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Journal articles on the topic 'International Art Exhibition'
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1
Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.
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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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Świtek, Gabriela. "Across Borders and Art Histories: Travelling Exhibitions." Artium Quaestiones, no. 35 (December 31, 2024): 55–82. https://doi.org/10.14746/aq.2024.35.3.
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The concept of art geography is undergoing a process of revision in light of recent research on exhibition histories. The analysis of major perennial art exhibitions is conducted in relation to the spatial, global structures of social and economic life, or as an aspect of tourism geographies. The geography of art exhibitions entails mapping circulation, analysing the spatial and temporal conditions under which art is presented, and the identifying cultural boundaries in the reception of travelling artworks. This article examines the circulation of international exhibitions that were presented at the Central Bureau of Art Exhibitions (CBAE) in Warsaw as part of cultural diplomacy i the 1970s. During this decade, the CBAE gallery hosted exhibitions of contemporary art from twenty-one countries. What kind of foreign art was seen at the state-organised exhibitions in Warsaw depended on global geopolitics. The primary case study is the exhibition Contemporary Indian Art from the Collection of the National Gallery of Modern Art in New Delhi, which was toured from New Delhi through the Middle East to Eastern Europe (including Warsaw and Prague) in 1978–79. The exhibition brought together 100 works by 80 artists, created between the 1920s and 1970s. It included paintings by pioneers of modern and contemporary Indian art, such as Jamini Roy, Amrita Sher-Gil, Rabindranath Tagore, Gaganendranath Tagore, and K.C.S. Paniker. The diplomatic circumstances of organising the exhibition in Warsaw are set in the broader context of the Polish-Indian art exchange since the 1950s. This encompasses Poland’s participation in the New Delhi Triennial (established in 1968) and the completion of the modernist building of the Polish Embassy in New Delhi (1978). Furthermore, the article examines the impact of travelling national exhibitions on fostering intercultural understanding. The Contemporary Indian Art exhibition provided a valuable opportunity to transcend the conventional boundaries of Indian and Polish art histories. While in the 1960s and 1970s Polish academic discourse typically concluded the history of Indian art in the 1910s, the exhibition’s catalogue served as the primary source of information on twentieth-century Indian art. Consequently, the reception of Contemporary Indian Art in Warsaw is contextualised within the broader discourse of global art history and postcolonial studies.
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Sabinina, Anastasia A. "Project of The All-Slavic Art and Industry Exhibition in St. Petersburg: 1902–1912." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.
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The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permission from the Tsar and funding from the Minister of Finance to carry out the project. The exhibition aimed to foster new trade contacts and showcase the unity and cohesion of the Slavic peoples in response to the perceived threat of cultural expansion by Hungary and Germany. As attendees showed increasing enthusiasm for the exhibition, the organizers expanded their plans, making them more ambitious and costly. However, the exhibition ultimately did not take place due to foreign policy issues. This study contextualizes the All-Slavic exhibition within the political climate of the time and explores the role of art in international diplomacy. Additionally, the research highlights other All-Slavic art exhibition projects, including those held abroad.
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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.
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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
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Jankevičiūtė, Giedrė. "State Strategy of International Art Exhibitions in Interwar Lithuania 1918–1940." Arts 13, no. 1 (2024): 19. http://dx.doi.org/10.3390/arts13010019.
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The Republic of Lithuania was one of several young nation-states that re-established or proclaimed their statehood in the aftermath of the First World War, following the dissolution of empires in Europe. The quest for cultural identity and attempts at its representation within the country, in the region, and on the international stage was the crucial element in the nation-building process, where cultural diplomacy played a pivotal role. For Lithuania, as for most European countries of that era, exhibitions, especially art exhibitions or art sections in the case of world shows (for instance, the Expo 1937 in Paris or the New York World’s Fair in 1939), served as a prominent means of expressing its identity. An overview of the Lithuanian state art exhibition strategy, the dynamics of its organizational process, the exhibition content, and their geographical reach are discussed in the article. To comprehensively grasp Lithuania’s cultural strategy and to reconstruct the network of its artistic connections, foreign art exhibitions organized at the state level and the acquisition of artifacts from these exhibitions for Lithuania’s national art collection, the M. K. Čiurlionis Art Gallery, are briefly reviewed as well.
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Van Holsten, E., A. A. Koroleva, and A. N. Nikiforova. "Cultural Networks Italiart and Ruart: International Art Partnership." Concept: philosophy, religion, culture, no. 1 (July 7, 2020): 181–85. http://dx.doi.org/10.24833/2541-8831-2020-1-13-181-185.
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The networking format becomes the most widespread form of international cooperation in the field of culture at the present stage. First, it attracts subjects of the international market of culture and art by reducing costs and the price of implementing projects. Both previously existing organizations and new partner projects have adopted this format and transformed themselves into networks, building their structure on the principle of horizontal communications. Along with representatives of state structures and international organizations, there are networks initiated by independentexperts interested in the development of international private partnership. In 2020, the 3rd panoramic exhibition of contemporary Italian art «Italiartkremlin» will be held in the State Museum of Modern Art of the Russian Academy of Sciences. Apart from the worksof Italian masters, the exhibition will present the works of Russian artists, winners of the annual contest «My Italy» and «Italy through the eyes of Russian artists». «Italiartkremlin» is one of the projects of the ITALIART cultural network that unites the efforts of representatives of the Italian art market, as well as amateurs and collectors of contemporary Italian art in order to promote it in Russia and Europe. The partner network RUART specializes in the promotion of Russian art in the world, and especially in Northern Europe, through the organization of thematic art events, including art exhibitions, contests and seminars. The idea of sharing a single exhibition space of works of art from different countries allows to compare and see the difference between national schools and modern art concepts.
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Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.
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The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
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Spiridon (Ciocoiu), Ioana-Cristina. "„Efectul Picasso”. Expoziție desfășurată la Muzeul de Artă Recentă, București, 27 septembrie 2023-22 ianuarie 2024." Revista Muzeelor 1 (2024): 175–82. https://doi.org/10.61789/rm.2024.14.
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The exhibition “The Picasso Effect”, held at the private art museum MARe, is part of an international celebration of 50 years from Pablo Picasso’s death, along with exhibitions held at other 42 worldwide museums, such as “The Echo of Picasso” in Malaga, “Diego Velázquez invites Pablo Picasso... and Carmen Calvo” at the House of Velázquez, “Picasso Sculptor. Matter and Body” at Guggenheim Museum from Bilbao, “Picasso: drawing to infinity” at Centre Pompidou. The relevance of the exhibition held in Bucharest resides mainly in: mapping Bucharest for international, acclaimed artists, highlighting the influence of the Spanish painter on Romanian art and engaging Romanian artists as conscious and active participants in the international contemporary art.
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Kenigsberg, Ekaterina. "THE GENESIS OF THE DOCUMENTA INTERNATIONAL EXHIBITION OF CONTEMPORARY ART AS A DIALOGUE PLATFORM FOR ELITE ART AND MASS CULTURE." Herald of Culturology, no. 3 (2022): 158–75. http://dx.doi.org/10.31249/hoc/2022.03.10.
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The article examines the genesis of the documenta exhibition as the largest forum in the world of contemporary art, based on the dialogical character of elite art and mass culture. On the example of 14 exhibitions held from 1955 to 2017 documenta traced the long path of development from a single art event as part of the Federal Exhibition of Gardens to a regular global event, studied the role of its artistic directors - curators.
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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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Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (2022): 38. http://dx.doi.org/10.3390/arts11020038.
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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.
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Chelliah Thiruchelvam, Cheryl. "Buddhi: A Legacy from the Hindu-Buddhist Past in Contemporary Malaysia: Budi." International Journal of Creative Multimedia 6, no. 1 (2025): 108–18. https://doi.org/10.33093/ijcm.2025.6.1.7.
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The ‘BUDI – Extension of Tradition’ art exhibition was organised in conjunction with the Ipoh International Art Festival in 2021 by the Perak State’s cultural agency, People of Remarkable Talents (PORT). Carried out from 10 to 26 December 2021, this exhibition was anchored on the theme of budi (Malay), derived from the Sanskrit word Buddhi. The collective works of this exhibition were from 50 local and international artists that comprised other activities such as workshops, dance performances, music, and cultural activities besides the artworks on display. This exhibition brought forth a collection of artworks (sculptures, visual artworks, installation art, video art, lightbox photography, among others) that were somewhat crucial at the time, as the world was recovering from the pandemic. This is such that the concept of budi, which relates to being aware, awake, humble, etc., was necessary, if not vital, in overcoming and persevering through the challenging times of the pandemic. The exhibition received positive responses from the public as it was one of the early exhibitions that were open to the public for free, as Malaysia came out of a lockdown. This review was initially written as a piece of entry for the exhibition catalogue, which did not come into realisation. Changes and amendments have been made to suit the writing of the current time.
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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (2019): 126. http://dx.doi.org/10.3390/arts8040126.
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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Pavlova, Olga B. "Documentation and preservation problems of the “original” of the temporary exhibitions within the framework of the periodical art projects of the XX–XXI centuries." Podlinnik, no. 1 (March 2024): 62–73. https://doi.org/10.28995/3034-3224-2024-1-62-73.
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A temporary exhibition is a dual subject. It is concrete, purely material, located in a specific space during its holding period. But at the end of this period the exhibition becomes a fancy memory. The relevant questions are rised: what is the “original” of the exhibition and how to preserve it? The situation is more complicated when the exhibition concept is performative and interactive. In this article these issues are illustrated with the help of examples from exhibitions that took place within international exhibition art projects of the XX–XXI centuries.
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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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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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Trapnell, Dorset W. "11th International Exhibition of Botanical Art & Illustration." Journal of the Torrey Botanical Society 132, no. 3 (2005): 533. http://dx.doi.org/10.3159/1095-5674(2005)132[533a:tieoba]2.0.co;2.
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Kvashnina, Kseniya Vyacheslavovna. "Exhibiting the art of the mentally ill in Russia in the 1900s-1960s in the context of outsider art." Manuscript 18, no. 1 (2025): 229–37. https://doi.org/10.30853/mns20250034.
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The aim of this research is to analyze the exhibiting of the art of the mentally ill in Russia in the 1900s-1960s within the context of outsider art. The article notes the prerequisites for a change in the optics of perception of the art of the mentally ill and examines the works of patients of psychiatric institutions primarily from an aesthetic point of view. Particular attention is paid to the 1926 exhibition of the art of the mentally ill at the Polytechnic Museum and the 1966 Documenta Psychopathologica exhibition, which brought together the works of patients from different countries. The scientific novelty of the research lies in identifying these exhibition events as precursors to the formation of outsider art in Russia, indicating the possibility of exchanging experience and materials on the art of the mentally ill between foreign and domestic researchers, and establishing the results of exhibiting the art of the mentally ill based on archival documents, in particular, information about Documenta Psychopathologica is published for the first time. The research reveals that the exhibition at the Polytechnic Museum, organized in 1926 by P. I. Karpov, and the international project Documenta Psychopathologica in 1966 are an important part of the history of the formation of outsider art in Russia; they created the necessary preliminary conditions for the transition of pathological creativity from the category of "non-art" to "art."
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TYTARENKO, V., and M. KONDRATENKO. "ESTABLISHMENT OF EXHIBITION ACTIVITIES IN THE WORLD." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 34 (December 18, 2024): 228–32. https://doi.org/10.33989/2075-146x.2024.34.318134.
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Today, exhibition activity is a relevant field of modern culture, education and development of society. Exhibitions have an important aesthetic, cultural, scientific and philosophical mission. The article reflects the birth of exhibition activity in the world and the work of international organizations in this direction, gives examples of various classifications of exhibitions. Despite the large number of scientific works on the researched topic, it is worth noting the debatability of approaches to the interpretation of the very concept of "exhibition" and their classifications. It is noted that exhibitions are classified by venue, sources of funding, status, subject matter, etc. The most common classification in the cultural and educational spheres is the division of exhibitions by direction. It is possible to combine several directions at the same time. For example: educational-scientific, artistic-artistic, scientific-technical. By branch, according to the international classification of exhibitions of the UFI (World Association of the Exhibition Industry), there are two main classes: specialized exhibitions and universal and multi-disciplinary exhibitions. The article examines the problematic issues of classification of exhibition activity and determines the factors affecting it, analyzes the characteristics of the development and formation of exhibition activity in the world. Prospects and problems related to the development of the exhibition institute in the world are relevant and require in-depth research. The correct ratio of the topic and the form of the event is the key to the success of a good exhibition. With the development of society, exhibitions also develop. Exhibitions are a creation of a certain time and place, a reflection of culture, art, education and society at a certain historical moment. The main goal of the exhibition is to tell a new story, create a new context, ensure access and relevance for the modern viewer, which is a constant challenge for the organizers of the exhibition.
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Krasnoslobodtsev, Constantine V. "EXHIBITION OF MODERN FRENCH ART IN MOSCOW (1928) ON THE MATERIALS OF RGALI AND THE ARCHIVE OF THE PUSHKIN STATE MUSEUM OF FINE ARTS." History and Archives, no. 3 (2022): 52–62. http://dx.doi.org/10.28995/2658-6541-2022-3-52-62.
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The cooperation of the new Soviet art and the artists of Russian emigration is a subject of particular interest. The period of the 1920s became a unique in the history of art when the new Soviet avant-garde artists, as well as artists who remained at home and those who decided to leave and not return, got along at international exhibitions within the Russian section. Russian art was still perceived as a single whole, geographical boundaries did not play a role, and the abyss of “non-return” had not yet opened between the creators themselves. The last chords in that still general composition were some art exhibitions that have become iconic. One of them was the exhibition of modern French art in Moscow (September – November 1928), which is the focus of the article. The organization of the exhibition brought together efforts of highranking officials of the USSR and France (A.V. Lunacharsky, E. Herriot), major cultural institutions (State Museum of New Western Art, Tretyakov Gallery, State Academy of Art Sciences), private French galleries and art dealers, as well as individual artists. On the basis of archival documents from the funds of the RGALI and the Archive of the Pushkin State Museum of Fine Arts, the author restores the events associated with the preparation, organization, negotiations and participation in the exhibition of emigrant artists.
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JIANHUI, Liu. "The Utility of Picture Postcards：Another Cultural Content That Establishes the Image of the “Other” in Modern Japan." Border Crossings: The Journal of Japanese-Language Literature Studies 17, no. 1 (2023): 59–77. http://dx.doi.org/10.22628/bcjjl.2023.17.1.59.
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From the viewpoint of the prevalence of modern art to the masses, the International Research Center for Japanese Studies has been collecting postcards of art exhibitions such as the Ministry of Education Art Exhibition (1907~1918), the Imperial Art Exhibition (1919~1936), and the New Ministry of Education Art Exhibition (1937~1944) for many years and has studied its role in the development process of popular culture. As a part of our efforts visualizing our research and giving back to society, we are currently creating a database of about 25,000 postcards in our collection and disclosing them to the public.</br>In this report, with introducing the database of our picture postcards from the Japanese Modern Art Exhibition, I deal with the theme “The Utility of Picture Postcards：Another Cultural Content That Establishes the Image of the ‘Other’ in Modern Japan.” On this theme, I explain how picture postcards represented the gaichi(外地) and mainland of China in the Meiji, Taisho, and Showa periods, and what influence they had on the public’s recognition of the outside world. In addition to these, I re-find the value of picture postcards as a cultural resource, which has not been adequately studied.
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Mazurkiewicz, Michał. "Sport w sztuce. Sport in Art. 2012. Eds. M. KozioŁ, D. Piekarska, M. A. Potocka." Respectus Philologicus 24, no. 29 (2013): 237–39. http://dx.doi.org/10.15388/respectus.2013.24.29.22.
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Sport w sztuce. Sport in Art. M. Kozioł, D. Piekarska, M. A. Potocka, eds. 2012. Kraków: Museum of Contemporary Art in Kraków. 200 pp. ISBN 978-83-62435-64-7.
 Sport in Art, published by the Museum of Contemporary Art in Kraków, presents the most recent contemporary art, both Polish and international. To be more precise, the Museum focuses on exhibiting contemporary art of the last two decades. It was opened quite recently—in 2011.
 Sport in Art was published to accompany an exhibition which took place between May and September 2012 in the Museum. It presents over forty artists and their unique perspectives and interpretations of sport. As Maria Anna Potocka stated, “The range and diversity of the artistic problems that arise under the influence of sporting inspiration are—even within the narrow scope of this exhibition—truly impressive.”
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Angell, Bobbi, James J. White, and Donald E. Wendell. "6th International Exhibition of Botanical Art & Illustration: Catalog." Bulletin of the Torrey Botanical Club 115, no. 3 (1988): 233. http://dx.doi.org/10.2307/2995966.
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Hussein Ahmed Ahmed Jahin, Walid. "(International Exhibition of Contemporary Art - Egypt and South Korea)." International Journal of Multidisciplinary Studies in Art and Technology 3, no. 2 (2020): 60–70. http://dx.doi.org/10.21608/ijmsat.2020.187847.
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Hopfener, Birgit. "Complicating Narratives of Contemporary Chinese Art as Global Art through the Lens of Exhibition Histories." ARTMargins 12, no. 3 (2023): 89–101. http://dx.doi.org/10.1162/artm_r_00365.
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Abstract This essay reviews two publications on Chinese contemporary art and its relation to the global through the lens of exhibition histories. The monograph Die chinesische Avantgarde und das Dispositiv der Ausstellung. Konstruktionen chinesischer Gegenwartskunst im Spannungsfeld der Globalisierung (The ‘Chinese avant-garde’ and the exhibition as dispositive. Constructing contemporary Chinese art in the global context) authored by Franziska Koch (2016), and the edited volume Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000, (2020) published in the Exhibition Histories series by Afterall Books. The former seeks to re-write the history of contemporary Chinese art exhibitions from a transcultural perspective with a particular focus on group exhibitions of contemporary Chinese art in the West. The latter focuses on exhibitions that took place in the wake of China's “global turn in the year 2000. It examines the first international Shanghai biennial and so called “satellite shows,” unofficial exhibitions that took place concurrently with the biennial. Both books examine how Chinese contemporary art's relation to the global has been conceptualized and operated differently at different times, in different yet often transculturally/transnationally entangled locales, socio-political contexts, power structures and geopolitical currents, in different discursive contexts, according to specific political and discursive conditions and agendas, and through various agents and institutions. This essay argue that by shedding light on specific locales, and their transnational and transcultural entanglements, and the various agents involved in the formation of global contemporary Chinese art both publications critically intervene into top-down universalist discourses of the “global contemporary.” Speaking from different positionalities, they seek to complicate narratives and understandings of contemporary global and Chinese art from the bottom-up. Informed by the post-colonial critique of historicism a bottom-up perspective they conceive of global art not as a universalistic concept, but as plural articulations of global contemporaneity conceived as “disjunctive unity,” a shared yet heterogenous present constituted by multiple contemporaneities.
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Wasilewska, Diana. "INTERNATIONAL CRITICAL RECEPTION OF PROPAGANDIST EXHIBITIONS OF POLISH ART IN THE 1920S AND 1930S." Studia Humanistyczne AGH 18, no. 3 (2019): 45–53. http://dx.doi.org/10.7494/human.2019.18.3.45.
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The goal of this article is first of all to describe the reception of exhibitions of Polish interwar art in the foreign press. I pay closer attention to those of exhibitions that were most prestigious and acclaimed, such as the Venice Biennale, where representatives of Polish art were juxtaposed with other countries’ pavilions and judged in comparison to them. It was the time of the battle against the radical avant-garde, accused of bringing art to a state of impasse, stagnation, or even slow agony. Most exhibitions of Polish art abroad were organized by Mieczysław Treter (1883–1943) a philosopher and art historian, but also an exhibition curator and director of TOSSPO (the Association for the Promotion of Polish Art Abroad), who faced a very difficult task trying to fulfil his mission to promote Polish art through exhibitions. He had to take into account this artistic climate and the dynamically changing situation on the art market, and respond to the expectations of foreign critics, who would examine the art of particular nations with the focus on manifestations of national style. On the other hand, he had to consider the opinions of the Polish artists and critics as well as pressures from the ministry and Polish diplomats
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Sapija, M. "Conceptualizing Exhibitions as Sociopolitical Research: An Analysis of European Exhibition Practices of the 1990s." Garage Journal, no. 03 (September 24, 2021): 193–211. https://doi.org/10.35074/gj.2021.83.10.010.
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This article examines the role of contemporary art exhibitions in the process of the political integration of Europe between the Cold War’s end and the European Union’s Eastern Enlargement. To do so, it analyzes a range of inter-European exhibitions that aimed to construct and disseminate a new notion of a ‘united’ European art world. These exhibition projects intended either to ‘bring together’ artists from the former East and West, so as to break the dichotomies of their distinct sociopolitical roots, or to conduct major surveys on Eastern European art, aiming to legitimize art from the region and place it into a universal cultural context. The article demonstrates how curatorial research was employed to strengthen and illustrate international political policies. Consequently, it discusses resonating examples of such institutional strategies, using five major art exhibitions (Europa, Europa, Interpol, Manifesta 1, Manifesta 2, and After the Wall) realized between 1989 and 2004 as case studies. В статье исследуется роль выставок современного искусства в процессе политической интеграции Европы в период между окончанием холодной войны и расширением Европейского союза на Восток. Автор анализирует ряд межъевропейских выставок, направленных на конструирование и распространение нового представления об «объединенном» европейском художественном мире.
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Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.
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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand? Design/methodology/approach – Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions. Findings – The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity. Practical implications – These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective. Social implications – Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature. Originality/value – The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.
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Sonina, Olga Eduardovna. "Conceptual approaches to the design of advertising and information support for the exhibition of contemporary art." Культура и искусство, no. 3 (March 2024): 126–41. http://dx.doi.org/10.7256/2454-0625.2024.3.70032.
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The article discusses the principles of the artistic organization of advertising and information support for international periodical exhibition projects of contemporary art of the XX-XXI centuries, the development of which is due to a wide range of artistic practices and the search for effective and dynamic means of communication with the audience. The object of research is the media of information about the exhibition project - printed materials, outdoor advertising, digital media, information content of the exhibition environment. The purpose of this article is a comprehensive analysis of conceptual approaches to the design of advertising and information support for modern Russian and foreign periodic exhibition projects. The periodicity allows us to trace the dynamics of the transformation of individual elements of the exhibition design, their relationship with the ideological content of exhibitions, to identify expressive means and artistic and imaginative solutions for the design of advertising and information support, to identify general cultural factors influencing its formation. In order to reproduce the holistic development of the advertising and information support of the biennale, the article uses a systematic approach, formal stylistic and comparative methods. The analysis of the elements of the graphic design of the international exhibition systems and the Ural Industrial Biennale of Modern Art made it possible to identify the specifics of the exhibition identity, the connection with the conceptual content and organizational structure of the projects. The author of the article comes to the conclusion that the development of the design of advertising and information support, as a synthetic activity, is due to the constant creative search for new conceptual content of the exhibition and the rethinking of compositional means of graphic design of media about the project, experiments with new materials that involve visitors in a discussion about the nature of modern art.
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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.
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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.
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Fei, Yan. "Xu Beihong and his activities in the field of popularization of Chinese painting abroad." Культура и искусство, no. 5 (May 2022): 10–18. http://dx.doi.org/10.7256/2454-0625.2022.5.37942.
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The article analyzes the international activities of the outstanding representative of the Chinese art world Xu Beihong. The subject of consideration is the artist's trips to the countries of Europe, Southeast Asia and the USSR in the 30s - early 40s of the XX century. Special attention is paid to how the painter organized the participation of Chinese artists in international exhibition projects. A detailed description of the most significant of them is given. The emphasis is on how Xu Beihong selected works for exhibition projects that could be called "pure and representative Chinese art." The role of Xu Beihong in the popularization of Chinese art is also revealed. The article reveals for the first time the stages and features of the activities of the outstanding Chinese artist Xu Beihong, focused on the popularization of Chinese fine art and culture outside China. As a conclusion, it is argued and argued that Xu Beihong's activities abroad, which included a variety of forms of representation of Chinese painting – exhibitions, lectures, master classes, scientific reports, information platforms, etc., was the first serious step that allowed showing the heritage of Chinese art culture to the general public outside China, to bring Chinese painting to the international arena.
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Grussani, Linda, Rachel E. Smith, Garance Nyssen, et al. "Exhibition Reviews." Museum Worlds 12, no. 1 (2024): 241–60. https://doi.org/10.3167/armw.2024.120118.
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In 2022, the MacKenzie Art Gallery in Regina, Saskatchewan, Canada, organized and launched the ground-breaking exhibition Radical Stitch, North America's largest ever beadwork exhibition to feature contemporary First Nations, Métis, Inuit, and Native American artists. The exhibition, which has been awarded the 2024 Canadian Museums Association/Association des Musées Canadiens Award of Outstanding Achievement, is curated by an esteemed Indigenous curatorial team comprising Sherry Farrell Racette (University of Regina), Cathy Mattes (University of Winnipeg), and Michelle LaVallee (National Gallery of Canada) and joined a series of smaller exhibitions emerging in recent years that underscore the widespread and growing practices of beaders. Spanning two large gallery spaces, the exhibition brought together over 100 works by 48 artists from coast to coast to coast and from both sides of the imposed International Boundary dividing Canada and the United States.
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Tillotson, Giles. "The Jaipur Exhibition of 1883." Journal of the Royal Asiatic Society of Great Britain & Ireland 14, no. 2 (2004): 111–26. http://dx.doi.org/10.1017/s1356186304003700.
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The exhibition of decorative and industrial arts that was held in Jaipur in 1883 under the patronage of Maharaja Sawai Madho Singh II (1880–1922) brought together the work of artists and craftsmen from many regions of India, but gave special treatment to the neighbouring states of Rajasthan, and to the pupils of Jaipur's own recently established School of Art. It led to the establishment of a permanent museum of industrial arts in Jaipur, which still exists and continues to hold many of the original exhibits. One of many ambitious exhibitions that followed in the wake of the Great Exhibition of 1851, the Jaipur Exhibition was the first such to be held in an Indian state, coinciding with the International Exhibition in Calcutta and preceding the Indian and Colonial Exhibition in London of 1886.
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Gough, Maria. "Model Exhibition." October 150 (October 2014): 9–26. http://dx.doi.org/10.1162/octo_a_00198.
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Despite the fact that it was never realized at full scale, Vladimir Tatlin's long-lost model for his Monument to the Third International (1920) remains to this day the most widely known work of the Soviet avant-garde. A visionary proposal for a four-hundred-meter tower in iron and glass conceived at the height of the Russian Civil War, the monument was to house the headquarters of the Third International, or Comintern, the international organization of Communist, socialist, and other left-wing parties and workers' organizations founded in Moscow in the wake of the October Revolution with the objective of fomenting revolutionary agitation abroad. Constructed in his spacious Petrograd studio, which was once the mosaics workshop of the imperial Academy of Art, Tatlin's approximately 1:80 scale model comprises a skeletal wooden armature of two upward-moving spirals and a massive diagonal girder, within which are stacked four revolving geometrical volumes made out of paper, these last set in motion by means of a rotary crank located underneath the display platform. In the proposed monument-building, these volumes were to contain the Comintern's legislature, executive branch, press bureau, and radio station. According to the later recollection of Tevel' Schapiro, who assisted Tatlin in his construction of the model, two large arch spans at ground level were designed so that the tower could straddle the banks of the river Neva in Petrograd, the birthplace of the 1917 revolutions.
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Bol, Marsha. "Ramblings in Search of an Exhibition: Beadwork Adorns the World." Museum Anthropology Review 13, no. 1 (2019): 69–95. http://dx.doi.org/10.14434/mar.v13i1.25397.
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In this project report, exhibition curator Marsha Bol discusses the origins and scope of the 2018-2019 Museum of International Folk Art exhibition Beadwork Adorns the World. The exhibition presented a worldwide survey of beadwork arts in their cultural and social contexts.
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Chmelyk, Iryna. "Loving Vincent: Online Exhibition as an Innovative Form of Presenting Visual Art in Ukraine." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 145–52. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235242.
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The article considers the online exhibition and art events Loving Vincent as the relevant forms of exhibition of art works, the main idea of which is to promote the work of Vincent van Gogh and the art of the animated films in Ukraine. The aim of the paper isto highlight the importance of the latest forms of visual art representation in Ukraine on the example of the online exhibition Loving Vincent and a number ofrelated events dedicated to the world’s first full-length eponymous animated feature film about the life of Vincent van Gogh. The role of Ukrainian artists in the process of working on the film is also highlighted. The methodology of work includes a set of culturological and art research methods and approaches. In particular, empirical observations, analysis of the source base and video materials contribute to the comprehensive coverage of the process of organization and realization of the Loving Vincent exhibition. The interviews with the organizers, screenwriters, and artists helped to get a deep insight into the specifics of working on the film. Descriptive and analytical methods contributed to the formation of a comprehensive view regarding the innovative forms of representation of visual artworks in Ukraine. On the basis of factual material, a synthetic comprehension of problems and prospects of development ofsuch newest exposition forms as virtual excursions and online exhibitions were formed. Emphasis is also made on the participation of Ukrainian artists in the largescale international art projects that leads to the creation and development of new opportunities of the representation of contemporary art
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GLUCKMAN, DALE CAROLYN, and SHARON SADAKO TAKEDA. "When Art Became Fashion: The Making of an International Exhibition." Curator: The Museum Journal 36, no. 4 (1993): 272–85. http://dx.doi.org/10.1111/j.2151-6952.1993.tb00802.x.
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Chung, Tan. "Dunhuang Art Exhibition in New Delhi." China Report 28, no. 1 (1992): 63–64. http://dx.doi.org/10.1177/000944559202800107.
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Belozerov, Viktor V. "Japan's photography in contemporary Russia (1990s–2020s): Exhibition history through the lens." East Asia: Facts and Analytics, no. 3 (October 2, 2023): 36–68. https://doi.org/10.24412/2686-7702-2023-3-36-68.
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The article focuses on the processes of presenting contemporary Japanese photography in Russia from the early 1990s to the early 2020s. The end of the Soviet period, in which Japanese photography had its own expositional peculiarities, brought new opportunities and significantly expanded the geography of exhibition, as well as increased the number of cultural initiatives aimed at presenting Japanese art, including photography. The article outlines and analyzes the dynamics of Japanese photography exhibition in Russia and provides a brief overview of the largest and most significant exhibition projects in Moscow and St. Petersburg. The specifics and trajectory of Japanese photographers' shows in different regions of Russia, including touring projects, are also noted. In addition, the author gives information about the participation of Japanese photographers in international art fairs in Moscow and considers the role of magazines in popularizing photography from Japan. The appendix to the article contains the most complete list of exhibitions of Japanese photographers in Russia from 1993 to 2023.
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Belozyorov, V. V. "Exhibitions of Japanese children’s drawings in the USSR: Depicting Japan, showing the world." Japanese Studies in Russia, no. 1 (April 11, 2023): 27–45. http://dx.doi.org/10.55105/2500-2872-2023-1-27-45.
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The article is devoted to the history of exhibitions of Japanese children’s drawings in the Soviet Union in 1920s – 1980s, as well as to the critical interpretation and perception by the Soviet audience of the artistic works of Japanese children. The importance of such events can be seen not only in the artistic value of the exposition material, but also in the influence of the expositions on the image of Japan in mass consciousness.The material is devoted to key exhibition projects related to the presentation of Japanese children’s art, in particular, the “Exhibition of Children’s Books and Children’s Art of Japan” in 1928, as well as a series of international exhibitions “I See the World,” held in the USSR since the late 1960s. The greatest attention is paid to the peculiarities of Soviet art criticism towards Japanese children’s drawing in the pre-war and post-war period, as well as the influence of Soviet ideology on the interpretation of children’s art from Japan.The author comes to the conclusion that the approach to the exhibitions was characterized by ideological indoctrination, as well as certain stereotypes about Japan, which created a request for exoticization of the creative products of the Japanese children. During the initial period of the Russian-Japanese cultural ties, despite the controversial nature of the Soviet art criticism of Japanese children’s drawings, the exhibition had substantial importance for the cultural ties of the two countries. In the post-war period, not only mono- national exhibitions, but also large projects involving multiple countries drew attention to various creative works of Japanese children. Since the early 1990s, the past importance of such exhibitions as an important element of cultural exchange receded, which is also true for the present times, despite the episodic exhibition projects of this sort in various regions of Russia. The “propaganda” component of children’s drawings faded. It is, however, regrettable that such exhibitions stopped attracting public attention due to the lack of interest of the media to these initiatives, as well as of systematic study of the works of Japanese children from the point of view of art studies and psychology.The article is based on documents, many of which are being introduced into scientific circulation for the first time, from the following archives: the State Archive of the Russian Federation (GARF), the Russian State Archive of Literature and Art (RGALI), the Central State Archive of St. Petersburg.
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Simone, Kraft. "The Deconstructivist Architecture at MoMA – a story of success?" Art Style, Art & Culture International Magazine 6, no. 6 (2020): 11–24. https://doi.org/10.5281/zenodo.4193350.
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Art Style | Art & Culture International Magazine Abstract “Some exhibitions are more interesting to read about than to actually see, and the twerpy little show called 'Deconstructivist Architecture' at the Museum of Modern Art is certainly one of them,” states the New York Observer in July 1988. But nevertheless: “Rarely has an exhibition about architecture attracted so much attention.” When dealing with the “Deconstructivist Architecture” (1988, MoMA New York) exhibition, one encounters a curiously ambiguous situation. On the one hand, the show is one of the pioneering architectural exhibitions of the New York MoMA, being a core reference point in relevant literature. The newly coined term “deconstructivist architecture“ has established itself as a terminus technicus in the process. Furthermore, response among the contemporary public, both professional and common, has been enormous. Considering how small and brief the exhibition was, these facts seem to speak of the enormous success of the ”Deconstructivist Architecture“. Yet, on the other hand, when looking more closely at the content of the enormous public feedback, one discovers reserved reactions, the underlying tone being critical up to outright negative. The seven exhibited architects – Zaha Hadid, Daniel Libeskind, Peter Eisenman, Frank O. Gehry, Rem Koolhaas, Bernard Tschumi and Coop Himmelblau – are reluctant to make any statements, if at all, about their participation in the exhibition. Furthermore, there is the question of how the presented architectural positions correspond to each other: the exhibition spans a visually challenging selection of architecture ranging from Frank Gehry's “distorted” buildings to Peter Eisenman's geometrically strict modernist designs. All this gives rise to the question: the ”Deconstructivist Architecture“ exhibition – a story of success?
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Ferraz de Matos, Patrícia. "Female landscapes." Revista Portuguesa de História 55 (September 30, 2024): 305–25. http://dx.doi.org/10.14195/0870-4147_55_12.
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The aim of this article is to reflect on the presence of colonized women in photographs and other representations, such as drawings, posters, postcards, exhibition catalogues, newspapers and magazines, which were disseminated in the context of the Portuguese colonial expositions, and in exhibition spaces conceived by the Portuguese with a colonial component. Generally speaking, the exhibitions sought to put forward the progress, taking into account land, rail and sea transport, but also roads, communications, trade, industry, arts, architecture, culture, and the most recent advances in science and medicine. The exhibitions were also places where the logic of colonial models was staged, showing a clear relationship between colonial domination and gender representation. The research includes several materials produced throughout the 1930s (a fertile period regarding the Portuguese participation in this kind of international events) intended to publicize these exhibitions or serve as a complement to them. These materials may include art works or merely propagandistic works, or works that combine both components. The analysis will include materials associated with several exhibitions between 1931 and 1940, such as the International Colonial Exhibition of Paris (1931), the Lisbon Industrial Exhibition (1932), the Portuguese Colonial Exhibition in Porto (1934), the Exhibition of the Portuguese World in Lisbon (1940), and the Portugal of the Little Ones (Portugal dos Pequenitos) in Coimbra (1940). The contexts in which women appear and the way they are represented — as active beings (performing tasks), as contemplative beings (as in natural landscapes) or as objects of sexual desire, revealing the context of power (legislative, administrative, male and colonial) in which the images and the representations were produced — will be analyzed.
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Nazim qızı Quluzadə, Aysel. "Features of Arif Aziz's creativity in modern Azerbaijani art." SCIENTIFIC WORK 66, no. 05 (2021): 177–80. http://dx.doi.org/10.36719/2663-4619/66/177-180.
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Arif Aziz is one of the invaluable artists of Azerbaijan.Talented master of pencil, full member of the UNESCO’s International Art Academy, goodwill ambassador, prominent man of art, professor Arif Aziz is one of the most famous, well-known persons of the modern Azerbaijan art. He travelled a rich and interesting creative career. Arif Aziz's work is rich and diverse. Decorative is typical for his works. The theme of Absheron occupies a special place in his work. He is engaged in graphics, painting and stage design. The famous artist has had solo exhibitions in many countries around the world. Key words: Absheron, graphic, art, exhibition, national traditions
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Hojny, Paulina. "Art in public utility buildings – an example of a collection in an international juridical institution." Władza Sądzenia, no. 27 (December 17, 2024): 5–27. https://doi.org/10.18778/2300-1690.27.01.
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The article tries to highlight the phenomenon of integrating art collections into public buildings, focusing on the example of an international juridical institution exhibiting art from different countries. The motivation for collecting art in such spaces is often to improve the aesthetics of the building, to promote diverse perspectives and reflections through art. The creation of this unique collection in the late 1960s was a pioneering initiative undertaken 50 years ago by the European Court of Justice based in Luxembourg and has since been adopted by other international European institutions. The exhibition of art in public buildings can be considered from the perspective of social capital or the dimension of the sociology of art. The motives are not always obvious and the social influences remain unspecified, there is also an aspect of the historical context of the selection of artists and their works and diplomacy through art.
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Haese, Richard. "The art of the overseas exhibition." Thesis Eleven 132, no. 1 (2016): 102–14. http://dx.doi.org/10.1177/0725513615625241.
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Bai, Haochen. "Imperatives Under Chinese Monochrome Art: Revisiting “Magiciens de la Terre”." Art and Society 3, no. 5 (2024): 89–94. http://dx.doi.org/10.56397/as.2024.10.10.
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“Les Magiciens de la Terre” has long been hailed as the first international contemporary art exhibition including both artists from Europe, Africa, Tibet, China, and other non-western places. Yang Jiechang, Gu Dexin, and Huang Yong Ping were the only three Chinese artists to participate in this exhibition. They made their debuts in front of unfamiliar overseas audiences, in which their art practices were rearranged, and Yang started his familiar series of “100 Layers of Ink.” My paper shifts the attention away from the single monochrome artwork of Yang’s 100 Layers of Ink at the Smart Museum, recenters it on the original context of the inception of this series at “Les Magiciens de la Terre,” and examines the general imperatives of those three artists’ first debuts — “distinct originality” and “being well-prepared.” The heightening emphasis on originality had already surfaced on the contemporary Chinese art scene and culminated in the curatorial plan of the exhibition’s curator, Jean-Hubert Martin. On the other hand, because of the importance of the debuts, “being well-prepared” underlined every aspect of their art-making for the exhibition, including enlarging scales, complicating the artistic concepts, and increasing working time. All those factors contributed to the sudden shifts in their art practices and shed new light on the imperatives under Yang’s monochrome art and his reflections on colors.
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Tkachev, V. V. "PARTICIPATION OF THE INHABITANTS OF BAIKAL SIBERIA IN THE DESIGN OF THE PARIS WORLD EXHIBITION OF 1900 (BASED ON THE MATERIALS OF THE STATE ARCHIVES OF THE IRKUTSK REGION)." Northern Archives and Expeditions 5, no. 4 (2021): 145–53. http://dx.doi.org/10.31806/2542-1158-2021-5-4-145-153.
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The article examines the history of the participation of the inhabitants of Baikal Siberia in the Paris World Exhibition of 1900. M. D. Butin (1835–1907), the history of the creation of his art collection. The work confirms that M. D. Butin participated in the design of the Paris World Exhibition. The study reveals the content side of the international art event for the Baikal region. Various representatives of the public (merchants, artists, scientists, teachers) were involved in the process of preparing the event, since many residents studied the history, features of the development of Siberia. All this allows us to conclude that as a result of participation in the exhibition, M. D. Butin created favorable conditions for the development of socio-cultural ties of the region with Western and Eastern states. Mikhail Dmitrievich's activities influenced the process of familiarizing residents with art objects. He supported the work of public organizations, scientific expeditions, art exhibitions and other educational events. The entrepreneur believed that if you prepare and organize open areas for society, then it is possible to raise the level of its well-being. As a result of expeditions, writing scientific papers, Mikhail Dmitrievich showed how the region should develop. Many interests and ideas of M. D. Butin in various fields of culture were realized during his lifetime and after by other representatives of the artistic intelligentsia of Baikal Siberia.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Leimer, M. "‘Berlin Sees Bizarre Russian Art Show’: The Press Coverage of the Erste Russische Kunstausstellung(1922) and the Perception of Russia’s Modernist Art." February Journal, no. 01-02 (February 28, 2023): 192–209. https://doi.org/10.35074/fj.2023.86.54.011.
Full textAbstract:
The Erste Russische Kunstausstellung (First Russian Art Exhibition) that took place in Berlin in 1922 was an important event for the development of modernism. International artists and patrons visited the show at the Galerie van Diemen that combined paintings from late Tsardom and the pre-revolutionary avant-garde with the recent artistic production of Russia’s non-objective art movements. While the role of the Van Diemen show for the progressive international art scene in the early 1920s has long been acknowledged, little is known about the perception of this ‘Russian’ labeled modernism among the general public that encountered now-iconic art works by Vladimir Tatlin, Aleksandr Rodchenko, and Kazimir Malevich. By analyzing the coverage of the exhibition in newspapers and art journals, mostly from the Weimar Republic, this article highlights the Western interpretation of the newly discovered suprematism and constructivism as well as their radical new aesthetics.
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Северин, Віктор Дмитрович, та Надія Василівна Северин. "ФІЛОСОФСЬКО-КУЛЬТУРОЛОГІЧНИЙ ВИМІР ВИСТАВКОВОЇ ДІЯЛЬНОСТІ В КОМУНІКАТИВНОМУ ПРОСТОРІ СУСПІЛЬСТВА". Humanities journal, № 4 (19 грудня 2018): 45–53. http://dx.doi.org/10.32620/gch.2018.4.05.
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Exhibition activity in Ukraine is becoming important. Exhibitions as a factor of scientific, technical and cultural progress in modern conditions contribute improving the efficiency and quality of production, the development of economic relations and international cooperation. The object of the article is to define the concept of exhibition design as a particular aspect of art-design activity, its role and functions in the information and communication space of the modern design culture of Ukraine. The problem of exhibition design is relevant in modern art history. Researchers suppose that at a certain stage people began to use objects and the environment as tools to satisfy an instinctive impulse to discover, emphasize, deify, sell and interpret elements of their own experience. Such «communication environment» considered as a creative sphere, or exhibition design. In the conditions of technical progress, the incorporation of elements of aesthetics into production gradually began to cover all production areas. The role of exhibition design in the organization of modern exposition is to create, in combination with communication room design, an environment that would provide the most profound and complete transmission of information, help to attract the audience and increase the intensity of understanding. The functions of exhibition design are: educational, cognitive, axiological, psychological, aesthetic, communicative, etc. Exhibition design in the 21st century both in the world and in Ukraine is characterized by the use of innovative technologies, which contribute to the expansion of the information field of the exposition and the disclosure of its main idea.