Dissertations / Theses on the topic 'EXHIBITION – MUSEUM - PROJECT'

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.

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.

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

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.

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.

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.

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

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

碩士<br>國立暨南國際大學<br>成人與繼續教育研究所<br>90<br>Abstract This study is to analyze the ideas, methods, and patterns of the exhibition and education of various theme digital museums（theme website）, demonstrated by National Science Council Digital Museum Projects, by adopting a qualitative content analysis approach in the perspective of the exhibition and education of the museums. The purposes of this study are as follow. The first purpose is to explore the framework of digital museums, using the Internet as an exhibition platform, and to analyze the content as well as characteristics of them. The second purpose is to research the layout of digital museums’ exhibition and education, and the elements of which should possess. This study adopted a quality oriented content analysis approach, and the target objects are the theme digital museum constructed by National Science Council Digital Museum Projects in both 1999 and 2000, and also divided into five categories according to the basic nature of these projects and the classification of museology and which are 1.Natural history and Natural science, 2.Science and Technology, 3.History, 4.Art, 5.Chinese literature The researcher explores deeply into various theme digital museums as the identity of a visitor, with the help of related references, then analyzing each of them as following steps. 1. Exhibition layout consists of content configurations/exhibitions types and browsing design. 2. Education layout consists of instructional objects, learning materials, and visitor-visitor interactions. 3. Comprehensive analysis means to suggest summative comments and analyses after viewing each digital museum as a role of a visitor. In light of the outcome of content analyzing, this study draws some conclusions as below: 1. Digital museum exhibitions come from a simulative collection of the pictures, images, and articles. 2. The orientation of digital museum exhibitions constitutes two exhibition aspects; one is theme directed, and the other is object directed. 3. Most of the digital museum exhibition type is didactic, but few of it is emotive. On the one hand, the didactic exhibition type mostly appears in the natural science and science/ technology subject areas; on the other hand, the emotive exhibition type appears in the art subject area. As to the history and Chinese literature, both of them possess these two exhibition types. 4. The teaching mode of digital museums employs three steps. The first step is pictures and images exhibition. The second one is description and exhibition of articles. The last is the practical interactive operation between digital museums and visitors. Visitors interact with digital museum by means of computers and digital technology shortening the distance between the exhibitions and visitors. 5. In the very beginning of the designing, most of the digital museum didn’t really think of “visitors” as a exhibition factor, but presume “general adult” as the main objects; therefore, digital museums still have rooms to develop potential visitors. 6. The educational functions of digital museums include both conspicuous educational functions of instructing detailed knowledge and heuristic educational function of enlightening, discovering, and imagining. 7. In the objective of education, digital museums emphasize the knowledge learning of cognitive domain; psychomotor domain is taken as secondly one; however, affective domain is not appeared yet in this research.

Esta dissertação de mestrado baseia-se no Museu da Lourinhã, e pretende-se que seja visto como um trabalho académico com forte sentido prático e utilitário para o objecto de estudo, o referido museu. O Museu da Lourinhã é famoso pela sua colecção única de dinossauros, e as suas principais características são, por um lado, deste museu ser associativo, e por outro lado possuir três tipos de colecções: arqueologia, etnologia e paleontologia. Este trabalho faz um levantamento histórico do museu e um reconhecimento das suas características e do seu acervo com objectivo de propor um novo discurso expositivo para as suas colecções de arqueologia e etnologia.<br>This dissertation is about the Lourinhã Museum, and was written with a practical purpose of being of use to the referred institution. The Lourinhã Museum is famous for its unique dinosaur collection. Its main characteristics are that it is a nonprofit organization and that it has three distinct collections from archaeology, ethnology and paleontology. This dissertation describes the history of the museum, how collections were collected and its ways of display with the aim of proposing a new way of display/ or a new exhibition focused on the archaeological and the ethnographical collections with the purpose of proposing a new form of exhibition for the archeology and ethnology collections.

Esta Memória escrita tem como objetivo ser uma apresentação e reflexão sobre as atividades desenvolvidas durante o planeamento, conceção e realização da exposição “A Revolução de 24 de Agosto de 1820: prelúdio do Liberalismo em Portugal”, realizada no Museu Militar do Porto entre Outubro de 2020 e Agosto de 2121. O trabalho alia, assim dois elementos complementares: um vídeo de apresentação do projeto concretizado (em anexo), e a vertente escrita do mesmo, que inicia com uma breve caracterização do Museu Militar do Porto, instituição que acolheu a exposição, dando particular relevo ao enquadramento histórico do museu e do seu programa museológico, seguindo-se uma análise da abordagem conceptual do projeto/exposição, da metodologia adotada e dos reptos encontrados durante a realização das várias fases do trabalho. O último ponto consiste numa reflexão global sobre o Projeto.<br>This Written Memory aims to be a presentation and reflection on the activities developed during the planning, conception and realization of the exhibition “The Revolution of 24 August 1820: prelude to Liberalism in Portugal”, held at the Military Museum of Porto in October 2020 and August 2121. The work thus combines two complementary elements: a video presentation of the accomplished project (attached), and the written part of the project. It begins with a brief characterization of the Military Museum of Porto, the institution that hosted the exhibition, giving particular emphasis to the historical framework of the museum and its museological program. Next an analysis of the conceptual approach of the project/exhibition, the methodology adopted and the challenges faced during the various phases of the work. The last point of this work consists of a global reflection on the Project.

O objectivo deste Trabalho-Projecto é conceber uma mostra sequencial das estampas japonesas — ukiyo-e —, que se encontram nas reservas do Museu Calouste Gulbenkian, e fazem parte da colecção, propondo uma série de oito exposições temporárias por um período de dois anos, através de um percurso temático, em que são apresentadas cerca de doze estampas em cada mostra. Simultaneamente proponho a forma segura de apresentação das obras, segundo os padrões actuais de conservação preventiva, tendo em conta a fragilidade das peças. Neste sentido são apresentados métodos e dispositivos seguros para que as obras sofram o mínimo desgaste físico. Indissociável do Trabalho de Projecto desta série de exposições, pareceu-nos importante entender a presença destas estampas na colecção de Calouste S. Gulbenkian, o que significou indagar e reflectir sobre as tendências e gostos artísticos que surgiram na Europa no final do século XIX e início do século XX, sobretudo no que diz respeito à arte japonesa, panorama este que, cremos, teve uma influência decisiva no gosto pessoal do coleccionador e no consequente desejo de possuir a sua própria colecção de xilogravuras. Paralelamente, problematiza-se a possível ligação deste núcleo de arte nipónica ao núcleo de pintores impressionistas.<br>The objective of this Project-Work is to conceive a sequential display of Japanese prints — ukiyo-e — that are in the reserves of the Calouste Gulbenkian Museum, part of the collection, proposing a series of eight temporary exhibitions for two years, through a thematic route — with about twelve prints presented in each exhibition. Moreover, I also aim at proposing a secure way of displaying the works, according to the current standards of preventive conservation, taking into account the fragility of the pieces. Safe methods and devices are presented so that the works suffer the minimum physical wear. But to understand the presence of these prints in the collection of Calouste S. Gulbenkian made me reflect on the trends and artistic tastes that emerged in Europe at the end of the 19th century and beginning of the 20th century relating to Japanese art, thus influencing his taste, as well as awakening in the collector the desire to own his collection of woodcut prints. At the same time, I questioned the possible connection of this nucleus of Japanese art to that of impressionist painters.

碩士<br>輔仁大學<br>博物館學研究所碩士班<br>98<br>As one of the basic functions of museum, exhibition performs as the public media communicating knowledge, guiding perception, constructing museum experience, and building up museum image. Museums in Taiwan have been so active in recent years, with frequently held exhibitions and cultural events, that the duty of Exhibition Planning and Management has now been taken remarkable. A trend of specialization and organization of Exhibition Planning and Management can be seen. Based on the above fact, this research tends to discover how management principles of exhibition development resemble those of museum administration. Inspired by the theory of project management, this research examines the role and function of exhibition planners, the organization structure and operation of curator teams. Taking “The Glory of History: A Retrospective of 60 Years’ Taiwan Provincial Exhibition of Fine Arts” as study case, field observation and interview have been taking as approaches to unveil the museum exhibition planning process and the management of it. This research finds that the theory of Project Management can be well applied to all respects of museum exhibition development. Integration and Scope Managements define the aiming goal of exhibition; Time Management, Cost Management, Human Resource Management and Procurement Management are well applied to the discussion of exhibition resource integration and management for exhibition planners; Quality Management emphasizes on criterion and performance, as Risk Management focuses on risk control and prevention, which are what exhibition management pursue; Communication Management concerns exhibition interaction operation of spreading knowledge and the consistency of message, which can be understood as a systematic dynamic process, rather than separate static managements. However, the application of Project Management has to be taken account of its intrinsic operation, organization environment, and regulations it followed, obeying the rule that the organization should be rooted in reality, then it shall have its positive influence on Exhibition Management. Therefore, this research conculdes that there may be three means borrowed from Project Management well applied to Exhibition Management: the establishment of exhibition database, the set-up of informal communications, and the application of proposal system and career training, which may expectably make changes in the organization environment and its culture, as well as to respond to the thinking of systematic and integrated management in Project Management.

Depuis longtemps déjà, les arts visuels se démarquent par leurs rapports proches quoique créatifs avec les développements technologiques des sociétés modernes. Pour les musées, Internet constitue une opportunité de rejoindre des publics qui s’avèrent de prime abord moins accessibles. Ce nouvel acteur dans le monde de l'art occupe une place croissante dans la présentation des oeuvres tout en jouant un rôle déterminant dans la diffusion et donc dans le retentissement qu'elles ont auprès de publics aux attentes changeantes. Alors que le musée diffusait autrefois ses collections et connaissances par les expositions et les catalogues, le cyberespace est aujourd’hui un nouveau lieu public qu’il lui convient d’investir. L’internaute est souvent isolé dans sa quête d’une « trouvaille » parmi la diversité de l’offre technologique. Nous proposons l’image alternative du flâneur comme métaphore opérationnelle afin d’analyser la relation entre l’internaute et l’exposition. Les oeuvres sont transposées dans le virtuel par le médium numérique, le même langage qui sous-tend l’exposition dans son ensemble, un transfert dont les implications sont nombreuses. La reproduction, par sa nature désacralisée, autorise la manipulation virtuelle. C’est une nouvelle forme de participation qui est exigée des spectateurs, non pas en termes d’acquisition rationnelle de connaissances, mais de manière ludoéducative, par cette même manipulation de l’image. Dans le but de souligner l’authenticité de l’oeuvre originale par la présentation de son équivalent numérique, l’exposition virtuelle est souvent médiatrice et documentaire avant tout, privilégiant l’observation technologique didactique.<br>Art and technology have long developed close relationships allowing both to be inspired by the other. Today, the Internet constitutes an opportunity for art museums to reach to publics previously unattainable. It is determining ways in which works of art or their numerical representation thereof are presented, transmitted, and perceived. Since their founding, museums have broadcasted their collections and knowledge in the public sphere by means of exhibitions and catalogues, but the Internet is now a space they have to inaugurate. In the perspective of cyberspace being both vast and varied, the internet user is often isolated in his search of a “find” or “discovery” amongst the array of virtual exhibitions available. It is necessary to offer an alternative to the often unique image of the internet user as “searcher” to propose the image of the flâneur as an operational metaphor for the analysis of the relationship between user and exhibition in cyberspace. The representation – by means of the digital language underlying both exhibition and image – allows virtual manipulation of the work of art. This entails new forms of participation on the part of exhibition viewers who are now also internet users. Often undertaking to highlight the authentic nature of the original work of art by displaying its digital representation, the virtual exhibition is often presented as a didactic counterpart to a “real” exhibition, thus avoiding the delicate question of the work of art experience in favor of a technological observation aimed at acquiring knowledge.