIC AND CULTURAL CONSTRUCTION IN THE USSR IN 1930S." Regional problems 24, no. 2-3 (2021): 238–43. http://dx.doi.org/10.31433/2618-9593-2021-24-2-3-238-243.
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The author of the article considers two exhibitions dedicated to the Soviet propaganda project for the radical reconstruction of the Russian Jewry socio-economic structure. The first one – «Birobidzhan» – was held in 1933 in a pavilion of the Maxim Gorky Central Park of Culture and Rest in Moscow. Another exhibition – «Jews in Tsarist Russia and in the USSR», organized by the Jewish section of the State Museum of Ethnography (now – the Russian Ethnographic Museum) was working in Leningrad for the period from 1939 to 1941. Based on the documents stored in the Scientific Archive of the Russian Ethnographic Museum, the author shows how the Soviet propaganda machine used the demonstration material of museums in 1930s. The entire arsenal of exhibition was used to demonstrate «the achievements of the Leninist-Stalinist national policy among the Jews of the USSR», a creation of the Jewish Autonomous Region in the Soviet Far East being a major one.
Dissertations / Theses on the topic "EXHIBITION – MUSEUM - PROJECT"
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Terheide, Sarah E. "Restorative Exhibition Practices: Foregrounding the Cultural and Archaeological Destruction of 19th Century Pothunting through a Web-Based Virtual Exhibit of Three-Dimensional Models of Southeastern Ceramics within a NAGPRA Remediation Project." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595849396122411.
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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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Lundell, Linnéa. "Gränslöst. En global utställning på Historiska museet." Thesis, Uppsala universitet, Institutionen för ABM, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154557.
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This thesis is a report concerning the practical aspects on exhibition techniques. During an internship at the National History Museum in Stockholm I participated in the work with their new, temporary exhibition Gränslöst - en global utställning på Historiska museet [Boundless - a global voyage of discovery at the National Historical Museum]. I was part of a small project team of museum staff. The purpose of this exhibition was to show how cultures have met and influenced each other throughout history. The National Historical Museum has in its collections and exhibitions several examples of objects that has been imported from or inspired by other cultural areas. The primary goal was to give the visitors a new perspective, to show that these “Swedish” objects have a long history of trading and cultural exchange. Additionally, Gränslöst is an attempt to draw the visitors into the permanent exhibitions; it is not an independent production and shares some characteristics with so- called “Hot spot” exhibitions. My ambition is to describe the planning, implementation and delivery of the exhibition and highlight problems and solutions that arise during that process.
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Redvale, Jolene Kay. "Interactive exhibits in museums: Definitions, methods and visitor experiences." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1371.
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Laberge, Marie Elizabeth. "Médiation de l'architecture par l'exposition et sa réception par des visiteurs experts et non experts." Phd thesis, Université d'Avignon, 2012. http://tel.archives-ouvertes.fr/tel-00879654.
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Cette thèse s'intéresse à la médiation de l'architecture au musée et aux divers moyens employés pour communiquer le projet architectural en exposition. L'objectif est de mieux connaître la réception que font les visiteurs architectes et non-architectes des outils utilisés pour exposer les aspects variés du projet architectural. On s'entend pour dire que la communication du projet architectural par l'exposition n'est pas tâche facile. Des représentations diverses (dessins, maquettes, photographies, vidéos, etc.) sont utilisées pour exposer le bâti absent. Plusieurs des objets présentés sont complexes à interpréter, surtout pour un néophyte, notamment en raison des codes qu'ils contiennent. Une méthode souvent employée par les commissaires est la " mise en série " de divers types de représentations, chaque outil permettant d'accéder à des informations spécifiques sur le projet. Comme les objets présentés sont souvent difficiles d'accès et que leur présentation sous forme de série peut ajouter à la complexité, il apparaît important d'investiguer la manière dont les visiteurs font sens de ce type de dispositif. Cette recherche vise principalement à jeter les bases d'une connaissance empirique de la réception d'expositions d'architecture par les visiteurs. Six questions ont été retenues pour analyse : (1) Quels objets sont mobilisés par le visiteur? (2) Quels types d'opérations mentales sont faites en lien avec ces objets? (3) Quels sont les obstacles rencontrés, et que fait le visiteur suite à la rencontre d'un obstacle? (4) Quels aspects du projet architectural (matérialité, concept, contexte, etc.) retiennent l'attention du visiteur? (5) Comment le visiteur fait-il des liens entre les différents objets exposés sous forme de série? (6) Le profil professionnel des visiteurs (architectes vs non-architectes) a-t-il une influence sur la construction de sens? Le recueil de données auprès d'une trentaine de visiteurs s'est déroulé au Centre canadien d'architecture (CCA) de Montréal dans l'exposition " Perspectives de vie à Londres et à Tokyo imaginées par Stephen Taylor et Ryue Nishizawa ". Chaque participant visite l'exposition en compagnie de la chercheure avec qui il partage, au fur et à mesure de sa visite, ses pensées et émotions, selon la méthode des protocoles verbaux concomitants (aussi connue sous le nom de thinking aloud ou protocol analysis). L'ensemble des propos est enregistré pour permettre une retranscription exacte avant analyse. Plusieurs des résultats obtenus confirment des idées déjà avancées par les chercheurs telles la popularité des photographies, le peu d'intérêt de la part des non-architectes pour les plans, les aspects variés du projet mentionnés face aux objets exposés, ou encore l'établissement de liens entre les objets comme moyen d'identifier la série. D'autres résultats mettent plutôt en doute des affirmations retrouvées dans les écrits, mais encore jamais appuyées par des données empiriques. Par exemple, plusieurs commissaires considèrent que la maquette est un excellent outil pour communiquer l'architecture et qu'elle est appréciée de tous. Or, dans le cadre de la présente étude, la maquette est peu utilisée par les visiteurs. Le type de maquette et la manière dont elle est disposée dans l'espace peuvent ainsi rendre cet outil peu utile dans la construction de sens du visiteur. Plusieurs auteurs appréhendent des difficultés et des obstacles pour les visiteurs non-architectes. Les présents résultats confirment certaines difficultés des visiteurs néophytes, mais ils démontrent également que les architectes rencontrent eux aussi des obstacles variés
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Machado, Tatiana Gentil. "Projeto expográfico interativo: da adoção do dispositivo à construção do campo da interatividade." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-08032016-170135/.
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Este trabalho procura refletir sobre como o projeto expográfico pode ser desenvolvido de modo a construir o campo da interatividade. Dada à exacerbação em torno da ideia de interatividade e da quase incondicional exigência da mesma nos novos projetos de exposições, o que se pode observar muitas vezes é conseqüente banalização de seu conceito em função da superficialidade com que acaba sendo tratado - seja pelo desconhecimento do conceito em sua completude, seja em virtude da redução ou da simplificação do mesmo. Uma das tendências atualmente é a associação direta e automática da interatividade com meios e dispositivos digitais - como se estes necessariamente promovessem a interatividade. O que resulta na adoção cada vez mais freqüente de dispositivos deste tipo pelos museus, com o argumento de que os mesmos têm o potencial de quebrar a relação mediativa e a comunicação \"unidirecional\". Entretanto, uma das hipóteses assumidas aqui é a de que esta associação é equivocada e que a simples adoção de dispositivos digitais não garante a promoção da interatividade no ambiente expográfico. Desta primeira hipótese, deriva a segunda, segundo a qual seria necessário desvincular a ideia da interatividade da relação direta e automática com os meios digitais, para, então, considerá-la em sua essência: como relação dialógica. O museu não pode deixar de ter em mente que o seu potencial está não apenas em fornecer informações, mas em estruturar oportunidades para que os visitantes possam compreendê-las e (re-)significá-las, possibilitando e estimulando, assim, que construam suas próprias identidades, e encontrem seu lugar no mundo. O projeto expográfico seria, então, um dos maiores recursos de que dispõe o museu para construir o campo desta interatividade.<br>This research aims to reflect on how the exhibition design can be developed in order to build the field of interactivity. Given the exacerbation around the idea of interactivity and its unconditional requirement in many recent exhibition projects, what one can often see is the consequent trivialization of his concept due to the superficiality with which it ends up being treated. One of the trends is currently the direct and automatic association of interactivity with media and digital devices - as if they necessarily promoted interactivity. This results in an increasing adoption of such devices by museums, on the grounds that they have the potential to break the meditative relationship and the \"one-way\" communication. However, one of the assumptions here is that this association is mistaken and that simply adopting digital devices does not guarantee the promotion of interactivity in the exhibition environment. This first hypothesis leads to a second assumption, according to which it is necessary to detach the idea of interactivity of the direct and automatic relationship with digital media, and consider it in its essence: as a dialogical relationship. The museum can not fail to keep in mind that its potential is not only to provide information, but in structuring opportunities for visitors to understand and (re-) signify them, enabling and encouraging the construction of their own identities and the definition of their place in the world. The exhibition project is one of the major resources available to the museum to build the field of this interactivity.
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Ziganshina, Madina. "Art-Map: concept of moving curatorial project and its practical realization in Aveiro." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15905.
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Mestrado em Criação Artística Contemporânea<br>In this dissertation, I present the results of a project which aim was to find out
and try an effective model of independent curatorial project executable in small
and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP
is a result of theoretical research and reflection about municipal exhibition
spaces and possibility of presentation of the contemporary art in these spaces.
To test if this curatorial project is realizable and if there are conditions to
continue it, a first trial was implemented in Aveiro. A curated international
exhibition, entitled “A Poética do Visual" occupied two municipal and two
private gallery spaces and brought together 111 artists from 25 different
countries. The art event was carried out in collaboration with the Municipality of
Aveiro and the University of Aveiro, and involved several private cultural
spaces in the city. This first experience showed that there are all conditions for
the presentation of contemporary art in small and medium size locations in
Portugal, and for this project to be replicated in other regions of the country.<br>Nesta dissertação, apresento os resultados de um projecto cujo objectivo era
desenvolver e experimentar um modelo eficaz e executável de projecto de
curadoria em cidades de pequena e média dimensão em Portugal. O conceito
de ART-MAP (Moving Curatorial Project) é resultado de pesquisa teórica e
reflexão sobre os espaços municipais de exposição e sobre a possibilidade da
apresentação de arte contemporânea nesses lugares. Para testar se esse
projecto de curadoria é realizável e se existem condições para continuá-lo, a
primeira experiência foi desenvolvida em Aveiro. A exposição internacional,
intitulada "A Poética do Visual” ocupou dois espaços municipais e dois
espaços culturais privados na cidade, e reuniu 111 artistas de 25 países
diferentes. O evento de arte foi realizado em colaboração com a Câmara
Municipal de Aveiro e a Universidade de Aveiro. Esta primeira experiência
mostrou que existem todas as condições para a apresentação de arte
contemporânea nas cidades de Portugal, e que este projecto pode ser
replicado em outras regiões do país.
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Lundström, Anna. "Former av politik : Tre utställningssituationer på Moderna Museet 1998-2008." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-116052.
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This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution. The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern. This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.
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Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
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Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architecture<br>The thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
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Challine, Éléonore. "Une étrange défaite : les projets de musées photographiques en France (1850-1945)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010506.
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Cette thèse traite de l’histoire des projets de musées de photographie en France entre 1850 et 1945. Elle a pour ambition d’étudier et de circonscrire les diverses conceptions du musée photographique – documentaire, artistique, historique, technique, etc. – et leur histoire. Entre la fin du XIXe siècle et la Seconde Guerre mondiale, coexistent deux idées principales dans la conception du musée photographique : ce que nous appellerons « musée des photographies », où la photographie constitue avant tout le moyen d’une encyclopédie ou documentation visuelle, et ce que nous nommerons d’autre part « musée de la photographie », voué à la photographie pour elle-même, non pas en tant qu’instrument d’enregistrement du réel, mais en tant que médium. Cette ambiguïté de conception – la photographie est-elle l’outil ou le sujet du musée ? – est inhérente à la pensée des relations entre photographie et musée et sera l’un des fils rouges de cette étude. Face à l’absence de réalisation de ces projets, qui pour certains ont été expérimentés mais jamais pérennisés, ce travail interroge les causes de ces échecs institutionnels. Il s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : les années 1850-1880 qui sont celles de la rencontre entre la photographie et les musées ; les années 1880-1910, celles des «musées rêvés de la photographie», qui voient le développement de plusieurs formes muséales ; enfin la période de l’entre-deux-guerres, pendant laquelle on assiste à l’émergence d’une véritable bataille du musée de la photographie<br>This doctoral dissertation treats the history of the projects of museums of photography in France between 1850 and 1945. It aims to study and identify the various conceptions of the photographic museum - documentary, artistic, historical, technical, etc. – and their history. Between the late nineteenth century and the Second World War, two main ideas coexist in the design of photographic museum: what we shall call "museum of photographs," where photography is first and foremost the means of a visual encyclopedia or documentation, and on the other hand what we shall call a "museum of photography" dedicated to photography for its own sake, not as a means of recording reality, but as a medium. This conceptual ambiguity – Is photography the tool or the subject of the museum ? — is inherent in the relationship between the photograph and the museum, and is one of the principle lines of inquiry in this study. This work examines the causes of these institutional failures given the lack of implementation of these projects, some of which were tried but never continued. It hinges on three chronological periods that trace the major developments of these projects : the years between 1850-1880, where photography and the museum meet; the years of the 'imagined museums photography’ in 1880-1910 where we can see various museum forms develop; and finally, the Interwar period which can be considered as the moment where the true battle for the museum of photography emerged
Books on the topic "EXHIBITION – MUSEUM - PROJECT"
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Adcock, Craig E. James Turrell: The Roden Crater project : an exhibition organized by the University of Arizona Museum of Art, Tucson. University of Arizona Museum of Art, 1986.
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Pratesi, Giovanni, ed. Il Museo di Storia Naturale dell'Università degli Studi di Firenze. Le collezioni mineralogiche e litologiche | The Museum of Natural History of the University of Florence.The Mineralogical and Lithological Collections. Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-319-9.
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The Museum of Natural History of the University of Florence, founded in 1775 by Grand Duke Pietro Leopoldo d'Asburgo Lorena, is one of the oldest and most prestigious scientific museums in the world. The fourth volume on the Collections of the Mineralogy and Lithology Section, published like the previous volumes by the Firenze University Press, fits perfectly in the series dedicated to the collections of the University's Museum System. The first part of the book describes in great detail the paths that led to the formation of the collections, starting with those dating to the Medici period and arriving at the specimens collected during recent expeditions. The second part illustrates and documents the extraordinary specimens of minerals, hardstone carvings and meteorites which represent the material patrimony of this section. Particular attention is given to the holotypes, the Elban Collection and the minerals of pegmatites, as well as the methods and solutions adopted to realize the project of the new museum exhibition set-up. The third and last part describes the studies carried out on the materials: from the minerals of the systematic collections to the rock specimens that recount not only the geodiversity of a region but also the history of a city.
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Yochelson, Bonnie, and Berenice Abbott. Berenice Abbott's Changing New York: An exhibition at the Museum of the City of New York, March 14-June 21, 1998 ; and Berenice Abbott, changing New York, the complete WPA project. Museum of the City of New York, 1998.
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TwentseWelle, Museum, ed. Huis van verlangen: Een bijzonder project in Museum Twentsewelle. Uitgeverij Voetnoot, 2015.
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Menghini, Silvio, ed. SYMPOSION – La cultura del vino nei valori della conoscenza storica e nelle strategie di mercato | The Culture of Wine within the Values of Historical Knowledge and the Marketing Strategies. Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-122-5.
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The "Symposion" project was launched in 2008 through collaboration between the Centre for the Strategic Development of the Italian Wine Sector (U niCeSV) of the University of Florence, within the framework of the activities of the Culture and Territory Observatory, and the Tuscan Archaeological Commission (National Archaeological Museum of Florence). The project involves the promotion of seminars and conferences, both in Italy and abroad, accompanied by exhibitions and specific publications offering insight into issues related to the presence of the vine and wine among the peoples of the Mediterranean area, from prehistoric times up to the present, and analysis of the significance of the close relationship between product, land and culture.
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Martin, Hentschel, and Museum Haus Esters, eds. Eric Fischl: The Krefeld project, Museum Haus Esters, Krefeld. Kerber, 2003.
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S̆us̆ters̆ic, Apolonija. Moderna Museet projekt, 4.2-14.3 1999. Moderna Museet, 1999.
Find full textBook chapters on the topic "EXHIBITION – MUSEUM - PROJECT"
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Han, Dong, Xujie Li, and Tianjiao Zhao. "The Application of Augmented Reality Technology on Museum Exhibition—A Museum Display Project in Mawangdui Han Dynasty Tombs." In Lecture Notes in Computer Science. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57987-0_32.
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Trigona, Simon Luca. "Archeologia subacquea in Liguria: un progetto integrato per la tutela e la valorizzazione." In Proceedings e report. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-147-1.15.
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The Soprintendenza of Liguria has always given a particular attention to underwater archaeology and still today it pursues clear and specific aims: design, build, manage and increase competences and technologies that can be able to contribute to the regional and cultural development. The experience reached in Liguria by many years, leaded our activities of protection, research and valorization in order to develop a network of integrated archaeological sites and naval museums. On land this project provides two new museums in the cities of Albenga and Imperia that will be connected with a series of exhibitions and conferences
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Alekseeva, Larisa K. "The Starry Esenin: the Exhibition Dedicated to the 125th Anniversary of the Poet in the V. I. Dahl State Museum of the History of Russian Literature." In Sergey Esenin in the Context of the Epoch. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0672-7-476-492.
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The article reveals the idea, concept and implementation of the exhibition project “Esenin. Live the Way the Star Leads You...” (2020–2021) in the State Museum of the History of Russian Literature named after V. I. Dahl. The museum experience, gained over several decades in the creation of expositions and exhibitions dedicated to the poet, was comprehended and generalized during its preparation. The museum space presents a new aesthetic image of Esenin, corresponding to the needs of the cultural society of the 21th century. The exhibition text is based on the conceptual idea of the “star” hero — a person of a special type of consciousness that has a connection with the Universe. The subjects and the expressive design solution reconfigure the usual optics of the spectator’s perception of the poet’s personality and work and reveal meanings that were not previously revealed or read.
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Migliore, Ico. "New Narrative Spaces." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2823-5.ch012.
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In exhibition design, and in the museum field in particular, the challenge of the designer consists of facing the complexity of reality by interweaving contents that they must reshape, giving them a narrative pace. The result of this recasting is a narrative museum. This is a concept that the author has developed through in-depth research and has implemented in actual museum projects in recent years. Conceived as a reaction against and opposition to the type of design used in the cases of the nail-in-the-wall museum and the funfair museum, the narrative museum makes the user the active protagonist of an interactive multimedia diorama. Presenting his perspective on this issue, the author argues the possibility of a polyphonic project, in which spaces are defined beyond forms with the aim of activating new usage patterns, placing an emphasis on the narrative quality of the place in directing the project.
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Franchi, Elisabetta. "‘Corredi emergenti’ e ‘ossicini pertinenti’." In Antichistica. Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-380-9/023.
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The article aims at providing food for thought on the profession of the museologist, a profession still unacknowledged and not an option in the Italian museums despite long-standing debates at the internazional level on the practice of ‘making a museum’. The author, an archaeologist expert on museum communication, describes her intervention in the new Archaeological Museum of Altino, opened to the public on December 2014. Though entering in an advanced phase of the work with a museum and exhibition project already underway and partly binding, she devised a ‘telescope lens’ that guides the visitors in getting their bearings in space and time and lead them with a ‘red thread’ from the title panels to the captions of the objects displayed. Great care has been taken to make texts easily understandable, with different levels of reading and analysis.
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Bugar, Aleksandra. "Evidence of Iron Metallurgy at the Okuje Site - from Findings to Presentation in the Exhibition and More." In Interdisciplinary Research into Iron Metallurgy along the Drava River in Croatia. Archaeopress Archaeology, 2021. http://dx.doi.org/10.32028/9781803271026-15.
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This contribution briefly discusses the Okuje archaeological site near Zagreb and the investigated traces of metallurgical activity, i.e. early iron production. As part of the TransFER project, Zagreb’s City Museum participated by presenting material from the Okuje site as comparative material to that investigated at the Podravina archaeological sites and by promoting knowledge to its visitors, chiefly by hosting in Zagreb the Koprivnica City Museum’s exhibition ‘Tajne željeza’ (The Secrets of Iron), simultaneously with its own event ‘Okuj(m)e! – Tragovi rane proizvodnje željeza u Zagrebačkom polju’ (Okuj(m)e! – Traces of early iron production around Zagreb).
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Santos, Andreia. "Proposta de práticas interativas para a Sala de Vandelli do Museu da Ciência da Universidade de Coimbra." In Museus e Formação: Novas Competências para a Transformação Digital. FLUP-DCTP, 2021. http://dx.doi.org/10.21747/978-989-9082-07-6/musa4.
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In the context of the Specialization Pilot Course promoted by the Mu.SA Project – Museum Sector Alliance, the integration in a cultural institution in the form of an internship (or work-based learning) was an important opportunity to put into practice the knowledge obtained in the different modules of the course, allowing the development of various competences within the functional profile of the Digital Interactive Experience Developer. The institution in question was the Science Museum of the University of Coimbra. This contribution presents a brief reflection on this period of integration, summarizing the main objectives, tasks carried out and, in the end, the proposal of some interactive practices that the museum can apply in its exhibition space.
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Viera, Alicia, and Pat Villeneuve. "Engaging Communities With Supported Interpretation." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7426-3.ch002.
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During recent years, a growing number of art museums and galleries have experimented with innovative approaches to exhibition development to create more meaningful visitor experiences. However, although commendable, their efforts to make exhibitions visitor-centered have still not been consistent, partially due to the lack of existing models for practice for these kinds of projects. This chapter focuses on supported interpretation (SI), a model for developing visitor-centered exhibitions that can help museum professionals better advocate for their audiences, engage community members in the process of exhibition development, and turn visitors into active participants who feel empowered to share content during their museum visits. The authors dive deeply into the guidelines for implementing SI, discuss prior iterations of the model, share lessons learned, and explore new scenarios in order to provide current and future art museum educators and interpretive planners with an easy-to-follow roadmap for developing successful visitor-centered SI exhibitions.
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Andrez, Bárbara. "Oralidades e preservação digital de memórias em museus: A produção audiovisual." In Ensaios e práticas em museologia 09. Universidade do Porto , Faculdade de Letras / Departamento de Ciências e Técnicas do Património, 2020. http://dx.doi.org/10.21747/9789728932824/en9a1.
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This paper intents to systematize some concepts related to collective memory, as well as to establish a connection between audio-visual production and the digital production of testimonies, as a mechanism of excellence in the dissemination of oralities and the creation and preservation of individual memories. This production follows a part of the master degree’s final project in Museology (MMUS), defended at the Faculty of Arts and Humanities in Oporto University, which culminated in an exhibition solution for the Oliveira Lopes School Museum, where recorded oralities enhanced the proposal and also helped the study and management of the collection. Some challenges for digital preservation are also addressed, highlighting the importance of information management in the context of a holistic and integrated approach in museums on a globalization era.
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Marques, Bruno, Jacqueline McIntosh, and Philippe Campays. "Participatory Design for Under-Represented Communities." In Handbook of Research on Civic Engagement and Social Change in Contemporary Society. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-4197-4.ch001.
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Interdisciplinary collaborative design for culturally diverse and under-represented communities hinges on understanding cultural environments; building trusting relationships and fostering a respectful approach to community. It requires a diverse disciplinary knowledge and the capacity to take action by blurring the boundaries between disciplines. This chapter discusses the application of design-led research approach with a participatory design mind-set by bringing the users to the forefront of a design as active co-creators. It examines two projects – a Māori landscape regeneration project in the Wairarapa region of Wellington; and a Tokelau / Pasifika cultural museum exhibition. The research project is framed around three critical stages: design analysis, design exploration and design synthesis. This interdisciplinary collaborative research process can create new opportunities for architectural design education as it educates students and the wider community as active world-citizens.
Conference papers on the topic "EXHIBITION – MUSEUM - PROJECT"
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
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Granados González, Jerónimo. "Captando la mirada. Publicidad y reclamo en el espacio expositivo de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.699.
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Resumen: Dentro de la obra de Le Corbusier, el espacio expositivo fue un tema ampliamente desarrollado. La idea de generar un prototipo teórico de museo, por ejemplo, fue recurrente a lo largo de toda su obra, como una idea latente, en gestación, a la espera del momento para ser llevada a la realidad de la construcción. En el caso concreto del museo de crecimiento ilimitado, desarrollado teóricamente a lo largo de la década de 1930, los pocos ejemplos construidos son ejecutados a partir de los años cincuenta. Al realizar una compilación de los ejemplos de espacios expositivos proyectados por Le Corbusier, siguiendo líneas tipológicas similares, en donde se incluyan no solo museos, sino también, pabellones y salas de exposición, montajes expositivos e, incluso, propuestas comerciales (donde lo expuesto es una mercancía), se constata que el número total de obras supera las ochenta, abarcando proyectos desde 1910 (la sala de exposiciones del Taller de artistas) hasta la muerte de Le Corbusier en 1965, con el último ejemplo proyectado: el museo del siglo XX en Nanterre. A la hora de analizar las distintas estrategias proyectuales empleadas por el maestro a la hora de enfocar la arquitectura expositiva, un punto interesante es el reclamo publicitario, la propaganda y la captación del interés de los visitantes, la relación con el diseño gráfico y la publicidad, el empleo del color, el grafismo o la cartelería. Todos estos aspectos son especialmente relevantes en el caso de pabellones de exposición y pabellones para marcas comerciales. Abstract: Within the work of Le Corbusier, the exhibition space was a theme widely developed. For example, the idea of a theoretical prototype of the museum was recurrent throughout his work, as a latent idea, waiting for the time to be taken to the reality of construction. In the case of the museum of unlimited growth, theoretically developed throughout the 1930s, the few built examples are executed from the fifties. In carrying out a compilation of examples of exhibition spaces designed by Le Corbusier, following similar typological lines, where not only museums but also pavilions, exhibition halls, expositions and even commercial proposals are included, we find that the total number of works exceeds eighty, covering projects since 1910 (the exhibition hall of the Ateliers d’Artistes) to the death of Le Corbusier in 1965, with the final example: the Museum of the 20th Century in Nanterre. When analyzing the different design strategies employed by the Master at the exhibition architecture, an interesting point is the study of advertising, propaganda (attracting the interest of visitors), the relationship with graphic design, and the use of color, graphics and signage. All these aspects are especially relevant in the case of exhibition halls and pavilions for trademarks. Palabras clave: pabellones; exposiciones; museos; publicidad. Keywords: pavilions; exhibitions; museums; advertising. DOI: http://dx.doi.org/10.4995/LC2015.2015.699
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Zhu, Wei, and Zheng Yang. "Notice of Retraction: Research on the Museum Exhibition Design Project Management Based on Cost Control." In 2009 International Conference on Management and Service Science (MASS). IEEE, 2009. http://dx.doi.org/10.1109/icmss.2009.5303193.
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Kalenov, Nikolay Evgenevich, Irina Nikolaevna Sobolevskaya, and Alexander Nikolaevich Sotnikov. "Using of educational technologies in a common digital space of scientific knowledge." In 23rd Scientific Conference “Scientific Services & Internet – 2021”. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/abrau-2021-9.
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The role of the common digital space of scientific knowledge (CDSSK) in the development of educational technologies is considered. CDSSK is implemented by a number of Russian organizations as an information and technological environment, support for scientific research, education, popularization of science and preservation of scientific heritage. The structure of the CDSSK provides general principles for building links between individual components related to school and university education. One of the elements related to education in the structure of the CDSSK is a scientific virtual exhibition. Such an exhibition can be dedicated to both a specific person and a scientific event in general. Virtual exhibitions bring together a variety of resources related to the topic of the project (biographies of scientists, related museum and archival materials, publications, copies of films, interactive multimedia resources). The work presents examples of realized virtual exhibitions used in the educational process. The exhibitions were created on the platform of the Scientific Heritage of Russia digital library.
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Schimerl, Nicolas, Pia Patrizia Weber, and Thomas Stöllner. "RETHINKING THE ANALOGUE – FROM VIRTUAL ARCHAEOLOGY TO A DIGITAL EXHIBITION." In VIRTUAL ARCHAEOLOGY. SIBERIAN FEDERAL UNIVERSITY, 2021. http://dx.doi.org/10.17516/sibvirarch-003.
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In 1993, workers discovered a mummified human head during exploitation in the salt mine of Chehrābād, Province of Zanjān, Iran (Vatandoust 1998). This find marks the beginning of more than 20 years of international and interdisciplinary research. The mummified head dates to Sassanian times and is known to the world today as “Salt Man 1”. The salt extraction in Chehrābād continued until 2009 and led to the discovery of further mummified human remains, which were, in accordance to the first find, named “Salt Men of Zanjān”. These salt mummies as well as the site are a unique cultural heritage for humankind. In 2004, archaeologists made an exceptional discovery during a rescue excavation. This find, the mummy of a 15 to 16-year-old youth, is – to date – the best-preserved salt mummy known worldwide (Aali 2005). In 2007 an international research project started, co-headed by the German Mining Museum Bochum and the Zanjān Saltman and Archaeological Museum. All these efforts led to the halt of the commercial exploitation of the salt mine in 2009. Subsequently, the salt mine was declared a cultural heritage site (Aali et al. 2012). In multiple excavation campaigns not only the salt mine itself, but also its surrounding area were studied thoroughly. The results of these joint efforts were published in two monographs (Aali, Stöllner 2015; Stöllner, Aali, Bagherpour Kashani 2020) and various further articles (e.g. Aali et al. 2012;Öhrström et al. 2016; Pollard et al. 2008; Ramaroli et al. 2010; Vahdati Nasab et al. 2019)
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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.
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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Boray, Yahia, Hesham Zaky, Omar Osman, and Noora Fetais. "Development of an Immersive Cultural Game using Mixed Reality." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2021. http://dx.doi.org/10.29117/quarfe.2021.0170.
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This game aims to preserve and spread cultural practices. It introduces new gaming mechanics, which allows user interaction with virtual game objects using hand gestures. The user’s objective is to hunt prey in their natural habitat, which means that the player will physically change his location to hunt a specific prey using his falcon to mimic how the falcon hunts for its prey in the real world. This interaction with the real world, along with incorporation of realistic graphics and mixed reality features, enhances the user’s experience and helps in preserving cultural practices. Previous work tried to achieve the same goal by different approaches that led to different user segments and different usability cases. One major limitation in that work was the accessibility due to the use of specialized hardware. The hardware is accessible to a small segment of users; however, given the new limitations forced by the COVID-19 situation reusing the hardware is prohibited ; and as a result, not many will have access to the developed solution. The current implementation was designed to work on both Android and IOS to have a social interaction between the largest possible numbers of players. Other features that could also contribute to the goal of the project include building a virtual museum and displaying real falcons using the capabilities mixed reality has to offer.
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Гвоздев, А. В. "Creative and digital technologies in museum, exhibition and excursion activities." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.39.25.069.
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интерактивные формы музейной, выставочной и экскурсионной деятельности повышают интерес и запоминаемость материала. Иммерсивные методы предполагают погружение посетителя в реальность. В последнее время был реализован ряд успешных проектов, направленных на увековечение памяти о Великой Отечественной войне. interactive forms of museum, exhibition and excursion activities increase the interest and memorability of the material. Immersive methods involve immersing the visitor into reality. Recently, a number of successful projects have been implemented aimed at perpetuating the memory of the Great Patriotic War.
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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Avanzini, Alessandra, and Annamaria De Santis. "Digital collections, online exhibitions and virtual museums in the MEDINA project: Communicating the Ancient Near East Cultural Heritage in the Mediterranean basin." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744800.
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