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Journal articles on the topic 'Media Art Exhibition'
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1
Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.
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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplates the implications of annual media art events in the Korean media art context.
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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.
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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
3
Wang, Jiaxin. "Research on the dynamic design of art exhibitions based on digital media." Advances in Education, Humanities and Social Science Research 7, no. 1 (2023): 676. http://dx.doi.org/10.56028/aehssr.7.1.676.2023.
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In today's art exhibitions, art works are no longer the traditional static display exhibition, but have a more diversified space to create, communication channels, experience ways. Dynamic design has become an irresistible force in today's art exhibition, which greatly innovates the form of art display, improves the effect of art communication, and plays an important role in promoting the construction of public culture. Based on digital media, this paper mainly puts forward corresponding dynamic design strategies from four aspects of dynamic information chart, dynamic observation perspective and dynamic exhibition narrative, so as to enrich the exhibition form and promote the integration of art and technology.
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Widjono, Rani Aryani, and Shania Geraldine. "Modifikasi Interaksi Fisik dalam Pameran Virtual." Idealogy Journal 7, no. 2 (2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.
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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.
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Li, Zejia. "Digital Media Intervenes in an Immersive Exhibition in Interactive ScenesMode of Perception and Interaction in the New Era." Applied and Computational Engineering 99, no. 1 (2024): 1–6. http://dx.doi.org/10.54254/2755-2721/99/20251756.
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Abstract: This paper will discuss how the combination of digital media and immersive art exhibition can bring new interaction and participation experience to the audience under the reform of art media, as well as the significance of this combination in artistic expression, exhibition design and audience perception.Using a case study of teamLab in Japan. This paper evaluates the immersive exhibition of digital media intervention from four aspects: transformation, integration, cases, and reflection. It is found that while the emergence of digital media technology provides a new way of display and creative means for art exhibitions, there is also a certain contradiction between artistry and technicality in such exhibitions. It is necessary to balance the relationship between art and technology in order to achieve mutual promotion and common development of the two.
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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.
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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new world of works experience. the immersive exhibition composed of the combination of technology and art has become an important exhibition method to attract audiences. The creation of immersive exhibitions relies on the application of technologies such as Front-projected Holographic Display and Augmented Reality. At present, immersive exhibitions around the world are emerging in an endless stream. Under the general trend of information exhibition, how to combine works of art with digital media and endow them with connotation, and how digital technology is involved in the exhibition to form the final immersive effect, are issues worth considering at present.
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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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Dimas Setyo. "Digitalisasi Ruang Pameran: Potensi Media Sosial Sebagai Platform Pameran Karya Seni Rupa." Jurnal Pustaka Cendekia Hukum dan Ilmu Sosial 2, no. 3 (2025): 337–46. https://doi.org/10.70292/pchukumsosial.v2i3.87.
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This study aims to examine the role of social media in art exhibitions in Indonesia using a literature review method. Along with the development of digital technology, social media has become one of the main platforms for exhibiting works of art, providing opportunities for artists to interact directly with global audiences without the limitations of physical space. In the Indonesian context, social media plays an important role in introducing works of art to the wider community, both domestically and internationally. Based on an analysis of various relevant literature sources, the results of this study indicate that Instagram, WhatsApp, and Facebook are the most adaptive social media for art exhibitions in Indonesia. Instagram, with its strong visual features, provides an opportunity for artists to exhibit their artworks professionally, while WhatsApp offers more personal and direct interaction with the audience. Facebook, with its extensive users, allows art exhibitions to be more organized and reach a more diverse audience. These findings indicate the importance of choosing the right social media in optimizing the distribution and participation in art exhibitions in this digital era. This study contributes to the development of art exhibition management, especially in the digital context, which is increasingly becoming the main choice for many artists in Indonesia.
9
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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Tunikhmah, Nadia. "INSTAGRAM SELFIE DI PAMERAN ARTJOG." Ars: Jurnal Seni Rupa dan Desain 21, no. 2 (2018): 116–32. http://dx.doi.org/10.24821/ars.v21i2.2887.
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Instagram Selfie in ArtJog exhibition is a research conducted with purpose to identify how selfie done with artwork in an art exhibition using social media as well as to determine the effect of social media on the art exhibitions visitor. The object of this study is limited to selfies with artworkthat uses social media instagram and conducted in 2016. The exhibits were selected in this study will be limited in ArtJog exhibition. Instagram data collection is done by using meta data search categories based on hashtag.The selection of selfies at the artjog exhibition was done after seeing the rampant selfie at the exhibition also saw the number of uploads with hastag ArtJjog reaching 25,883 and dominated by selfies. Most Selfie actions with artwork and publish on public pages done without mentioning the identity of the artwork and give a new "caption" on the artwork without the permission of the artist.
11
Marwan, Walid Al-Quran. "Collaboration, Opportunity, and Challenge: Technology's Role in the Media Art Exhibition." International Journal of Social Science And Human Research 06, no. 01 (2023): 165–69. https://doi.org/10.5281/zenodo.7521504.
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The current research paper aims to examine the impact of adopting technology in implementing art exhibitions and museums, and explore certain aspects regarding the media art exhibition titled ‘Von der Schönheit der Begegnung – Medienkunst als lebendige Gegenwart’ (Eng. ‘The Beauty of the Encounter- Media Art as a Living Present’). Particularly, the study seeks to identify the technical challenges, determinants, and difficulties faced by the implementation group members; and several findings and lessons learned were reported by the current study.
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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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Saputri, Deta Anggara Wahyu, I. Made Ruta, and I. Made Jodog. "The Role of Catalogs in the Makna Murni Art Exhibition: Cross Borders 19." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 1 (2023): 62–68. http://dx.doi.org/10.59997/citakara.v3i1.2337.
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Starting from the author's ignorance of exhibition cataloging. However, when I visited art exhibitions, I always found a catalog, so I became curious about the role of catalogs in art exhibitions. This prompted the author to examine more deeply the role of an art catalog and try to . The problem is how the catalog plays an important role in an exhibition. In the process of making it, the writer uses the method obtained from the MBKM process. The purpose and benefits are to show how a catalog plays a role in an art exhibition and to develop the creativity of writers in using digital media. In the process of making a catalog the author uses the creation method which includes several stages, namely observation, data collection, exploration, the process of creating. From this process the author produced an exhibition catalog in which there were 9 layouts of the contents of the fine art exhibition catalog. It can be concluded that the author creates works based on his interest in catalogs, with ideas originating from phenomena captured at the Rudana Museum and reading reference sources from the internet. At the processing stage the author refers to the results of the MBKM. Of all these processes are expected to find identity in the work.
14
Nam, YunTae, and Jeho Oh. "Development of Exhibition Media Content for Overcoming COVID-19: Focused on The Exhibition <New Normal + Convergence Design> Utilizing Interactive Video and Augmented Reality Content." Korean Society of Culture and Convergence 45, no. 9 (2023): 1193–204. http://dx.doi.org/10.33645/cnc.2023.09.45.09.1193.
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Even in the post-COVID era, various exhibitions continue to provide audiences with the experience of art in both online and offline exhibitions. The aim of this research is to plan a user-centered exhibition for overcoming COVID-19 in the post-pandemic era and create media design exhibition content accordingly. The goal is to convey the message of overcoming COVID-19 to people in this era through the experiences of users with the <New Normal + Convergence Design> exhibition content. In order to achieve this, these six exhibition contents consist of three interactive video works using projection, two interactive video works using large TVs, and one augmented reality interactive artwork. Through this research, the proposed media design exhibition content, utilizing digital technologies such as interactive video and augmented reality, can create new experiences for artists, researchers, and audiences even in the post-COVID era.
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Pande, I. Made Suandana Astika, I. Gede Bintang Arya Budaya, and Padma Nyoman Crisnapati. "WebGL 3D Virtual Exhibition as a Media to Increase the Visibility of Digital Artwork." JTIM : Jurnal Teknologi Informasi dan Multimedia 5, no. 3 (2023): 186–95. http://dx.doi.org/10.35746/jtim.v5i3.376.
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The ongoing digital transformation continues to shape various domains, including the realm of art, which adopts social media to digitally promote artworks. Nonetheless, physical art exhibitions maintain their allure as they provide a direct experiential interaction for visitors. Consequently, the development of exhibition platforms that amalgamate user experience with accessibility becomes imperative. One emerging solution involves leveraging information technology and multimedia for virtualization, such as utilizing WebGL for creating a 3D Virtual Exhibition (3DVE). Employing the ADDIE methodology and evaluating it through the Technology Acceptance Model (TAM), the assessments affirm the robust performance and positive responses of 30 participants towards WebGL 3DVE. This development yields practical benefits, particularly for artists seeking to enhance the visibility of their creations. Furthermore, the inherent ease of use and broad accessibility can expand the potential audience for enjoying artworks. The percentage acceptance rates according to TAM validate favorable responses across usability (88%), ease of use (74%), satisfaction (90.6%), and technological acceptance (84.6%). Thus, the deployment of WebGL 3DVE in art exhibition development showcases strong potential in delivering a deeper and more inclusive experiential journey.
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Ion, Mihaela. "Modurile în care noile tehnologii schimbă muzeele și spațiile de consum cultural." Revista Muzeelor 1 (2022): 40–51. http://dx.doi.org/10.61789/rm.2022.04.
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New technologies have started to be used in museums and other cultural consumption venues, and the online marketing notion of “phygital” is becoming more and more integrated into the art world transforming an exhibition or a museum. The main factors that have led to the digitalization of art exhibitions and a mandatory presence in the online environment, especially on social media, were the pandemic and the recurring lockdowns that turned our daily life into an online daily life. New technologies are transforming the way we interact with a work of art or an exhibition and how we deliver contemporary value judgments. The new curatorial practices and the organizational practices of an exhibition adapt to the requirements of a public eager for technological and artistic novelty. Through the examples used in the article, I highlight how new technologies transform and retransform the notions of art/non-art.
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Adi, Sigit Purnomo, Nur Adibah Nadiah Mohd Aripin, I. Gusti Ngurah Tri Marutama, and Dona Prawita Arissuta. "THE CREATION OF PUBLICATION MEDIA FOR RELIEF-PRINT ART EXHIBITION POST-COVID 19." ARTISTIC : International Journal of Creation and Innovation 5, no. 2 (2024): 102–11. http://dx.doi.org/10.33153/artistic.v5i2.5976.
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The creation of publication media for these relief-print artworks is a creative and innovative work because it does not only create relief-print works of art, but also creates publication media or exhibition media to exhibit relief-print works of art. This publication media work is a publication work that combines virtual and offline. The purpose of this work is the creation of relief-print art exhibition publication media that try to find alternative publication media which are environmentally friendly, efficient and global. The creation of this publication media uses the Tri Cipta Karya creation method which is an elaboration of the Artistic Creation method. The results of this creation produce an efficient Hybrid publication media, meaning that in the exhibition it is not only exhibited offline or physically, but also exhibited online or through a virtual gallery. The implications of this publication media creation have opened up wide opportunities for artists or designers to publish their works across countries online.
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Zhang, Ya Wen, and Hee Hyun Kim. "The Effect of Interactive New Media Art's Hands-on Experience on the Immersion of Visitors: Focus on ‘teamLab: LIFE’." Korea Institute of Design Research Society 8, no. 3 (2023): 412–24. http://dx.doi.org/10.46248/kidrs.2023.3.412.
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This study aims to reveal the impact of 'nature-motivated sensory experience exhibitions' on visitors, where nature becomes art and art becomes nature, even in the midst of serious global environmental issues. To this end, To this end, a quantitative survey was conducted on visitors of the 'team Lab: LIFE' immersive sensory experience exhibition that combines new media art and science and technology. The study population was 130 visitors to the exhibition, and an online questionnaire was conducted, which resulted in a sample of 115 participants. After coding, statistical analysis was conducted using SPSS R-studio linear regression analysis. As a result of the study analysis, first, the sense that affects the immersion of visitors the most was the 'Hands-on experience'. Second, visitors' sense of interest in nature was found to be an “audible experience.” Third, visitors' satisfaction was more affected by immersion than interest in nature. In conclusion, it was confirmed that the “hand-on experience” of visitors had the most influence on the immersion and satisfaction of the exhibition.
19
Huang, Nanyan. "Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition." Communications in Humanities Research 3, no. 1 (2023): 318–24. http://dx.doi.org/10.54254/2753-7064/3/20220317.
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As an innovative form of art exhibition, immersive exhibitions have gained popularity all over the world in recent years. Such exhibitions are not only a departure from traditional gallery displays but also lead to different modalities of visiting cultural sites. One distinguishable tendency, one that could be detected in the curatorial strategies of most contemporary exhibitions, is the increasing emphasis put on the aesthetic effect that exhibitions could offer. Correspondingly, the relationship between the visitors and the artworks is changed through the ways visitors situate and perform their bodies within such exhibitions. Unlike traditional exhibitions, immersive exhibitions allow visitors to wander more freely and interact with the settings more engagingly. This essay analyses 1) the common features of immersive exhibitions and the more general theories behind the curatorial principles; 2) the visitor's motivation for visiting, their behaviors during visiting, and how they build their self-image on social media with the aid of immersive exhibitions; 3) the effect and significance of immersive exhibitions in democratizing art and reconsidering the boundary of art. Drawing from the above-mentioned points, some intriguing questions that concern broader aspects within the discipline are also noteworthy.
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Elfandi, Amy, and Harry Kurniawan. "Site-Specific Art Installation." ATRIUM: Jurnal Arsitektur 11, no. 1 (2025): 37–50. https://doi.org/10.21460/atrium.v11i1.287.
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Title: Site-Specific Art Installation; Entrance of ArtJog “Arts in Common” at Jogja National Museum The art installation serves as an object that fills a space in a building, an imaginary space, or a space in the open air. The installation possesses aesthetic characteristics that defy rigid boundaries in fine art, which are typically considered standard, and it also lacks limitations in the use of media or materials. ArtJog is one of the premier art exhibition events in Yogyakarta, featuring art installations. ArtJog originated from art fairs that always featured a central art installation placed at the entrance, using a concept or theme in line with the ongoing exhibition. ArtJog art installations are non-permanent, so that the exhibition space will be dismantled upon the exhibition's conclusion. The main art installation work at the entrance is essential as an application of the concept and theme that means "there is an ArtJog exhibition" with the function of the workspace in it, as well as being a connecting space between the outside space and the space in the gallery which can be formulated as site-specific art. The elements of site-specific art can be articulated and defined as a special relationship between objects or events and their specific locations. This study will examine the three years of ArtJog to identify the theoretical elements of site-specific art, focusing on the central art installations of ArtJog in 2019, which marked the beginning of the overarching theme "Arts-in-Common", the second year, 2021, and the third year, 2022. The study will conclude by analysing the characteristics of site-specific art.
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Lyu, Zhaoyu, and Jasni Dolah. "Digital Technology and New Media Art: A Study of the Difficulties and Strategies Encountered by Beijing Artists." PaperASIA 41, no. 1b (2025): 330–41. https://doi.org/10.59953/paperasia.v41i1b.347.
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This study explores the application of digital technology in new media art creation, focusing on artists who have exhibited in Beijing. Through thematic analysis of semi-structured interviews with 20 artists, six core difficulties were identified: Difficulties in Technical Support and Mastery, Hardware Performance and Stability issues, Insufficient Funding for Creation and Exhibitions, Difficulties in Audience Participation and Feedback in Interactive Experience, Limitations and Challenges of Venue and Exhibition Setup, and Communication Barriers. To address these difficulties, the study proposes five targeted strategies: Enhancing funding Support and Market Mechanisms, Enhancing Technical Learning and Support Systems, Optimizing Hardware Equipment and Exhibition Environments, Strengthening Interdisciplinary Collaboration Mechanisms, and Enhancing Audience Interaction Experience. These strategies provide practical pathways for artists to more effectively utilize digital technology in their creations and offer practical references for the sustainable development of new media art in China.
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Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern." Digital Age in Semiotics & Communication 5 (December 30, 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events. This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system. In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
 This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.
 In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate.
 This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
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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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Budiyanto, Budiyanto, Muh Maulana Malik Ibrahim, and Rizal Afnani. "Pameran Seni Kontemporer Dalam Kemas Imaji Surealis Sebagai Wadah Masyarakat Penikmat Seni di Kota Malang." Gayatri : Jurnal Pengabdian Seni dan Budaya 2, no. 1 (2024): 28–39. http://dx.doi.org/10.20111/gayatri.v2i1.42.
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The arts in the city of Malang are so very diverse as well as the artists who continue to be creative in their work until now, to become a culture or culture in the city itself. Contemporary art often emphasizes ideas and concepts over technical skills alone, some works can appear more conceptually complex than visual. There is no single style or approach in contemporary art. Therefore, there is a need for a creative forum that combines all elements of art in the city of Malang. The purpose of this service is to create a forum for art creation in the form of art exhibitions for all artists in the city of Malang by developing the concept of works on contemporary art, as well as providing art connoisseurs related to education on the development of contemporary art to date, and providing new aesthetic experiences to the community. The contemporary art exhibition with the title Fenomeart in surreal image packaging is an attractive forum for art connoisseurs in Malang City. The following are some of the steps or methods that will be taken to organize an art exhibition, including determining the concept and theme, selecting artworks, determining the strategic location of the exhibition, promotion involving mass media, curatorial as well as educating the community, involvement of the art community in the city of Malang, security of artworks, and feedback from the public.
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Mondloch, Kate. "The Influencers: Van Gogh Immersive Experiences and the Attention-Experience Economy." Arts 11, no. 5 (2022): 90. http://dx.doi.org/10.3390/arts11050090.
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Van Gogh immersive exhibitions—multi-sited, branded multimedia environments inspired by the artist’s life and paintings—are seemingly ubiquitous in 2022. These itinerant digital spectacles bundle reproductions of Vincent Van Gogh’s most recognizable artistic motifs with tropes of fin-de-siècle madness, bathing their visitors in an artistic wonderland of projected images and soundscapes spread throughout cavernous exhibition venues. The popularity of these commercial juggernauts is unmatched. At present, at least five different companies are staging competing versions of digital Van Gogh art exhibitions in dozens of cities worldwide, with a particular emphasis at present on sites throughout North America. How are we as art critics to make sense of these exhibitions as well as their influence within the institutional context of the visual arts? Taking the digital Van Gogh phenomenon as its central case study, this article investigates the emerging art-themed immersive exhibition model and explores the specific mode of spectatorship it promotes. Situating these projects within the broader framework of the contemporaneous attention and experience economies, and with an eye toward the crucial role of social media, I propose that art-themed immersive exhibitions such as the Van Gogh immersive experiences exemplify habits of digitally-mediated, 24/7 immersive attention and consumption in art and in everyday life.
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Yankovskaya, Galina A. "CONTEMPORARY ART EXHIBITIONS AS A COMPLEX HISTORICAL SOURCE: THE SPECIFICS OF DETECTION, ANALYSIS AND INTERPRETATION." Ural Historical Journal 84, no. 3 (2024): 107–13. http://dx.doi.org/10.30759/1728-9718-2024-3(84)-107-113.
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In source studies, the problems of visual sources, their classification, systematization, analysis, and interpretation are productively developed. The visual turn in historiography has demonstrated the productivity and heuristic potential of incorporating visual evidence into historical research. In this context, contemporary art exhibitions deserve special attention. They are focused on non-classical aesthetics, non-traditional art materials, social activism, multimedia and mixed media. The article argues the thesis that contemporary art exhibitions represent a complex historical source. Its external and internal criticism is associated with complex heuristics, with identification and communication by a large circle of actors, taking account of the specifics of works and contemporary art exhibitions as boundary objects and semiophores. A contemporary art exhibition could be considered as a complex of visual-documentary, visual-graphic, artistic, technological, and sometimes completely non-visual sources, including scientific and technical documentation, objects of everyday life or olfactory compositions (chemical formulas). An important feature of many contemporary art exhibitions is their site-specificity and ephemerality, as well as social criticism. That contexts determine the inclusion in the complex historical source traditional office documents as well as files of political control and supervision authorities in the field of culture. Contemporary art exhibitions as a historical sources are closely connected with new trends in the interpretation of museum/exhibition object in museology, on the one hand, and with understanding of the changing exposition paradigms by which contemporary art is shown to the public, on the other.
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Tokdil, Ezgi. "The tension between contemporary and modern art: The emergence of new media in Turkey, the development of digital art and the changing institutions/institutional structure." JOURNAL OF ARTS 6, no. 2 (2023): 101–20. http://dx.doi.org/10.31566/arts.2048.
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As a new art form of a new world that technology has changed and transformed, new media art and other forms of creation associated with it have different stages of development in different countries. Questions such as the development of this form in Turkish art, the visibility of the artists working in this field in the international art field, what qualities the created works have and what stages they have passed through to capture the current digital identity (aesthetics) have not yet been fully clarified in the literature. In this context, the research takes an important role in filling the gap in the literature by chronologically addressing this change process in Turkish art and analyzing the progress of new media art from past to present. In accordance with this purpose; first of all, the relationship between modern art and contemporary art and the changing dimensions of cultural structure are examined. In this context, new media arts and digitalized art creations, which exist as a new form of contemporary/contemporary art, are included in the research through the development of the screen phenomenon and analyzed. In the continuation of the research, the development of new media in Turkey, the pioneering steps taken in this context, the first exhibitions, different creation mechanisms, collaborations in the formation process, alternatives for exhibition strategies are analyzed. Then, the development of new media and the process of change in institutions and institutional structures are discussed in two different aspects in terms of the exhibition process of the work and the creation process, and the collaborations of different disciplines in the creation process of digital art are examined with examples from the world and Turkey. The research, in which the foundations of the change between contemporary and modern art are analyzed through new media art and digitalized art creations, is a qualitative research using the relational analysis method and the analyzed works are included in the research with purposeful element sampling.
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Fatimah, Nur, Moch Romli, and M. Zainal Arifin. "Peningkatan Hasil Belajar Mata Pelajaran Seni Budaya dan Keterampilan Melalui Media Pameran pada Peserta Didik Kelas V SDN Gunung Picung 03." Primer Edukasi Journal 1, no. 2 (2022): 68–77. http://dx.doi.org/10.56406/jpe.v1i2.80.
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The purpose of this study: (1) with the exhibition media can improve the learning outcomes of Culture and Arts and Skills of the fifth grade students of SDN Gunung Picung 03; (2) the exhibition media can increase learning activities in the subjects of Culture and Arts and Skills of students in class V of SDN Gunung Picung 03; and (3) using exhibition media can play an important role in improving learning outcomes in the subjects of Art and Culture and Skills for fifth grade students at SDN Gunung Picung 03. The method used in this study is the Classroom Action Research (CAR) method. CAR is implemented as an effort to overcome problems that arise in the classroom. This method is carried out in four stages, namely planning, action, observation and reflection. The activity phase is a cycle that takes place repeatedly and is carried out with the same steps and is focused on learning Cultural Arts and Skills using exhibition media.. The results showed that the results of the study of the subjects of Culture and Art by using exhibition media had increased. These improvements are: (1) Student learning outcomes increased by 4.52%; (2) The percentage of study completion increased by 13.51%; and (3) the percentage of student learning activities increased by 23.07%.. So that the students will be more maximized due to the development of the right and left brain functioning and developing better and balanced. Based on the results of this study, it can be concluded that using exhibition media can improve student learning outcomes, student learning activities, and the role of art and culture subjects in class V of SDN Gunung Picung 03. 
 Keywords: Learning Outcomes, Cultural Arts and Skills, Exhibition Media
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Fitriani, Nur, Moh. Romli, and M. Zainal Arifin. "Peningkatan Hasil Belajar Mata Pelajaran Seni Budaya dan Keterampilan Melalui Media Pameran pada Peserta Didik Kelas V SDN Gunung Picung 03." Primer Edukasi Journal 1, no. 2 (2022): 52–59. http://dx.doi.org/10.56406/jpe.v1i2.12.
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The purpose of this study: (1) with the exhibition media can improve the learning outcomes of Culture and Arts and Skills of the fifth grade students of SDN Gunung Picung 03; (2) the exhibition media can increase learning activities in the subjects of Culture and Arts and Skills of students in class V of SDN Gunung Picung 03; and (3) using exhibition media can play an important role in improving learning outcomes in the subjects of Art and Culture and Skills for fifth grade students at SDN Gunung Picung 03. The method used in this study is the Classroom Action Research (CAR) method. CAR is implemented as an effort to overcome problems that arise in the classroom. This method is carried out in four stages, namely planning, action, observation and reflection. The activity phase is a cycle that takes place repeatedly and is carried out with the same steps and is focused on learning Cultural Arts and Skills using exhibition media.. The results showed that the results of the study of the subjects of Culture and Art by using exhibition media had increased. These improvements are: (1) Student learning outcomes increased by 4.52%; (2) The percentage of study completion increased by 13.51%; and (3) the percentage of student learning activities increased by 23.07%.. So that the students will be more maximized due to the development of the right and left brain functioning and developing better and balanced. Based on the results of this study, it can be concluded that using exhibition media can improve student learning outcomes, student learning activities, and the role of art and culture subjects in class V of SDN Gunung Picung 03. Keywords: Learning Outcomes, Cultural Arts and Skills, Exhibition Media
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Fang, Xi Hua, Park Geun Seok, and Sang Hun Sul. "A Study on the Service Quality Model in Exhibitions Convergence Media Art and Cultural Heritage: Focusing on the Suwon Hwaseong Media Art Exhibition." Korean Society of Science & Art 42, no. 5 (2024): 181–93. https://doi.org/10.17548/ksaf.2024.12.30.181.
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Xu, Yanliang. "From Tradition to the Future: Exploring Artistic Presentation in Contemporary Interactive Exhibitions." Communications in Humanities Research 49, no. 1 (2024): 69–75. http://dx.doi.org/10.54254/2753-7064/2024.17694.
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Abstract: With the rise of digital technology and new media, art exhibitions have shifted from static displays to interactive experiences that enhance audience participation and immersion. Interactive exhibitions break the formality and distance of traditional displays, bringing art closer to everyday life. This paper explores the emergence of interactive exhibitions in contemporary art, focusing on how exhibition design and participation mechanisms improve audience engagement. Through field research on Cao Fei: Tidal Flux, this article examines how elements like chairs and sound transform viewers from passive observers to active participants. These designs bridge the gap between art and audience found in traditional exhibitions, integrating art into daily life and promoting art education. By comparing the conventional "white cube" model, such as Andy Warhol exhibitionswith interactive exhibitions, this paper highlights how traditional models often limit audience interaction. In contrast, interactive designs like long benches and open soundscapes in Tidal Flux create an accessible and natural dialogue among visitors.
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W. Mohamad Daud, Wan Samiati Andriana, Mumtaz Mokhtar, and Nik Syahida Sabri. "Image of Islamic Symbols: Modern Malaysian Islamic Art Exhibition Theme." Environment-Behaviour Proceedings Journal 9, SI17 (2024): 83–88. http://dx.doi.org/10.21834/e-bpj.v9isi17.5422.
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Symbols can be incorporated into many art forms, including sculpture, photography, and painting. The exhibition is an activity to display a piece of art in the form of goods, services, or achievements to the public. This paper aims to gather information on sculpture that representing Islamic images in Islamic exhibitions from 1957 to 1999. The observation method is used where the artworks have been considered and recorded accordingly, such as the artwork's title, dimension or size, media, and techniques used in producing the artwork. 13 artworks have been identified as artworks that can represent Islamic symbols.
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Pereira, Selma Eduarda, and Alexandra Nogueira. "The Destinies of Senses." International Journal of Creative Interfaces and Computer Graphics 12, no. 1 (2021): 46–60. http://dx.doi.org/10.4018/ijcicg.2021010104.
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During the state of global emergency of the COVID-19 pandemic, online cultural events have multiplied and gained space in our lives. However, this relationship between contemporary art and digital media has been developing for decades. In this paper, the authors cover the curatorial and preparation process for the virtual pavilion The Destinies of Senses that was part of the 4th edition of the digital art biennial The Wrong, which took place from November 2019 to March 2020, bringing to discussion the curation of online exhibitions, aesthetics post-digital, and the creation process of these artists. The authors approach in more detail one of the projects that integrated the exhibition and that combines fashion production, print media, and digital art.
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Biryukova, Marina V. "Modern and Contemporary Art in the Russian Museum Context." Muzeológia a kultúrne dedičstvo 8, no. 3 (2020): 63–74. http://dx.doi.org/10.46284/mkd.2020.8.3.3.
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The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighborhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.
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Park, Lisa SoYoung, and Maurice Benayoun. "A Cautionary Tale of Urban Media Art: Media-Bait, Planned Censorship and Its Repercussions." Leonardo 53, no. 2 (2020): 135–44. http://dx.doi.org/10.1162/leon_a_01611.
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How do curatorial initiatives in public spaces balance the critical pursuit of art and the professional ethics of the exhibition context? What are the pros and cons of conducting attention-grabbing guerrilla campaigns versus infiltrating politically sensitive public arenas with long-term initiatives? What happens when corporate sponsors of art become trapped in the battlefield of art-fueled media controversy? This article expands on such inquiries by analyzing the collision of two artistic urban interventions, Open Sky Project and the Countdown Machine campaign—a collision that took place within the delicate political context of Hong Kong in 2016.
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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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Ridlen, Tim. "Art on Film at Finch College: Reproductive Labor in the Enrichment Economy." Camera Obscura 38, no. 1 (2023): 81–101. http://dx.doi.org/10.1215/02705346-10278600.
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Abstract Finch College was a small women's liberal arts college located on the Upper East Side of Manhattan open from 1900 to 1975. The Contemporary Wing of the Finch College Museum of Art held a number of important exhibitions for conceptual art, experimental media, and film organized by the museum's curator, Elayne Varian, from 1966 to 1975. This article addresses how ideas of process, reproduction, and documentation were being reconfigured at Finch, especially in film and media art of the 1960s. Robert Morris's film installation, Finch College Project (US, 1969), is emblematic of this larger turn toward process in the visual arts; however, Varian's Projected Art exhibitions complicate our understanding of how and why artistic process became a subject of interest. In light of what Boltanski and Esquerre have recently identified as an “enrichment economy” and what feminist thinkers of the time theorized as reproductive labor, works in the Projected Art series shift attention to the reproductive labor of caring for, curating, collecting, and consuming visual art and film. I argue that Varian's exhibitions as a whole complicate our understanding of process-oriented work during the postwar period, especially film and media that moved into gallery exhibition spaces. These works attacked the existing modes of production by turning toward process, complicating the status of photographic reproduction, and contributing their own surplus value through reproductive labor.
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Vasilakou, Paraskevi, Sofia Mineiko, Theopisti Marina Hasioti, Zoe Gavriilidou, and Athanasios Drigas. "The accessibility of visually impaired people to museums and art through ICTs." Technium Social Sciences Journal 35 (September 9, 2022): 263–84. http://dx.doi.org/10.47577/tssj.v35i1.7273.
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Human’s involvement with culture is a vital part of his life, but what happens when someone is blind or visually impaired (VI) and how Information and Communication Technologies (ICTs) help the access to cultural locations? The difficulties and limitations that blind and visually impaired (BVI) persons face while visiting museums or art exhibitions are of high importance. These limitations concern both the access to the location and the perception of the exhibits. This bibliographic research is divided into four main parts. In the first part of our paper we will analyze the difficulties that these people face as visitors in art exhibitions and how their disabilities affect an autonomous visit. Afterwards, we will refer to the importance of the disability arts when combined with ICTs. In the next part, we will mention the projects that are already applied or those for which efforts have been made globally for their implementation. These will be accompanied by recorded feedback from blind and visually impaired visitors. Finally, we will make a scheduled visit to the Tactual Museum of Athens in order to collect material on practices used in their exhibition and we shall record reactions from visually impaired visitors.
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Kordiš, Meta. "The 1980s and Present in Maribor -- Creativity and Déjà Vu." Anthropological Journal of European Cultures 24, no. 2 (2015): 55–75. http://dx.doi.org/10.3167/ajec.2015.240205.
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The article discusses the process of setting up an exhibition presenting the fragments of alternative creative practices in 1980s Maribor (Slovenia) in an art museum. Within an interdisciplinary approach – art historical, museological and anthropological, which is in focus here – I try to understand how such a heritage of alternative creative practices is constructed and produced. Furthermore, the question of the anthropological potentiality of exhibition-making as a method for researching certain aspects of urban practices and development is considered. During the exhibition the art museum became a collaborative place for negotiating, mediating and constructing a heritage between an imagined community of (once) alternative individuals and collectives who participated in the exhibition, the museum staff, visitors and the media. The exhibition was echoed in some other events in the city as it also addressed contemporary artistic, cultural and social issues in Maribor.
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Nazarov, Yuri V. "Search Paths and Solutions for new Forms of Museum Exhibition Lighting." Light & Engineering, no. 01-2023 (February 2023): 9–17. http://dx.doi.org/10.33383/2022-052.
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The changed design status of exhibition environment electrical lighting has become the driver of innovative transformations and development of museum exhibitions. Light has become a real form-making and space-modelling tool. Formation of specific museum experience of lighting remains an interdisciplinary problem unifying technical aspects measured by quantitative indicators and qualitative criteria including aesthetical, psychological, and physiological aspects, forming the atmosphere of each exhibit. Museum exhibition lighting is designed using the conceptual design method, which includes conventional design tools and innovative digital technology. The conceptual design method expresses itself in interdisciplinary, synthetic and synaesthesia forms. Educational and art projects of the Stroganov Academy have accumulated a significant experience in solving different problems of museum environment light design on associative conceptual basis. A lighting system becomes: – An object of traditional art design; – A light design exhibit; – An interactive light-and-colour environment of a museum; – A synthetic environment of a park museum; – A basis of new art styles like light art and science art, media installations and 3D mapping; – Creator of a new image of a digital museum, etc. As a result, light becomes a link connecting the entire humanitarian system of a museum: its scientific, historical, educational, aesthetical and engineering components. Interdisciplinary forms of light functioning (from conventional light design to digital media and interactive projects) are limitless and will grow providing the museum environment with more new forms of information presentation and perception constantly balancing between easel and applied versions.
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Bao, Weihong. "Archaeology of a Medium: The (Agri)Cultural Techniques of a Paddy Film Farm." boundary 2 49, no. 1 (2022): 25–69. http://dx.doi.org/10.1215/01903659-9615389.
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This essay explores a critical dialogue between methods and conceptions of cultural techniques—the second wave of media archaeology—and a case in contemporary Chinese documentary. I examine filmmaker Mao Chenyu, who is also an organic farmer, a critical thinker and writer, and a film exhibitor. Mao provides an intriguing case of how ethnography, ecology, and cosmology intertwine; how media art can take the form of media activism by redefining its boundaries and exhibition space; and how media art can be rethought by replacing its usual focus on media as object with a focus on media as space, community, and social process. By engaging Mao's film practice and critical writings, I test the promise and limits of cultural techniques to reopen the question of culture and public sphere without privileging the a priori of technical operations as the programmability of society.
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Intan Candra, Iga Ayu. "Virtual Exhibition of PGMI IAIN Ambon Students Through Technical Assistance and Procedures for Exhibiting Fine Artwork During the Covid-19 Pandemic." MANGENTE: JURNAL PENGABDIAN KEPADA MASYARAKAT 1, no. 1 (2021): 62. http://dx.doi.org/10.33477/mangente.v1i1.2271.
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Abstract: The Covid-19 pandemic has interrupted the artistic process that occurs in society. Making people forced to use digital platforms in the process of expression and appreciation of art. During the Covid-19 pandemic, fine arts chose digital media as a way out for the exhibition. This community service is one solution to increase the expression and appreciation of PGMI IAIN Ambon students who will later teach art as classroom teachers. The service activity with the title "Virtual Exhibition of PGMI IAIN Ambon Students Through Technical Assistance in Crafting and Procedures for Exhibiting Fine Artwork During the Covid-19 Pandemic" seeks to create students who are aware of the values of artistic and are able to create works of art. Activities are carried out through a process of assisting work and assisting the process of implementing virtual exhibitions.Keywords: fine art, exhibition, virtual, covid-19Abstrak: Pandemi Covid -19 telah memutus proses kesenian yang terjadi di masyarakat. Membuat masyarakat terpaksa menggunakan platform digital dalam proses ekspresi dan apresiasi seni. Seni rupa pada masa pandemi Covid-19 memilih media digital sebagai jalan keluar pelaksanaan pameran. Pengabdian masyarakat ini merupakan salah satu solusi untuk meningkatkan ekspresi dan apresiasi mahasiswa PGMI IAIN Ambon yang nantinya akan mengajar seni sebagai guru kelas. Kegiatan pengabdian dengan judul kegiatan “ Pameran Virtual Mahasiswa PGMI IAIN Ambon Melalui Pendampingan Teknik Berkarya dan Prosedur Memamerkan Hasil Karya Seni Rupa Selama Pandemi Covid-19” berupaya mewujudkan mahasiswa yang sadar akan nilai-nilai keindahan dan mampu menciptakan karya seni rupa. Kegiatan dilaksanakan melalui proses pendampingan berkarya dan pendampingan proses pelaksanaan pameran secara virtual.Kata kunci: seni rupa, pameran, virtual, covid-19
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Swalwell, Melanie, Helen Stuckey, Denise de Vries, et al. "Archiving Australian Media Arts: A Project Overview." Preservation, Digital Technology & Culture 51, no. 4 (2022): 155–66. http://dx.doi.org/10.1515/pdtc-2022-0026.
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Abstract This article presents an overview of the ARC Linkage Project “Archiving Australian Media Arts: Towards a method and a national collection,” which addresses the challenges of preserving digital media artworks that are stored on obsolete media and that require legacy computer environments to access. It lays out the challenges facing digital media arts, articulates the significance of the deposit of local media art organisation archives into the custody of major, jurisdictionally-appropriate cultural institutions, and details the selection of case studies for research from these organisations’ archives and other existing digital media art collections in our partner organisations’ custody. Case studies consist of the ANAT archive (formerly the Australian Network for Art and Technology), floppy disks from the Stan Ostoja-Kotkowski archive, Experimenta Media Art’s exhibition “Virtualities” (1995), dLux media art’s exhibition “Matinaze 97” (1997), and the Griffith University Art Museum’s collection of interactive CD-ROMs. The article reports on progress to date against two of the project’s aims, outlines the collective benefits to partners and to researchers of artworks and other materials from these archives being available, and indicates that access to born digital materials should improve in the near future with digital emulation infrastructure set to be built.
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Cao, Kai, Chunmei Wei, and Qiannan Liang. "Research on the "Shape" Design Method of Museum Exhibition Space under the Background of New Media Art." BCP Social Sciences & Humanities 14 (December 17, 2021): 56–71. http://dx.doi.org/10.54691/bcpssh.v14i.167.
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Traditional museum space design is generally limited to cost and engineering volume, and follows the conventional unified design process of large-scale space fixtures, isolating the design contents of space hard decoration and internal soft decoration and display, and even flood lighting intelligence, lacking unified overall consideration and response. The disjointed design in the early stage led to a large number of space contradictions in the exhibition placement and actual use and operation after the completion of the hard installation and delivery. The intervention of new media art changes the traditional exhibition form. At the same time, the traditional public space design process also begins to change because the exhibition activity of new media art forms has many requirements such as technology, process, material, sound and light, and even environmental psychological effect on the space form and scale. Based on case studies of different characteristics, this paper summarizes the systematic design methods of new media art's involvement in the hard installation of museum exhibition space from three dimensions of spatial layout, spatial form and spatial scope.
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Choi, Jung-su. "A Study on the Media Art Exhibition Space Directing Using Rooftop." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 27, no. 4 (2021): 529–38. http://dx.doi.org/10.18208/ksdc.2021.27.4.529.
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Kim, Si-Yoon, Du-Beom Kim, and Sung-Dae Hong. "A Study of Outdoor Media Art Exhibition Considering Domestic Climatic Conditions." Journal of Next-generation Convergence Technology Association 6, no. 11 (2022): 2279–88. http://dx.doi.org/10.33097/jncta.2022.06.11.2279.
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Langmead, Alison, and Paulina Pardo Gaviria. "Data (after)Lives at the University of Pittsburgh: A Constellations Exhibition in the University Art Gallery." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 36–42. http://dx.doi.org/10.5195/contemp.2017.220.
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This brief essay presents the exhibition Data (after)Lives, which was held in the University Art Gallery at the University of Pittsburgh from September 8 to October 14, 2016. This show was the culmination of a year’s work between the Department of History of Art and Architecture (HAA) and several outside collaborators. It was produced within the Constellations model of research and teaching that is fundamental to the workings of the HAA department as well as to the Visual Media Workshop, the digital humanities lab directed by Alison Langmead (https://haa.pitt.edu/visual-media-workshop), the lead curator of Data (after)Lives. This essay gathers together a few texts produced for the exhibition and presents the experience of working on the show, which was produced by an exceptional group of people, all of whom brought fantastic insight and energy to the project. The online exhibition of Data (after)Lives: The Persistence of Encoded Identity is currently on view at the University Art Gallery website (http://uag.pitt.edu).
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Hottman, Tara. "Alexander Kluge’s Installations." New German Critique 47, no. 1 (2020): 57–80. http://dx.doi.org/10.1215/0094033x-7908378.
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Abstract Analysis of recent exhibitions featuring Alexander Kluge’s earlier films and televisual work in dialogue with work by other artists demonstrates how the aesthetics of installation art and modes of exhibiting moving images in art museums and galleries have allowed Kluge to continue developing but also revise practices he first engaged in other media. The so-called white-cube exhibition space presents Kluge’s earlier works in terms of remediation and provides him with an opportunity to employ and reconceptualize his approach to montage techniques and reception aesthetics. With their deployment in the white cube, his earlier works become emphatically transmedial, their content and forms no longer bound to one primary medium. This article proposes that the white cube might be better suited for actively and collectively engaging with Kluge’s work in the twenty-first century than the black box of the cinema, the late-night television screen, or the internet.
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Lavrentiev, Alexander Nikolaevich. "Review of the exhibition and catalog: Girlfriends. For the anniversary of Varvara Stepanova. Exhibition catalog. Moscow: Pushkin State Museum of Fine Arts (2024)." Design. Art. Industry, no. 11 (November 13, 2024): 80–86. http://dx.doi.org/10.56900/2312-6116_2024_11_80.
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The exhibition "Girlfriends. To the anniversary of Varvara Stepanova", (curators A.A. Danilova, A.A. Savinov, A.N. Lavrentiev), which opened in July 2024 at the Pushkin State Museum of Fine Arts reveals the contribution of Russian avant-garde artists to the formation of constructivism as an influential global trend in architecture and design, the development of domestic fashion design, graphic design, theater. The exhibition presents the works of A.I. Akhtyrko (students of A.M. Rodchenko in VKhUTEMAS), E.A. Ignatovich (a photojournalist and journalist who worked with V.F. Stepanova), L.S. Popova, O.V. Rozanova, V.F. Stepanova, G.D. and O.D. Chichagov (artists of children's books). The cultural and educational foundation "Magic of Fashion" under the leadership of N.B.Kozlova provided reconstructions of clothing models according to the projects of N.P.Lamanova, V.I. Mukhina, L.S.Popova and V.F.Stepanova. 15 museums and private collections provided works from their collections for the exhibition: paintings, graphics, photographs, drawings for fabric and theatrical costume designs (Pushkin State Museum of Fine Arts, GTG, RGALI, Theater Museum, museums of St. Petersburg, Saratov, Ulyanovsk and other collections). The unifying historical and documentary space of the exhibition was excerpts from the diaries of V.F.Stepanova about the avant-garde exhibitions held in 1915-1920, where artists participated, documents and articles by O.V. Rozanova. The exhibition catalog, prepared by a team of authors (design by the ABCdesign publishing group), reflects the main sections of the exhibition: "Acquaintance", "The Birth of constructivism", "Theater", "Fashion", "From a futuristic book to a new layout". The publication was recognized as the "Book of the Year" by experts of the Annual National Competition 2024. The exhibition and catalog reflect the bright innovative nature of the art of the artists of the 1920s, who boldly invaded new areas of the designer's activity, such as cinema, photography and mass media, poetry and fashion. They have left a significant mark on Russian art, pedagogy and art criticism.
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Serexhe, Bernhard. "Total Control: Recoding Humanity?" New Global Studies 13, no. 2 (2019): 243–59. http://dx.doi.org/10.1515/ngs-2019-0011.
Full textAbstract:
AbstractThe following article relates to the exhibition, “Global Control and Censorship,” curated by Bernhard Serexhe and Livia Nolasco-Rozas, which was shown, from October 2015 until July 2016, at the ZKM | Center for Art and Media Karlsruhe (DE) and continued in 2017-18 as a traveling exhibition through seven Eastern-European countries, Tallinn (EST), Zilina (SK), Bialystok (PL), Vilnius (LT), Prag (CZ), Riga (LV), and Debrecen (H). Due to the urgency of its theme this exhibition attracted considerable audience and received international media coverage. The inserted images by photographer Anatole Serexhe document a selection out of more than 80 artworks shown in this exhibition.