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Journal articles on the topic 'Exhibition space'
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1
Stefańska, Joanna. "Painting in the exhibition space, interactions." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 17, no. 4 (December 30, 2021): 19–24. http://dx.doi.org/10.35784/teka.2661.
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The article is based on the author's search for the relationship between painting and architecture and experiencing the space in the context of using its potential for painting exhibition. This is a summary of research carried out in 2017- 2019 at the Faculty of Architecture of Poznań University of Technology, entitled "Artwork in architecture".
This project aimed to explore the relationship between art and architectural space. Participation in the collective exhibitions, as a part of the first research stage, and the implementation of individual exhibitions in the second stage of the project, have become the basis for author's decisions in this field. The research findings were included in two monographs by a two-person research team, made up of prof. dr hab. Andrzej Maciej Łubowski and dr hab. Joanna Stefańska, titled "SPACES, artwork in architecture" and "RELATIONS, artwork in architecture", PUT Publishing House 2019, 2020. Searching for the best means of recording meaning and emotions connected with the theme of landscape undertaken by the author as well as the thoroughly analysed issue of the functioning of paintings series in the context of the exhibition space, translate into the process of exploration a relationship between artwork and architecture. The exhibition of paintings and selection of proper exhibition space affect an artwork’s reception. The exhibition’s design should exhaust the relationship between contemplation and dialogue in both the painting space and the broader architectural context. It can be stated that the mutual relationship of the artwork and the architectural space surrounding it affects the artwork’s meaning and aesthetics as well as the architecture’s perception.
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Aarbakke, Thea. "Musealiserte relasjoner mellom liv og litteratur på Olav H. Hauge-senteret." Nordisk Museologi 28, no. 1 (May 27, 2020): 75. http://dx.doi.org/10.5617/nm.7970.
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This article investigates how one of the museums’ foremost communication tools, their exhibitions, negotiates the appearance of the Norwegian poet Olav H. Hauge’s life and literature, and the relations between them, by way of the exhibition’s material components and exhibition technologies. In the exhibition, authorship and author biography intersect and meet as a unique attribute of the exhibition space. How the author’s life and literature are communicated in the exhibitions and how the exhibition technologies affect the stories being told is the main focus of this analysis. Inspired by actor-network theory, the exhibition is analysed by situating museum props and exhibition technologies at the centre of the study.
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Kim, Dubeom, Byung K. Kim, and Sung D. Hong. "Digital Twin for Immersive Exhibition Space Design." Webology 19, no. 1 (January 20, 2022): 4736–44. http://dx.doi.org/10.14704/web/v19i1/web19317.
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This research aimed to find an efficient method of responding to the various variables that may arise during the process of designing and constructing an immersive exhibition space. A digital twin of the exhibition space was generated, a real-time rendering method was applied using a game engine, and the optical phenomena of several typical devices used in immersive exhibitions were simulated. The functions simulated in this study are applicable to the generated digital twin to predict how the various devices installed in the exhibition space would operate in the actual exhibition. Thereby, the possibility that the simulation results of the core elements that constitute the exhibition content be immediately applied to the operation of the various devices in the exhibition space in real-time could be explored. Not all the devices and functions used in an immersive exhibition were simulated, so the model used in the paper must be modified according to the circumstances of the applications. Through additional research, the method of responding to various installations and devices must be expanded.
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Park, Yu Mi, and Choon Sung Shin. "Study On Online Platform For Personal Exhibition In Metaverse Emvironment." Korean Institute of Smart Media 11, no. 6 (July 31, 2022): 37–50. http://dx.doi.org/10.30693/smj.2022.11.6.37.
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This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.
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Gawlak, Agata, Paulina Kowalczyk, and Joanna Stefańska. "Unconventional exhibition spaces as an example of the synergy of architecture and art." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 1 (March 31, 2020): 20–27. http://dx.doi.org/10.35784/teka.2414.
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The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled "Artwork in Architecture", there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of buildings whose original purpose was different from exhibiting art , became a part of the author's research carried out in the form of individual and collective exhibitions. Two of them, which took place between 2017 and 2018, showcased paintings from the same series, entitled " I Have Been to Hel(l) and Back. And: Let me Tell you, It Was Wonderful ”, highlighted the importance of the dialogue between architecture and art and created awareness how much this interdependence influences the transformation of the perception of both art and architecture. Appropriate compositional solutions and an appropriate selection of artworks contribute to the complete visual satisfaction of the recipient. Ill-considered combinations cause visual discomfort, which detracts from the potential of both works of art and architectural space. Therefore, it is a need to perform an in-depth analysis of the relationship between the artwork and architectural space, and to avoid conventional, schematic exhibition solutions. The same works placed in various spaces affect the viewer in a different way. The change of the environment influences the change of perception, which creates new interpretative possibilities for the painting’s narrative, while the architectural space gains a wider context of reception through its individualization and increased accessibility. The emotional and intellectual aspect of painting enriches the space with new meanings.
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Puspasari, Shinta. "Pendampingan perancangan ruang pamer museum dr.AK.Gani pada pameran bersama Museum Negeri Sumatera Selatan." ABSYARA: Jurnal Pengabdian Pada Masyarakat 2, no. 2 (December 31, 2021): 239–45. http://dx.doi.org/10.29408/ab.v2i2.4322.
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A successful exhibition cannot be separated from the proper arrangement of the exhibition space. A good exhibition space arrangement will generate interest from exhibition visitors. Moreover, what if the exhibition is a museum exhibition. The arrangement of museum exhibitions requires a more complex arrangement. South Sumatra Province held a joint exhibition which various state museums throughout South Sumatra attended. Because various museums attend it, a good exhibition space arrangement is needed to present an optimal exhibition space so that it is attractive to visitors and is not inferior to other museums in the exhibition. Therefore, this service aims to assist dr.AK.Gani Museum as a partner to organize its exhibition space to make it more optimal. The community service activities offered at this activity are assistance in designing informative brochures and showing off collections. Exhibition activities went well and safely following health protocols during the COVID-19 pandemic, attended by various students and the general public. The activity method includes focus group discussions, exhibition room design, and effective exhibition space design implementation to produce the dr.AK.Gani Museum exhibition design has been implemented at the 2020 Joint Exhibition at the South Sumatra State Museum
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Ciric, Biljana. "Building archives through curatorial practice." Art Libraries Journal 39, no. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.
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An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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Zolotova, A. S., E. V. Likholet, and N. N. Fedotova. "Current Trends in the Museums and Exhibitions Exhibition Space Formation." IOP Conference Series: Materials Science and Engineering 698 (December 18, 2019): 033021. http://dx.doi.org/10.1088/1757-899x/698/3/033021.
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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.
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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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Aslan, Ayşegül. "THE OPINIONS AND NEEDS OF SCIENCE CENTER INSTRUCTORS: THE CASE OF GOKMEN SPACE AND AVIATION TRAINING CENTER (GUHEM)." Problems of Education in the 21st Century 80, no. 6 (December 25, 2022): 792–810. http://dx.doi.org/10.33225/pec/22.80.792.
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This study aimed to examine the opinions of the instructors who work at GUHEM (Gökmen Space and Aviation Training Center) on the exhibition's content, how the exhibition spaces contribute to science education, especially astronomy and aviation, and the types of visitors who frequently visit the center. Nine instructors from GUHEM's science centers participated in the study. Data were gathered using the "Instructor Opinion Form," with nine open-ended questions. The data elicited from these questions were subjected to content analysis. The findings showed that children aged 6 to 11 made up the majority of visitors; the fascinating exhibition areas focused on the Solar System and planets and interactive workshops with space and aviation themes, like those involving paper airplane construction and rocket competition, were very popular. In terms of the contribution of this center to science education, it was found that the GUHEM exhibitions played an active role in teaching the solar system, planets, and pressure. Although astronomy is the discipline with which the exhibition areas are most closely associated, it can also be linked to other disciplines like astrobiology, mathematics, and aviation. Instructors shared their worries that they won't be able to meet visitors' expectations and occasionally struggle to understand the subject during activities held at GUHEM. These findings led to the opinion that GUHEM and other science centers will function more effectively if schools and science centers collaborate more, the curriculum and exhibition content are improved, and the instructors receive professional assistance from academicians who are subject-matter experts. Keywords: astronomy and aviation, instructor, needs, opinion, science center
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Bagheri, Maryam, Abbasali Tayefi Nasrabadi, and Atefeh Dehghan Touran Poshti. "Investigation of Strategies to Improve the Quality of International Exhibitions with Smart Technology Approach." Journal of History Culture and Art Research 6, no. 3 (June 16, 2017): 848. http://dx.doi.org/10.7596/taksad.v6i3.960.
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<p>The study seeks to do a pathological process for Tehran exhibition spaces and provide a solution for responsive space design to meet the needs of international exhibition by looking at the phenomenon of smart building. In this study, after examining the problems associated with existing and potential obstacles, it has been tried to design an appropriate space by using smart technology through explaining the available criteria and standards for exhibition space and also reviewing and analyzing successful examples of internal and external contexts and putting together the important indicators in an suitable and at the same time an economic attractive and ideal environment for users and comparison with the current situations and defects, which seems that besides preserving and conserving energy at high-traffic public places, provides a good physical condition for visitors.</p><p>Localization and solving defects and possible barriers to hold exhibitions in order to attract more domestic and foreign audiences and promoting areas of mass communication are other objectives of this research. In order to perform the various stages of the thesis, we firstly describe, analyze and understand the current situation and then determine an outlook of ideal conditions and finally employ the result to design the space according to the exhibition space standards based on smart technology. </p>
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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (May 30, 2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.
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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space
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Lee, Seung Yong, and Ji Hun Park. "A Study on the Spatial Structure Analysis of history museum using the Complex System." Korean Institute of Smart Media 11, no. 8 (September 30, 2022): 21–28. http://dx.doi.org/10.30693/smj.2022.11.8.21.
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Currently, as we enter the 21st century, the level and interest of society, culture, economy, and science are rapidly developing, but science education is still struggling. In order to increase the efficiency of science education, it is most important to focus on elementary education based on basic science. Therefore, this study aims to analyze the main causes of Korea's science museum's regression as a museum focusing on experience, interest, and fun such as simple science experience centers and science theme parks. To this end, the influencing factors were identified by applying the algorithm of the actor-based model based on the data on the exhibition space and the exhibition movement of the science museum completed and operated in Korea over the past 5 years, and the problem of the visitor movement in the exhibition space was analyzed through the space system. In this study, it was confirmed that the exhibition environment was the best when the linear plot movement system and the picalesque plot were applied simultaneously in the museum's exhibition narrative theory, and the arrangement of major exhibition spaces, width of exhibition spaces, and separation of spaces for exhibition purposes were derived.
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Zhong, Yi. "Cave Window Symbols in Exhibition Space Transition-Case Study of the Exhibition Space of Museums." American Journal of Civil Engineering 5, no. 6 (2017): 394. http://dx.doi.org/10.11648/j.ajce.20170506.21.
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Cho, Min-Hwa. "A Study on Haptic Presentation Methods in the Experience Exhibition Spaces - With Experience Exhibition Space -." Korean Institute of Interior Design Journal 24, no. 6 (December 31, 2015): 229–39. http://dx.doi.org/10.14774/jkiid.2015.24.6.229.
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Li, Xi, Runzhe Yu, and Xinwei Su. "Environmental Beliefs and Pro-Environmental Behavioral Intention of an Environmentally Themed Exhibition Audience: The Mediation Role of Exhibition Attachment." SAGE Open 11, no. 2 (April 2021): 215824402110279. http://dx.doi.org/10.1177/21582440211027966.
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Many scholars have focused on the role of exhibitions in business promotion, and numerous studies have been conducted. The exhibition may influence the audience’s behaviors through the dissemination of information and ideas, but few researchers have looked into this further. There is a distinct lack of research on the process of exhibition influencing people’s behavioral intentions. Based on the belief–emotion–norm theoretical model, this study integrates environmental beliefs, exhibition attachment, and an audience’s environmental behavior intentions into a research model to explain how the exhibition affects the audience. The Macau International Environmental Cooperation Forum & Exhibition attendees served as the research object in the current empirical study. The study’s findings suggest that audiences’ environmental beliefs may have a significant and positive impact on their attachment to environmentally themed exhibitions as well as their environmental behavioral intentions. This study also confirmed that attachment to exhibitions, a temporary space, can play an important mediating role between environmental beliefs and intentions to engage in pro-environmental behavior. The exhibition dependency, in particular, acts as a mediator between environmental beliefs and pro-environmental behavior intentions. Although the mediating effect of exhibition identity is insignificant, exhibition dependence–exhibition identity as a whole has a partial mediating effect in the process of influencing exhibition audiences’ environmental behavior. This research helps to improve our understanding of how environmentally themed exhibitions influence audience behavior. It also has implications for exhibition organizers in terms of better exhibition planning, more effective information transmission, and influencing audience behavior.
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Þórsson, Bergsveinn. "Walking through the Anthropocene. Encountering materialisations of the geological epoch in an exhibition space." Nordisk Museologi 28, no. 1 (May 27, 2020): 103. http://dx.doi.org/10.5617/nm.7986.
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The Anthropocene has been mobilised as a conceptual framework for museums to engage with the global environmental crisis. This article examines the exhibition Welcome to the Anthropocene: The Earth in our Hands that was on display at the Deutsches Museum from 2014 to 2016. Proclaimed as the first largescale exhibition on the concept, the museum attempted to translate its underlying arguments into three-dimensional space. Viewing exhibitions as an assemblage of display technologies, objects and texts, the intention is to examine how the concept materialises in the exhibition space. The findings outline three different versions of the Anthropocene: understanding the Anthropocene as a history, experiencing the Anthropocene through spatial exploration and the concept as a tool to catch slippages. Locating three versions in a single exhibition reveals the complexity of the Anthropocene as a framework for museums and also highlights the possibility of addressing it in different ways simultaneously.
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Baldini, Andrea Lorenzo. "六/6: Finding Meaning. The Expanded Exhibition and the Post-Pandemic World." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 301–12. http://dx.doi.org/10.32891/jps.v5i4.1382.
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How will artistic exhibitions function in the post-pandemic world? Visiting museums and galleries is a health hazard. 六/6: Finding Meaning is an attempt to offer an alternative. It embodies a novel exhibiting format called the expanded exhibition, which inhabits an expanded public space, between the physical and the digital. 六/6shows us that, once liberated spatially, exhibitions can be effective tools of meaning-making and social change even in a post-pandemic world. By exploiting the interplay between the digital and the physical domains, expanded exhibitions such as 六/6 can build alternatives of cultural production that can cope with social distancing, while being participatory, democratic with respect to access, and politically transformative by displacing the colonialist hierarchy center/periphery.
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Burgum, Sam. "Squatting, Trespass, and Direct Housing Action: A report on "Making Space”." Radical Housing Journal 1, no. 1 (April 4, 2019): 227–32. http://dx.doi.org/10.54825/ridr8984.
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A report from ‘Making Space’ – an exhibition of squatting, trespass, and direct housing action which took place in Sheffield as part of the ESRC Festival of Social Sciences, 5-10 November 2018. This Radical Housing Journal ‘update’ reflects on the political role of archiving and exhibitions, whilst highlighting the main aim of ‘Making Space’ in unsettling the way in which we have become accustomed to think about property, ownership, and entitlement. In addition to plans for future online publications, ‘Making Space’ is also available to travel, so please get in contact if you are interested in hosting the exhibition.
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Bravo, Luisa, and Valerio Francia. "We the people, We the public space. An interactive exhibition at the 9th World Urban Forum." Journal of Public Space 3, no. 1 (April 30, 2018): 153–62. http://dx.doi.org/10.5204/jps.v3i1.325.
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At the Ninth session of the World Urban Forum, convened by UN-Habitat, the United Nations Human Settlements Programme, held on 7-13 February 2018 in Kuala Lumpur, Malaysia, City Space Architecture was selected to be part of the event as an exhibitor: it was included in the exhibition area, held at the main venue of the Forum, the Kuala Lumpur Convention Centre, besides the Petronas Towers, as the only Italian exhibitor, together with 200 selected exhibitors from 50 countries.The exhibition space hosted the exhibition ‘We the people, We the public space’: recalling the well-known United Nations’ campaign ‘We the people’ for the Global Goals[1] launched in 2015, the exhibition was intended to stress the concept that people and public space, intended as the space for democracy, social justice and equity, are strongly intertwined, so that talking about people is the same thing as talking about public space. The UN commitment ‘Leaving no one behind’[2] (United Nations, 2016 and 2017) for inclusive development is strictly related to people and therefore to public space: it is a demand for country leaders to prioritise the needs of those most marginalised and disadvantaged, facing poverty and discrimination, so that the goals for sustainable development are delivered by 2030[3].
[1] https://www.un.org/sustainabledevelopment/blog/2015/09/we-the-people-for-the-global-goals/
[2] https://unstats.un.org/sdgs/report/2016/leaving-no-one-behind
[3] https://action4sd.org/leavenoonebehind/
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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
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Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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Castellano, Carlos Garrido, and Magdalena Lopez. "Inside and Outside the Exhibition Space." Small Axe: A Caribbean Journal of Criticism 24, no. 3 (November 1, 2020): 31–52. http://dx.doi.org/10.1215/07990537-8749758.
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This essay deals with issues of citizenship, artistic labor, and belonging in the context of the Dominican Republic. It examines the collaborative work of the Colectivo Quintapata to understand how artistic collaboration is used as a way for generating social transformation and reaching audiences beyond the artistic medium. Analyzing art installations, public interventions, and socially engaged art pieces produced by Quintapata between 2009 and 2014, this essay argues that artistic collaboration works in the case of Quintapata, not so much as a formula but rather as a flexible tool employed to face situations of economic and institutional precariousness, extending the outcomes of each project beyond its original temporality and audience.
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Donger, Simon. "Smoky pokership: perform the exhibition space." Theatre & Performance Design 1, no. 1-2 (April 3, 2015): 193–94. http://dx.doi.org/10.1080/23322551.2015.1030212.
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Mitnik, Margarita Andreevna. "New trends in exhibiting ceiling lights such as “chandelier” in the context of holistic exhibition projects." Культура и искусство, no. 6 (June 2021): 1–9. http://dx.doi.org/10.7256/2454-0625.2021.6.35875.
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This article explores and systematizes the exhibition of chandeliers as the unique art objects within the museum space, as well as reveals the peculiarities in comparison with the interior space. The subject of this research is the display of such multi-component item of decorative and applied art as chandelier in the modern exhibition projects. Based on a range of exhibitions held in the XX and XXI centuries dedicated exclusively to chandeliers and ceiling lights, the author conducts their classification, and reveals the peculiarities of displaying chandeliers in such projects. The representative examples of exhibition projects are considered. This article is to analyze and systematize the experience of exhibiting chandeliers, which is especially relevant because the topic of studying chandeliers as part of the interior is of particular interest among not only scientists, but the artists and curators as well. The conclusion is made that in the most successful projects, the chandeliers are displayed at eye level of the visitors, which allows studying more details about the item. Chandeliers are displayed either as the unique objects, or together with other antique and luxury items, harmonizing on the formal stylistic or historical level, and indicating the modes of stylistic perception of the interior as a reflection of culture of a certain era.
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Möllers, Nina. "Materializing the Medium. Staging the Age of Humans in the Exhibition Space." Zeitschrift für Medien- und Kulturforschung 9, no. 1 (2018): 85–102. http://dx.doi.org/10.28937/1000108096.
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The article takes the world’s first exhibition on the geological and philosophical concept of the Anthropocene, »Welcome to the Anthropocene «, Deutsches Museum (2014-2016), as a starting point for initial theoretical reflections on the potential and limitations of exhibitions as media and designers of the Mediocene. On the basis of a discussion of image deployment, use of space and the materiality of objects, exhibitions are analyzed as ›slow media‹.
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Li, Chun Fu, Jing Jing Huang, Hui Ting Shi, and Lu Ying Chen. "The Spiral Space Form of Exhibition Buildings Based on Topology and Bionics." Applied Mechanics and Materials 620 (August 2014): 48–54. http://dx.doi.org/10.4028/www.scientific.net/amm.620.48.
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The continuity characteristics of spiral space is extremely suitable for function of exhibition buildings. Under the background of rapid development of technology and information, the forms of spiral spaces are becoming more sophisticated and creative. In this paper, we introduce the concept of “topology” and set the latest and most classic cases of spiral space form in Exhibition building, and make a meta-analysis of the idea of spiral space of exhibition buildings in two ways which are geometric topology and natural bionic, and aiming to study the homogeneity feature of the form.
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Leśniewska, Anna Maria. "Exhibitions of Sculpture as a Sign of the Spatial Shift: From Spring Salon to Sculpture in the Garden." Ikonotheka 26 (June 26, 2017): 253–76. http://dx.doi.org/10.5604/01.3001.0010.1681.
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A selection of exhibitions of sculpture held between the years 1946 and 1957 illustrates the formal transformations and diversity of methods of exhibiting sculpted forms as identifi ed through their manner of cooperating with space. The experiments, which commenced during the First Exhibition of Modern Art (1948) and were later creatively developed at the Krzywe Koło and Zachęta galleries, were based on ideas that had been formulated by K. Kobro and W. Strzemiński in Kompozycja przestrzeni. Obliczenia rytmu-czasoprzestrzennego (1931), produce a diversifi ed picture of intense formal exploration of sculpture, with the category of “space” emerging as a crucial part of the research perspective. The integrated gallery space and the setting for a work of art – which during the Sculpture in the Garden show (1957) included outdoor space – defi ned a trend that was moving towards the concept of an installation. Exhibitions indirectly connected with sculpture, e.g. Studium przestrzeni (1957), were used as research instruments in the process of extending the boundaries of sculptural forms to include their reaching into space.
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Su, Stephanie. "Exhibition as Art Historical Space: The 1933 Chinese Art Exhibition in Paris." Art Bulletin 103, no. 3 (July 3, 2021): 125–48. http://dx.doi.org/10.1080/00043079.2021.1882808.
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.
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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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Wulandari, Anak Agung Ayu, Ulli Aulia Ruki, and Ade Ariyani Sari Fajarwati. "Subject-Object Engagement Study in Exhibition Spaces: A Comparison Between Taman Mini Indonesia Indah’s Pavilion and Indonesia Kaya Gallery." Humaniora 10, no. 2 (July 31, 2019): 127. http://dx.doi.org/10.21512/humaniora.v10i2.5199.
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This research aimed to analyze the engagement between local visitor with objects in a conventional exhibition space and a technology-based exhibition space. The method of this research was a qualitative method with descriptive analysis. The data collection was done in two stages. The first stage was collecting secondary data or desk research. The next stage was the primary data collection using both qualitative and quantitative methods. Data were collected in two exhibition spaces; Riau Islands Province pavilion in Taman Mini Indonesia Indah as conventional exhibition space, and Indonesia Kaya Gallery that was located in the Grand Indonesia shopping mall as a technology-based exhibition space. The research shows visitors’ engagement emerges not only because of the objects itself but also of its surroundings; the path and signage, the lighting design, how the objects displayed and labeled that will create certain engagement with its audience. Technology also gives great help to create subject-object engagement. However, to appreciate and really engaged with the objects, the audience still wants to see real objects and not the digital substituted.
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Yeram Kim and Chae Jung woo. "An Analysis of Museum Exhibition Space using Space Syntax Theory." Journal of Korea Intitute of Spatial Design 14, no. 2 (April 2019): 81–90. http://dx.doi.org/10.35216/kisd.2019.14.2.81.
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KLIVAK, Vladyslav. "Design of exhibition space in virtual reality." Humanities science current issues, no. 50 (2022): 104–9. http://dx.doi.org/10.24919/2308-4863/50-15.
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KLIVAK, Vladyslav. "Design of exhibition space in virtual reality." Humanities science current issues, no. 50 (2022): 104–9. http://dx.doi.org/10.24919/2308-4863/50-15.
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MacDonald, Shana. "Reimagining Public Space in Expanded Cinema Exhibition." Canadian Journal of Film Studies 27, no. 1 (March 2018): 16–30. http://dx.doi.org/10.3138/cjfs.27.1.2017-0012.
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Wojtowicz-Jankowska, Dorota. "In Search of a New Exhibition Space." Procedia Engineering 161 (2016): 307–12. http://dx.doi.org/10.1016/j.proeng.2016.08.562.
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Dennis, L. Meghan. "An Extension Without an Exhibition." Advances in Archaeological Practice 6, no. 1 (February 2018): 82–87. http://dx.doi.org/10.1017/aap.2017.35.
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In the push to provide further interaction with museum and heritage exhibitions, the internet has become an established venue, offering nearly unlimited space and options for providing extensions to in-person content. These internet-based supplements in many cases outlast the physical displays they are meant to accompany. After the exhibitions have closed and the museums have moved on, the digital content remains, a static placeholder for a particular viewpoint on heritage, curation, and public outreach. Such is the case with the Interface Experience, the Web extension to the exhibition of the same name, which ran for a few months in 2015 (Bard Graduate Center [BGC] 2014a). This site, which remains largely functional, is now disconnected from the exhibition it was meant to accompany, leaving it to stand alone as a study on the connections between digital outputs and materiality.
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Zhang, Qianyuan. "Rethinking “Live”: Creative Practice of Art Exhibitions in the Post-Pandemic." Highlights in Business, Economics and Management 4 (December 12, 2022): 257–62. http://dx.doi.org/10.54097/hbem.v4i.3499.
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Exhibiting is a method of sociological practice that has been widely concerned and discussed following the COVID-19 pandemic. The reason for this is that exhibitions have the potential to create “live” public encounters. Creative dialogue and collaboration can provide people with great psychological support, particularly during restricted movement. At the same time, exhibitions are about caring and gently relieving anxious minds, and art has great cultural resilience in times of crisis. From a practical perspective, museum or gallery practitioner all over the world create discourse spaces through online platforms. In addition, new curation methods based on public participation and community cooperation models have increased in the three years since the coronavirus outbreak. Therefore, this paper explores how art museums can innovate after suffering abnormal losses and discusses how art exhibitions in the post-pandemic era can establish “live” public encounters. From the specific perspectives of the innovation of online platforms and the construction of daily space, how exhibitions reflexively construct “live” in curating practice regarding creative cooperation, publicness, and other related issues will be analyzed. The author thinks that combining the flexibility an online platform provides and the sensitivity of physical space to create a creatively engaging exhibition in a limited community can help the public establish “cultural resilience” for navigating through times of uncertainty and rapid change.
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Oh, ji eun, and Chang geun Lee. "A Study on the Characteristics and Elements of the Museum's Virtual Exhibition Space." Korea Institute of Design Research Society 7, no. 4 (December 31, 2022): 197–211. http://dx.doi.org/10.46248/kidrs.2022.4.197.
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New Technology, New Technology, which emerged as the era of the 4th Industrial Revolution brought a lot of changes in museum exhibition paradigm.Many parts of activities in offline, are moving to online virtual space.The realistic virtualization provided in online environment provides space experience that can watch exhibition without constraints between construction.According to the change of this exhibition paradigm, communication of online virtual environment is highlighted in terms of experience, and user experience classes, and user experience groups according to the experience layer of space.Therefore, in this study, the purpose of providing major experience characteristics and detailed experience elements that can be applied according to the type of virtual exhibition space types of virtual exhibition space type.The research method is as follows.Based on previous studies, the type of spatial experience types of spatial experience factors, and conducted to optimize the user spatial experience factors to optimize the user space experience factors to optimize the user space experience factors.In order to investigate specific cases, 22 contents that can be applied according to the type of museum realistic virtual exhibition space type.As a result of analysis, factors, factors and detailed experience factors that act mainly acts as a significant difference in the characteristics and detailed experience elements.This study results presented strategic methods that contributes to build a theoretical framework that can experience in the museum exhibition paradigm that can experience the spatial experience of space experience in practice space experience.Based on the results of this study, it is expected to induce optimal space experience when establishing a virtual exhibition space experience for realistic virtual exhibition space experience space experience.
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Sedlacek, Jozef, Daniel Matějka, Zuzana Fialová, and Radim Klepárník. "Spatial aspects of the interpretation of cultural heritage." Muzeológia a kultúrne dedičstvo 10, no. 4 (2022): 89–113. http://dx.doi.org/10.46284/mkd.2021.10.4.6.
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Creating an exhibition is a multidisciplinary task which, besides the work of the authors of the scenario, copywriters and experts in the given topic, involves also the work of architects and landscape architects. Although the paper reflects on various completed exhibitions, the scenario and form of an exhibition cannot be separated. The paper focuses on spatial aspects of outdoor exhibitions from the perspective of an architect and landscape architect and documents them via various completed exhibitions. In terms of architecture they can be classified upon the aspects of form and content, wherein form covers the spatial, i.e. architectural, design of the exhibition and means, and content covers the quantity, complexity, style and chronology of the information communicated. The motivation for the paper is the need to identify the factors influencing the educational quality of exhibitions that the professionals designing the space and form of exhibitions may use in their practice. This covers predominantly those factors that relate to the designing of spaces where exhibitions take place based on the given scenarios, to which the viewers react rather subconsciously.The method used for the research is a spatial and content analysis of three exhibitions presenting cultural and natural heritage, specifically Hardangervidda National Park in Norway, Kongernes Jelling visitor centre in Denmark, and the National Museum of Rural Life at Wester Kittochside – Scottish National Museum in Great Britain. Factors considered include: the connection to the site – landscape context; authenticity; spatial scenario; and so-called warm-up and cool-down spaces that create atmosphere. A scenario, as in a film, connects the environment and content in a defined chronology. By this research we want to follow up on the trend in museums and exhibitions to present information through powerful narrative storytelling.
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Anastasiei, Iolanda. "Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the Plan B Gallery." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (November 20, 2020): 145–57. http://dx.doi.org/10.24193/subbphil.2020.spiss.11.
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"Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the “Plan B” Gallery. In this paper I focus on a case study concerning the Cristi Rusu exhibition, The Only Thing I Am Sure about in This Life Lies above My Head, from the Plan B Gallery in Berlin (March 6 – April 11 2020). By integrating some interventions specific to land art in the gallery space (and, therefore, transforming it), Cristi Rusu manages to transgress the conventional limits imposed by the idea of a white cube gallery neutral space. The art gallery’s space functions as a medium for developing artistic discourse as the project tries to detach from the tradition and ideologies already incorporated in a certain place and time, in search for the sublime. Keywords: Plan B Gallery, Cristi Rusu, sublime, the archive, “profane space”, non-site "
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Ostrianska, Olena, and Natalia Zernova. "FACILITATIVE SUPPORT OF PROFESSIONAL DEVELOPMENT OF RESEARCH AND TEACHING STAFF IN THE PROCESS OF PREPARING AND HOLDING INTERNATIONAL EDUCATIONAL EXHIBITIONS." Science and Education 2020, no. 4 (December 2020): 24–40. http://dx.doi.org/10.24195/2414-4665-2020-4-4.
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The article analyses the experience of organizing International Educational Exhibitions in Ukraine in 2016 – 2020. The essence of such concepts as "international educational exhibition", "international educational exhibition space", "facilitative support of professional development of research and teaching staff" is defined. The structural elements of the International Educational Exhibition and the stages of a higher educational institution participation in the exhibition activity (preparatory, direct participation, analysis of the achieved results) are considered. The authors of the article present systematized experience of facilitative support of professional development of research and teaching staff provided by specialists of the Department of Scientific Work of the State Institution of Higher Education "University of Educational Management" of the National Academy of Educational Sciences of Ukraine in the process of preparing, holding and analysing results of International Educational Exhibitions, such as "Innovation in Modern Education", "Modern Educational Institutions", "Education and Career – Student's Day", "Education and Career". The types of organizational and coordination activities are determined, a detailed list of actions of the process of facilitative support by the specialists of the Department of Scientific Work of research and teaching staff as exhibitors and visitors of the exhibition is presented. Methodical structuring and algorithmizing of types of organizational and coordination activities and a detailed list of actions of the facilitation process are described in the following stages: 1) preparation of research and teaching staff (exhibitors and visitors) to participate in International Educational Exhibitions; 2) direct participation of research and teaching staff (exhibitors and visitors) in the International Educational Exhibitions; 3) analysis of the results of participation of research and teaching staff (exhibitors and visitors) in International Educational Exhibitions. The authors have created a classification of events of the International Educational Exhibition according to the congress, competition and exponential components. Statistics of the number of planned and conducted events within the International Educational Exhibition activities in Ukraine in 2016 – 2020 are presented. Emphasis is placed on changing the form of exhibitions from offline to online format due to the COVID–19 pandemic and lockdown (quarantine restrictions) in 2020. Recommendations for higher educational institutions to maintain an integrated information base of exhibition educational activities with detailed information on the activities within the exponential, competitive and congress programs of the exhibition.
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Bal, Mieke. "Guest Column: Exhibition Practices." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 9–23. http://dx.doi.org/10.1632/pmla.2010.125.1.9.
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What the public gets to see of museums is in the exhibitions in which their holdings are presented; beyond the archival functions of conservation, categorization, and restoration, this presentation is at the heart of museums as cultural institutions. Until a few decades ago, exhibitions were predictable in format and structure. Visitors attended monographic and period exhibitions to be instructed and to enjoy themselves according to the old adage of utile dulci. Every exhibition was an episode in a traditional conception of the management of art's relation to the public. Curators were also conservators; they studied, preserved, and categorized art objects and presented a selection of these according to the knowledge acquired. The space in which the objects were presented was kept as neutral as possible, so as not to disturb the viewer.
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Muchaeva, Irina. "Nomadic Culture in the International Exhibition Space: Kalmyk Exhibition at the Tauride Palace." Kunstkamera 18, no. 4 (2022): 116–26. http://dx.doi.org/10.31250/2618-8619-2022-4(18)-116-126.
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Schwartz, Charlotte Præstegaard. "Kritisk kuratering. Udstillingspraksis udviklet i perspektiv af 1960- og 1970’ernes institutionskritik." Nordisk Museologi, no. 2 (March 30, 2017): 95–104. http://dx.doi.org/10.5617/nm.4409.
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This project description presents a curatorial practice that is part of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the contrary are perceived as active spaces of production. Referring to Doreen Massey’s seminal work For Space – first published in 2005 – art spaces are thought of as a product of interrelations and recognised as always being under construction. In the research project institutional critique from the 1960s and 1970s avant-gardes is used as an analytical approach and as a method of spatial and political criticism and articulation that can be applied not only to the art world, but to spaces and institutions in general, which is a point made by Simon Sheikh. The two exhibitions are not to be considered as institutional critique, but as critical exchanges with and about contemporary art. The exhibitions are made in collaboration with two non-commercial art spaces in Copenhagen and will be on show in the spring of 2017.
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Liang, Jing, Mao Yin Zhang, Xiao Li Xu, Jing Wei Li, and Li Di Huang. "Topology Theory Application in Exhibition Design." Applied Mechanics and Materials 357-360 (August 2013): 289–92. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.289.
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The document demonstrates the topological theory application in architectural design, especially for the exhibition building. On the premise without changing the relationship between the various functions, the exhibition buildings can transform equivalently by the topological theory to adjust the function of the building and optimize design method. Building skin can be distorted, concave and convex, bending and so on, in order to boost the sculpture and modernity to exhibition architecture. The exhibition space can also be enhanced and amusing by disrupting flat, confused up and down, fuzzy inside and outside space. Summarize the topology theory application in exhibition design by topological analysis in the function, skin, streamline, space of the exhibition building.
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Grechitaeva, Marina, Irina Oleynikova, and Marionella Kolokoltseva. "Professional socialization of children in virtual museum space." BIO Web of Conferences 40 (2021): 01016. http://dx.doi.org/10.1051/bioconf/20214001016.
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The article analyzes the possibilities of competitive and exhibition activities in the virtual museum space for the development of professionally oriented interests and inclinations in children aged 7-14 years. A set of the most effective methods, techniques and forms of organizing competition and exhibition activities has been determined, a specially developed diagnostic toolkit has made it possible to analyze the experimental data obtained as a result of the use of empirical research methods: observation and survey. It was revealed that schoolchildren aged 7-14 are at different stages of professional maturity, from the stage of awakening (younger students) to the stage of professional socialization (younger adolescents). Experimental data have confirmed that competition and exhibition activities contribute to the development of creative thinking, self-actualization of the personality of schoolchildren. The huge educational potential of the competition and exhibition activity has been confirmed. The developed program of competitive and exhibition activities of a chemical orientation, contributing to the formation of professionally oriented interests and inclinations in children aged 7-14 years, will be useful to teachers, museum specialists.
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Zhou, Qian, Zao Li, and Jin Li. "Museum Exhibition Space Analysis Based on Tracing Behavior Observation." Applied Mechanics and Materials 477-478 (December 2013): 1140–43. http://dx.doi.org/10.4028/www.scientific.net/amm.477-478.1140.
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The research uses the method of behavior observation and selects the visitors in the exhibition space of museum as research objects. First we analyzed the layout forms and summarized the space characteristics of museum exhibition space. Then we analyzed the retention effect of the visitors in the space and how light environment can affect visitors activities by combining the Kernel density images. According to the research, we concluded the relevance factors between space and human behavior: annular space can cause concentric effect on people; design a small recreational place in the exhibition space will enhance its retention effect; the node at a linear space is more attractive to people; the beginning of a modular space sequence is more effective... In the end, we give our suggestion on how to improve the exhibition space.
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Huang, Mi. "Research on Exhibition Space Design based on Textile Culture." BCP Social Sciences & Humanities 20 (October 18, 2022): 544–53. http://dx.doi.org/10.54691/bcpssh.v20i.2390.
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China's textile culture has a long history and profound foundation. With the innovation of modern society, modern textile knowledge system and textile industry system are developing constantly. The establishment of textile culture exhibition hall provides a good opportunity to inherit and carry forward our textile culture. By using the research methods of literature review, design practice, case study, etc., combined with the exhibition space design practice project of Textile Science and Technology Museum of Wuhan Textile University, this paper expounds the design concept and process of the exhibition space in this university in detail, and summarizes the design methods and strategies of exhibition space based on textile cultural characteristics.
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Okada, Masafumi, Yuichi Motegi, and Ko Yamamoto. "Modeling of Visitor Behavior in Exhibition Space and Amenity Space Design." Journal of the Robotics Society of Japan 32, no. 1 (2014): 45–54. http://dx.doi.org/10.7210/jrsj.32.45.
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