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Journal articles on the topic 'Museum Exhibition'
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1
Puspasari, Shinta. "Pendampingan perancangan ruang pamer museum dr.AK.Gani pada pameran bersama Museum Negeri Sumatera Selatan." ABSYARA: Jurnal Pengabdian Pada Masyarakat 2, no. 2 (2021): 239–45. http://dx.doi.org/10.29408/ab.v2i2.4322.
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A successful exhibition cannot be separated from the proper arrangement of the exhibition space. A good exhibition space arrangement will generate interest from exhibition visitors. Moreover, what if the exhibition is a museum exhibition. The arrangement of museum exhibitions requires a more complex arrangement. South Sumatra Province held a joint exhibition which various state museums throughout South Sumatra attended. Because various museums attend it, a good exhibition space arrangement is needed to present an optimal exhibition space so that it is attractive to visitors and is not inferior to other museums in the exhibition. Therefore, this service aims to assist dr.AK.Gani Museum as a partner to organize its exhibition space to make it more optimal. The community service activities offered at this activity are assistance in designing informative brochures and showing off collections. Exhibition activities went well and safely following health protocols during the COVID-19 pandemic, attended by various students and the general public. The activity method includes focus group discussions, exhibition room design, and effective exhibition space design implementation to produce the dr.AK.Gani Museum exhibition design has been implemented at the 2020 Joint Exhibition at the South Sumatra State Museum
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Shorina, Darina. "PECULIARITIES OF EXHIBITION AREAS DESIGNING OF INSTITUTIONAL MUSEUMS OF WEST SIBERIA (RUSSIA)." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2021): 33–40. http://dx.doi.org/10.32340/2414-9101-2021-3-33-40.
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The paper considers basic methodological principles and theoretical approaches to arranging exhibition spaces of the today's institutional museums operating in West Siberia (Russia). Specifics of departmental museums as a sort of museum formations with debatable classification features is cleared. Description of modern conceptions of subject-spatial designing of exhibition areas in a museum is given; the author of the article outlines her own view on a technology of arranging exhibition in an institutional museum, names typical elements of its topic structure, analyses attractive architectural and artistic decisions in designing museum exhibitions.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Aarbakke, Thea. "Musealiserte relasjoner mellom liv og litteratur på Olav H. Hauge-senteret." Nordisk Museologi 28, no. 1 (2020): 75. http://dx.doi.org/10.5617/nm.7970.
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This article investigates how one of the museums’ foremost communication tools, their exhibitions, negotiates the appearance of the Norwegian poet Olav H. Hauge’s life and literature, and the relations between them, by way of the exhibition’s material components and exhibition technologies. In the exhibition, authorship and author biography intersect and meet as a unique attribute of the exhibition space. How the author’s life and literature are communicated in the exhibitions and how the exhibition technologies affect the stories being told is the main focus of this analysis. Inspired by actor-network theory, the exhibition is analysed by situating museum props and exhibition technologies at the centre of the study.
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Fouché, Florian, and Marianne Mesnil. "The Antidote Museum in practice: an artist and an ethnologist's iew on the Romanian Peasant Museum." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 94–117. http://dx.doi.org/10.57225/martor.2018.23.06.
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During an interview from Autumn 2017, in Bucharest, Marianne Mesnil (ethnologist) and Florian Fouché (artist) talk about their experience at the Romanian Peasant Museum in Bucharest. They are discussing about the museum display experienced by Irina Nicolau (1946-2002) and Horia Bernea (1938-2000): the exhibition hall “The Plague”, the curtains from “Village School”, the manifest “The Antidote Museum”, or the concepts of “father-museums” and “mother-museums”, the exhibition hall “Time”. Starting with their reflections on the Peasant Museum, the discussion turns to the exhibition that Florian Fouché had about the museum, entitled “The Antidote Museum” (Centre d’art Passerelle, Brest,2014), but also to the exhibitions that Irina Nicolau had set up in France, Un village dans une malle (Paris, 1991), and another one in Belgium, Roumanie en miroir, mémoires de tiroir (Treignes, 1997). The article is accompanied by photos taken by Florian Fouché of his exhibition.
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Yasukawa, Keiko, Jacquie Widin, Vic Smith, et al. "Examining Museum Visits as Literacy Events: The role of mediators." Literacy and Numeracy Studies 21, no. 1 (2013): 85–104. http://dx.doi.org/10.5130/lns.v21i1.3331.
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Museum exhibitions are literacy rich environments. Visitors may engage with a range of texts including texts that constitute the exhibition objects themselves, those that convey information about the objects and those that instruct visitors about how the visitors are expected by the museum to navigate through the exhibition. The ways in which visitors engage with these diverse texts are important defining factors of the visitors’ museum experience.For museums, understanding how texts in their exhibitions are influencing the museum experience, and the possibility of a museum experience for the broad public community is important in the fulfilment of their public mission as cultural and education institutions. In this paper, we adopt a view of literacy as a social practice, the perspective of New Literacy Studies (NLS), that offers a fruitful way for museums to consider the interactions between exhibition texts and their audiences. Such considerations, we argue, can inform museums’ approaches to broadening their visitor demographics to more strongly fulfill their public mission. We show that the goals of NLS resonate with some of the goals of the New Museology movement in museum studies, a movement that aims to democratize what museums represent and how. From NLS, we employ the concept of a literacy event to describe an exhibition visit through a literacy lens, and the concept of a literacy mediator to examine the literacy event not exclusively as an individual event, but a collectively produced event. The paper draws on data on how the literacy events of two groups of ‘non-traditional’ visitor groups were mediated in an exhibition, and show how they reveal the range of different literacies that visitors need to negotiate in a museum exhibition.
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WuJiu, Liu, Wahiza Abdul Wahid, and Noor Azly Mohamed Ali. "Digital Innovation in Museum Exhibitions: An Augmented Reality Framework for Dezhou City Museum." International Journal of Art and Design 9, no. 1/SI (2025): 118–33. https://doi.org/10.24191/ijad.v9i1/si.3737.
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Continuity advancement of science and technology, coupled with a surge in cultural consciousness and improved cultural literacy. Recently increase year by year in the number of museums across China. Due to this national trend, Dezhou City in Shandong Province has also established its own museum, primarily dedicated to preserving and exhibiting the city’s historical culture and significant artefacts. It serves as a place for local residents to visit, engage in educational and cultural dissemination, and provide valuable physical and documentary support for researchers studying relevant issues. However, as time progresses, traditional museum exhibitions have become inadequate in meeting the demands of modern visitors. The researcher has designed new exhibitions for the museum using AR (Augmented Reality) technology by taking Dezhou City as a case. This paper outlines the trend of exhibition design using AR technology and emphasises core issues including the accuracy and appropriacy of exhibits and whether the demands of visitors are well catered to. The researchers conducted field surveys and observations by qualitative research methods at the Dezhou Museum, for which the research findings were used to help devise an Augmented Reality (AR)-based exhibition framework. The aim is to investigate how the application of AR technology can help in the digital transformation of Dezhou's museum exhibitions and ultimately design an exhibition framework based on Augmented Reality (AR) technology for the Dezhou City Museum. Exploring the current situation through literature reviews, summarising the forms of AR technology applications, and analysing existing exhibitions and sections on a per-hall basis, the study intends to identify the weight and matching forms for the transformation of the first and the third exhibition halls. The conclusion outlines the design trends and paths for interactive exhibitions and potential research directions.
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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.
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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Cao, Kai. "Development and Design Case Function Comparison of Panoramic Roaming System of Virtual Museum Based on Pano2VR." Mobile Information Systems 2022 (July 5, 2022): 1–11. http://dx.doi.org/10.1155/2022/7363221.
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The development of modern information technology gives birth to virtual museums. The exhibition of physical museums is evolving into online virtual exhibition, allowing users to have an immersive experience of museums without leaving home. Through content analysis, this study analyzes the status quo of online virtual museums in China and discovers two major problems: the exhibits are mainly brief introductory graphs and texts, and the exhibition module is independent of the panoramic roaming module. To solve the problems, Pano2VR was used to develop and design a virtual museum panorama roaming system for Hubei Museum. After realizing the map navigation of the museum, photos of the museum were taken on the site and prepared into a panorama. Then, the panorama roaming of the virtual museum was achieved based on Pano2VR. Finally, the results were displayed on the virtual web page of the museum, and real interactive virtual exhibitions were conducted on the website platform. The proposed system enhances the research value of the cultural relics of the Hubei Museum and increases the interaction with users.
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Bernbeck, Reinhard. "The exhibition of architecture and the architecture of an exhibition." Archaeological Dialogues 7, no. 2 (2000): 98–125. http://dx.doi.org/10.1017/s1380203800001665.
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AbstractOne of the major archaeological museums, the Pergamon Museum in Berlin, serves as an example to discuss present problems of museology. I argue that the development of museums has to be analysed from a combination of perspectives, including an historical one, that of visitors and of museum staff. In a first section, the paper outlines the history of the Pergamon Museum, including an institutional history and the larger socio–political framework. To highlight the range of possibilities of understanding, I give two readings of the museum from the viewpoints of differently oriented visitors, one colonialist, the other postmodern. I then consider current debates among curators and distinguish between two main exhibition strategies, one pragmatist, the other purist. Finally, I discuss the larger framework in which museums exist, which shows their problematic status. Using critical theory's distinction between culture industry and affirmative (elite) culture, I show that the Pergamon and other museums survive today only through an uneasy compromise between these two extreme poles of culture.
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Lee, Hairi, Eunjin Huh, and Nara Youn. "The Effects of Identity Fit between Museum and Exhibition on Museum Place Attachment: Focusing on University Students in Seoul." Korean Society of Culture and Convergence 45, no. 4 (2023): 333–47. http://dx.doi.org/10.33645/cnc.2023.04.45.04.333.
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In this study, we show that the degree to which the museum's identity matches the exhibition's identity affects processing fluency of the exhibition and aesthetic experience in the museum. Data were collected and analyzed for four representative museums in Korea. The results of a multiple mediation analysis and a moderated mediation analysis revealed that when museum visitors perceive the exhibition to go well with the museum, fluency in processing the exhibition increases aesthetic experience of the museum, which in turn generates place attachment. In addition, when the identity of the museum and that of the exhibition matches, the fit has a significant positive effect on the content creation intention especially among the visitors with high holistic thinking tendency.
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Choi, Seongmi. "A Study of Expanding Museum Visits for the Visually Impairments: A Proposal for Exhibition Using Lee Eungno’s <People>." Korean Society of Culture and Convergence 44, no. 12 (2022): 529–42. http://dx.doi.org/10.33645/cnc.2022.12.44.12.529.
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The purpose of this study is to suggest concrete ways to increase museum accessibility for the visual impairment, the most vulnerable group, so that the museum can be accessible to people with or without disabilities. The visual impairment is also a representative of cultural alienated in museums where most of exhibitions are visually oriented. Investigate the demands of visually impairment who want to visit museums and analyze new exhibition aids for the visual impairment set up by national museums. The exhibition method that is equally set up for the visual impairment from the standpoint of general visitors is discussed and proposed the policy. In addition, including the necessity and possibility of preparing an exhibition considering the visual impairment, the exhibition using Lee Eungno's <People> is examined. This study meaningful in suggesting the possibility of an exhibition that considering the visual impairment as a part of an lower the physical and psychological barriers of the museum.
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Huang, Chaoyi, Yuxi Chen, Xuanyao Zhang, and Yanting Mo. "Research and Design on Building Digital Immersive Exhibitions in Museums — Taking the “24 Solar Terms Exhibition at the China National Film Museum” as an Example." Scientific and Social Research 7, no. 2 (2025): 136–42. https://doi.org/10.26689/ssr.v7i2.9560.
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With the rapid development of technology, digital immersive exhibitions have become a new trend in museum exhibitions. This article explores the application of digital immersive technology in museum exhibitions, particularly its role in showcasing intangible cultural heritage. Taking the “24 Solar Terms Exhibition at the China National Film Museum” as a case study, this article analyzes the current situation, design, and technological implementation of immersive exhibitions, and discusses their value in enhancing audience experience, cultural education, and innovative development of museums. Through practical cases, this article demonstrates how to combine modern technology with traditional culture to create an exhibition experience that is both educational and engaging. The research results indicate that digital immersive exhibitions can effectively enhance cultural heritage and educational effectiveness, while also enhancing the brand image and social influence of museums.
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Fonseca, Alice Registro, Eliza Hasselmann, Millah Gomes, Helena Cunha de Uzeda, and Priscila Faulhaber. "O uso dos textos nas exposições museológicas entre museus no Rio de Janeiro." Anais do Museu Paulista: História e Cultura Material 33 (April 29, 2025): 1–36. https://doi.org/10.11606/1982-02672025v33e14.
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This paper analyses texts in exhibitions at five museums in Rio de Janeiro, Brazil, with the aim of identifying their use. The methodology applied was exploratory and descriptive in the following museums: the Historical Museum of the City of Rio de Janeiro, Rio Art Museum, Eva Klabin House Museum, Benjamin Constant House Museum and Rui Barbosa House Museum. The analysis included long-term and temporary coverage, seeking to understand the communicational effect of exhibition texts and their integration into the exhibition design, that is, textual impact on the transmission of the message. The methodology combined bibliographical survey and technical visits carried out between August and December 2023. The theoretical framework is based on the technical guidelines of the Brazilian Institute of Museums, in authors such as Herreman (2015), Gob and Drouguet (2014), Lord & Lord (2001), Uzeda (2017, 2020), Cury (2005a, 2005b) Scheiner (2001, 2003), Silverstone (2002) and Rizzi (1998). The results showed that exhibition texts are fundamental in museum communication, strengthening visitors' interaction with heritage. It also indicates recommendations on legibility and readability for communicational effectiveness and which, even with textual variations, are a central element in mediating between the public and museum collections. And finally, as a contribution, the study proposes to reflect that the varied textual elements present in museum exhibitions function not only as information but integrate the composition with the objects and images on display.
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Zhang, Xiao, and Deling Yang. "A Literature Review on Enhancing Exhibition Services in Smart Museums Based on Emerging Information Technologies." Journal of Intelligence and Knowledge Engineering 2, no. 3 (2024): 38–53. https://doi.org/10.62517/jike.202404305.
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Smart exhibitions are audience-centered, interactive display services within smart museums. This paper investigates the primary technological applications and development trends that enhance exhibition services in smart museums. Through a literature review, the paper analyzes the concept and structure of smart museums, the application of exhibition technologies in smart museums, the major existing issues in traditional museums, as well as exhibition technologies and their future trends in smart museums. The study summarizes the characteristics of smart exhibition services, including personalized and precise services, multidimensional visitor experiences, flexible display methods, enriched viewing experiences, intelligent optimization of exhibition hall management, and the smart generation of exhibition content. It further elucidates the development trends of innovative exhibition forms, diverse expressive means, and the provision of intelligent and personalized services in smart exhibitions. The research aims to offer a reference for the application of new technologies in the advancement of museum exhibitions.
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Ovodova, Svetlana N., Darya V. Moiseeva, and Larisa S. Porshunova. "Representation of the culture of Finno-Ugric peoples of Ugra in museum exhibitions: Transition from the discourse of soviet modernity to the decolonial turn." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 53 (2024): 267–83. http://dx.doi.org/10.17223/22220836/53/22.
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The article presents the analysis of changes in the logic of representation of the culture of indigenous peoples living on the territory of Khanty-Mansi Autonomous Okrug (Khanty-Mansiysk) in ethnographic expositions of the Museum of Nature and Man (Khanty-Mansiysk). Contemporary researchers fix the crisis of ethnographic museums, which consists in the inconsistency of the narratives broadcast by the museum with contemporary discourse and is based on such processes as globalization and urbanization. Museums are facing questions about the need to reconsider their approaches to exhibiting. Using postcolonial methodology in the analysis of the experience of creating ethnographic exhibition projects allowed to distinguish colonial and postcolonial narratives, the authors based on the decolonial lens problematized the postcolonial narrative and identified in it the subjects, which could become possible scenarios for the development of future exhibitions. The ethnographic collection of the Museum of Nature and Man (Khanty-Mansiysk) consists of more than 5000 unique artifacts of Khanty, Mansi, Forest Nenets, Komi-Zyrian, as well as a great number of related photographs, film and video footage, documents and DPI objects. From the moment of its creation and up to the end of the 1990s the ethnographic expositions of the museum were a reflection of the Soviet modernist discourse exoticizing the culture of the indigenous peoples. In the early 2000s the museum underwent a complete change in its ethnographic exposition. Created under the leadership of A.V. Golovnev, the innovative exposition “Mythological Time”, based on the mythology of the indigenous peoples of the North, was a breakthrough in the museum business in Russia. The new exhibition, which is available to visitors today, marked a transition to the postcolonial logic of exhibiting. The creative approach to creating ethnographic exhibitions was preserved and developed by the museum staff in the following exhibition projects: Cape of the Sacred Dog (2014–2019, curator L.V. Porshunova) and Ringing of the Dancing Fate (2017–2018, curator I.Yu. Kopyltsova). These two projects already contained elements of decolonial discourse. In modern conditions, the development of new ethnographic exhibition projects should be based on close interaction with the local community of bearers of national culture.
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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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Erbay, Mutlu. "Museology and Exhibition Examples." Art and Interpretation, no. 44 (September 25, 2024): 89–97. http://dx.doi.org/10.47571/sanatyorum.1465923.
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New generation techniques are emerging in museum exhibitions. These technologies include advanced technologies such as 3D animation, VR/augmented reality, robots, artificial intelligence, and face reconstruction. Museums undertake large projects where different disciplines work together harmoniously. The use of face reconstruction and artificial intelligence in New Generation Museum Projects is quite common around the world. In the post-truth era, museums, in order to maintain their identities, use artificial intelligence to reformat their archaeological findings by identifying them. Museum collections use facial recognition using the face reconstruction technique. Collections have become new interactive presentations that speak to visitors simultaneously with facial expressions, sound, and movement effects, directing them, and calling themselves "bugs." Even individuals freely participate in the experience of these museum works. Technology will continue to bring us new developments beyond the reality of three-dimensional, five-sensory reality outside museum showcases. Are the museums still the home of source of inspiration? Are they still evaluated again and again like former, or else are they place which have old, broken-down ruins, hovels or shambles? In this article, we try to find an answer for these questions. In 2024, the year which advancement of technology is at a good point, museums exhibitions are places which new technological developments are used in museums. With this purpose, increase in the number of new projects in museums is seen. A lot of areas of profession of different disciplines is obliged to work together.
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Vieira Capote Gonzaga, Maria Vitoria, and Margarita Barretto. "Análise histórica expográfica: uma visão geral da exposição principal do Museu Arqueológico do Pireu." Museologia & Interdisciplinaridade 12, no. 24 (2023): 205–36. http://dx.doi.org/10.26512/museologia.v12i24.48239.
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This study focuses on the historical analysis of the core exhibition of the Archaeological Museum of Piraeus, and its relationship with the museum's history and the city. The core exhibition organization has remained unchanged since 1998, although some changes have occurred in the exhibit rooms over the years, such as the addition of new objects, some elements, or loaned pieces for exhibition outside the country. The study is limited by the availability of sources and the specific context of the Archaeological Museum of Piraeus, and the findings may not be applicable to all archaeological museums. However, the study has important implications for the analysis and design of archaeological exhibitions and the potential use of urban space. This study contributes to the growing body of museum design research on historical exhibition analysis by using a mixed-methods approach such as site visit, bibliography, and archive documents to examine exhibitions.
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Castro, Laura. "João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal." Collections: A Journal for Museum and Archives Professionals 16, no. 3 (2020): 279–97. http://dx.doi.org/10.1177/1550190620939975.
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João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.
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Yao, Si Hang, and Sungho Yoon. "A Study of the Exhibition Characteristics of Modern Art Museums from the Perspective of Heterotopia." Korea Institute of Design Research Society 9, no. 4 (2024): 947–63. https://doi.org/10.46248/kidrs.2024.4.947.
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This study explores the characteristics of planning spaces in contemporary art museums and their application in exhibitions through Foucault's theory of 'Heterotopia.' It examines four case studies: “Electronic Forest” at the National Museum of Modern and Contemporary Art in Seoul, Korea; “INFINITY CHINA AEROSPACE” at Today Art Museum in Beijing, China; “Refik Anadol: Unsupervised” at the Museum of Modern Art in New York, USA; and “Yayoi Kusama: Infinity Mirror Rooms” at Tate Modern in London, UK. The study analyzes how these museums utilize space design, interactive experiences, and digital technologies to construct heterotopic exhibition spaces. The findings demonstrate that contemporary art museum planning practices transcend the limits of traditional space and time, creating immersive exhibition experiences through digital art, VR, interactive devices, and more. These experiences prompt viewers to reflect on the relationship between individuals and society, reality and virtuality. This study reveals the crucial role of contemporary art museums as heterotopic spaces in art exhibitions, offering insights into future planning practices.
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Zeng, Lirong, Xiaoling Ma, and Zhonghe Liu. "AHP-based Quality Evaluation of Temporary Museum Exhibitions: A Case Study of "The Exhibition of the Jinxiang County Princess in the Tang Dynasty"." Philosophy and Social Science 2, no. 1 (2025): 26–32. https://doi.org/10.62381/p253104.
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Temporary exhibitions are essential for revitalizing museums and maintaining their appeal to the public. This study takes the "The Exhibition of the Jinxiang County Princess in the Tang Dynasty", organized by the Xi'an Museum, as a case study to quantitatively evaluate the exhibition quality. The results show that, in the criteria layer, the scores are ranked as follows: exhibition resources (B1), exhibition design (B2), exhibition extension (B3), and exhibition services (B4), from highest to lowest. Additionally, the study analyzes the reasons behind the lower scores in certain factors and reference layers. This evaluation aims to identify issues within temporary exhibitions and provide scientific insights for improving the overall quality of exhibition displays in museums.
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Ferreira, Leonardo Gonçalves. "A EXPOSIÇÃO “GRAFITTI: NEW YORK MEETS THE DAM” DO MUSEU DE AMSTERDÃ ENQUANTO UMA ZONA DE CONTATO." Revista Pós Ciências Sociais 17, no. 33 (2020): 275. http://dx.doi.org/10.18764/2236-9473.v17n33p275-296.
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O presente artigo objetiva analisar a exposição Graffti: New York meets the Dam, do Museu de Amsterdã, enquanto uma zona de contato (CLIFFORD, 2016). Esta exposição foi realizada entre 2015 e 2016, em parceria com o Museu da cidade de Nova York, uma vez que no início da década de 1980, ocorreu um encontro, em Amsterdã, entre grafteiros estadunidenses e holandeses, o que modifcou profundamente o grafte produzido na cidade. O propósito, assim sendo, é analisar, a partir da exposição, se as representações das assimetrias e dos confrontos do encontro entre grafteiros de Amsterdã e de Nova York estão presentes na construção narrativa da exposição e conferem a mesma o caráter de uma zona de contato.Palavras-chave: Museus. Exposição. Zona de contato. Grafite.“GRAFITTI: NEW YORK MEETS THE DAM” EXHIBITION AT AMSTERDAM MUSEUM AS A CONTACT ZONESummaryThis article aims to analyze the Graffiti exhibition: New York meets the Dam, of the Amsterdam Museum, as a contact zone (CLIFFORD, 2016). This exhibition was held between 2015 and 2016 in partnership withthe New York City Museum, since the early 1980s there was a meeting between American and Dutch graffiti artists in Amsterdam, which profoundly changed the graffiti produced in the city. The purpose, therefore,is to analyze, taking the exhibition as a starting point, if the representations of the asymmetries and the confrontations of themeeting between graffiti artists of Amsterdam and New York are present in the narrative construction of the exhibition and confer to it the character of a contact zone.Keywords: Museums. Exhibition. Contact zone. Graffiti.
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Grosheva, Z. D., and I. V. Kupriyanova. "MODERN TRENDS IN THE EXPOSITION AND DISPLAY WORK OF MUSEUMS." Topical Issues of Culture, Art, Education 35, no. 1 (2023): 17–23. http://dx.doi.org/10.32340/2949-2912-2023-1-17-23.
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The article discusses trends in the exhibition work of modern museums, caused by modernization processes in the cultural sphere. Examples of original exhibitions in some museums in Russia and abroad are given, related to changes in museum activities. In the era of changes in society on the one hand, and in art on the other, there is a need for new forms, approaches and ideas in museology. The museum becomes a place where one can see, understand and comprehend the processes taking place in the world. The museum exhibition, like no other cultural form, allows us to show the changes happening in the world we live in.
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Rolfe, Ian W. D. "Sponsored Fossils." Geological Curator 5, no. 1 (1988): 17–18. http://dx.doi.org/10.55468/gc549.
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This article about the exhibition 'Mr Wood's Fossils' is based on one that appeared in the Summer 1986 issue of Scottish Museum News and is reproduced by permission of the Scottish Museums Council. A future article in Geol. Curator will bring the story of the exhibition up to date. A review of the exhibition's opening at the Hunterian Museum, Glasgow appeared in Geol. Curator 4, p.502.
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Abd Jalal, Ahmad Farid, Rahimin Affandi Abdul Rahim, Muhd Imran Abd Razak, and Awang Azman Awang Pawi. "Islamic Museum’s Exhibition Experience: An Introduction." Idealogy Journal of Arts and Social Science 6, no. 1 (2021): 49–64. http://dx.doi.org/10.24191/idealogy.v6i1.261.
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Museums are often associated as a place to store and display a treasure that is valuable to human civilization to be studied and appreciated. Thus, this article discusses the Islamic-museum institution and its experience. The study employs a qualitative research method by which the researchers looked at the importance of the museum concept according to the Islamic perspective and the role of selected museum institutions towards Muslims in present. The study found that the concept and application of Islamic museums are very important to be highlighted in the lives of Muslims even though there are a number of extremist Muslims who oppose it. This study has also revealed two experiences of Islamic museums practiced in the west and the Pahang State Museum Corporation. The experience is seen as significant in strengthening the current Islamic-museum institution.
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Liu, Jun, Maszura Abdul Ghafar, and Adlina Ab Halim. "Preferences For Cultural Relic Preservation Method In Chinese Traditional Museums." International Journal of Art and Design 9, no. 1 (2025): 48–62. https://doi.org/10.24191/ijad.v9i1.2493.
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Static exhibits in Chinese traditional museums pose challenges in maintaining connections between the public and museum artwork. There is a need for a better exhibition method to stimulate visitors’ monotonous experience of cultural relics and visitors' sense in Chinese museums. The aim of this study is to identify the best preferences for cultural relic preservation methods in Chinese traditional museums. This systematic literature review paper discusses the systematic inferences of cultural relic preservation strategies in Chinese museums, heritage preservation techniques, and the human-exhibition interaction (HEI) concept that could aid the sustainability of cultural heritage interest while conveying cultural heritage-related knowledge in China. This study found that mixed realities (XR) and Human-Exhibition-Interaction (HEI) could facilitate diverse cultural heritage restoration, accuracy and sustainability when adhering to museum exhibitions. The proposed preferences for the cultural relic preservation exhibition method could aid in better visitors’ experience and sense of cultural relics in Chinese museums
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Mikule, Stanislav. "Galerijní výstavy a vlastivědná muzea." Muzeum Muzejní a vlastivedná práce 58, no. 1 (2021): 38–43. http://dx.doi.org/10.37520/mmvp.2020.005.
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The paper is based on the author‘s practice in the Regional Museum in Žďár nad Sázavou. In many cities, museums and galleries are located side by side, and museums also hold gallery exhibitions. Museums of local history have considerable potential to supplement such an exhibition with the help of other museum collection objects of a non-artistic nature, such as the document of time of life and work of a given artist or related to the theme of the presented work. This makes the exhibition attractive to a wider range of visitors. The author describes art exhibitions in which collection items from various areas of human activity, realized in the Žďár Regional Museum, were connected and presents them as inspiration or a topic to reflect on colleagues from the field who do not yet use the potential of their collection items in a similar spirit.
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Burakov, Yurii, and Liliya Pytlovana. "Regional features of building museum exhibits on history of the modern Russo-Ukrainian War." Skhid 5, no. 1 (2023): 16–22. http://dx.doi.org/10.21847/2411-3093.2023.5(1).282361.
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Various aspects of constructing stationary and mobile museum expositions of Ukraine in different regions of the country are analyzed, with the purpose of creating permanent exhibitions on the history of the modern Russo-Ukrainian War. The positive experience in organizing the preservation and popularization of the Russo-Ukrainian War monuments in the capital and regional museums of Ukraine is summarized, as well as the processes of their exposition and exhibition activity transformation at the current stage are studied. It is noted that the significance of constructing expositions on the modern history of Ukraine and the exhibition activities of national museums increased in connection with the Russia-Ukraine war of 2014 - 2023, when exposition materials became not only a means of forming historical memory, but also a source of patriotism and loyalty to national priorities, an important factor in formation of the Ukrainian nation. Individual exhibitions are studied in the “National Museum on the History of Ukraine in the Second World War”, “Memorial Complex”, "National Museum of the History of Ukraine", "National Military Historical Museum", regional local history museums, museums of higher military educational institutions, garrison museums. The study emphasizes the relevance of creating virtual means of presenting the historical past and present. The opening of virtual exhibitions and expositions in Ukraine is promising, as it connects a large audience both in our country and abroad with the exhibition ma-terial and unique funds. Foreign presentations have become an important field in modern expositions presentations. This applies both to the work of individual museums and individual foundations, European and global press centers, individual foundations, etc. A conclusion is made about the accumulated rich experience of the museums of Ukraine in all spheres of activity and, primarily, the active use of museum collections in the national and patriotic education of our country’s youth.
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Kamaruddin, Norfadilah, Hafizah Rosli, Ira Wirasari, and Maisarah Marman. "Evaluation of Interface Design Principles' Usability in Permanent Museum Exhibition." Asian Journal of Environment-Behaviour Studies 7, no. 22 (2022): 29–43. http://dx.doi.org/10.21834/aje-bs.v7i22.411.
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The majority of museums today provide us with an unforgettable experience through interactive digital exhibitions. Due to the failure of the interface design usability of the exhibition systems and implementation, it was discovered that several digital projects failed to achieve the results promised in previous studies, which negatively impacted the interaction and experiences of visitors. With this in mind, an empirical usability study on interface design principles was done to determine how interface design concepts may be applied to a permanent museum exhibition. The findings reveal how to implement interface design concepts in a museum exhibition effectively.
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Gibson, Stephanie. "Evaluation of Contraception: Uncovering the collection of Dame Margaret Sparrow." Tuhinga 29 (June 1, 2018): 174–87. https://doi.org/10.3897/tuhinga.29.e34243.
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This paper explores the context, development and evaluation of Contraception: Uncovering the collection of Dame Margaret Sparrow, an exhibition at the Museum of New Zealand Te Papa Tongarewa (Te Papa) in 2015–16. Collections and exhibitions of contraceptive material are rare in New Zealand museums. In the case of Te Papa, strategic acquisitions since 2004 have enabled the display of contraceptive objects, culminating in the stand-alone exhibition Contraception, based on Dame Margaret’s extensive collection. To guide the exhibition’s development, formative evaluation was conducted by members of the exhibition team, including the curator/author. Having exhibition staff talk directly to visitors enabled immediate understanding of our audiences, and ensured that staff could confidently champion the findings at a senior approval level and feed the results directly into the exhibition’s development. Summative evaluation followed in order to understand the impacts of the exhibition. The paper details the mechanics and findings of both evaluations, and the exhibition’s successes. It also acknowledges that curatorial assumptions regarding visitors’ perceptions of the exhibition were largely counteracted by the results.
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Ibrayeva, Akmaral, and Aybek Sydykov. "Theoretical and Methodological foundations for Creating a Historical Exhibition in the Museums of Kazakhstan." Turkic Studies Journal 6, no. 3 (2024): 122–38. http://dx.doi.org/10.32523/2664-5157-2024-3-122-138.
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This article addresses significant issues in museum work, a key aspect of implementing Kazakhstan’s cultural policy. The study and promotion of history in museums are conducted through expositions and exhibitions. One of the primary tasks of modern museums is to emphasize the importance of tangible culture in the era of digital communication as a crucial resource for national competitiveness and global recognition. As cultural institutions implementing state strategic policies, museums present Kazakhstan’s historical and cultural values to the world through National Exhibitions of the country in particular, and of Turkic culture in general. This academic article discusses the conceptual framework for creating a historical exhibition covering periods from ancient times to the Kazakh Khanate, using unique exhibits from the National Museum’s collection. The methodology for creating a world-class national exhibition is based on civilizational principles. The authors aim to to present a comprehensive image of Kazakh history through museum exhibitions, reflecting the cultural code of the steppe civilization.The authors view museums as cultural, educational, scientific institutions that play a crucial role in popularizing and preserving national values. They provide scientifically grounded concepts for national exhibitions by addressing theoretical and methodological issues and methods of exhibition creation.
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Cui, Dalong. "EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"." Advances in Culture and Arts 3, no. 1 (2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.
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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of museums in the future.
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Azimova, Ganjina. "NEW APPROACHES TO ORGANIZING RARE BOOKS EXHIBITIONS IN MUSEUMS AROUND THE WORLD." European Journal of Learning on History and Social Sciences 1, no. 9 (2024): 38–45. https://doi.org/10.61796/ejlhss.v1i9.953.
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General Background: Museums play a crucial role in preserving cultural heritage and enhancing public engagement with historical artifacts. Specific Background: Recent advancements in exhibition design and curation have transformed traditional museum practices, enabling more interactive and immersive experiences for visitors. Knowledge Gap: Despite the growing body of literature on innovative exhibition methods, there is a lack of comprehensive analysis regarding their effectiveness and the integration of rare books into these contemporary practices. Aims: This study aims to evaluate new approaches to exhibition organization in museums worldwide, focusing specifically on the incorporation of rare books as a central element of these exhibitions. Results: Our findings indicate that museums implementing interactive and thematic frameworks not only improve visitor engagement but also enhance the educational value of rare books displayed. Case studies from various institutions reveal diverse strategies that effectively highlight the significance of these artifacts. Novelty: This research contributes to the discourse on museum studies by providing a systematic overview of innovative exhibition methodologies, particularly emphasizing the role of rare books in enhancing cultural narratives. Implications: The insights gleaned from this study can inform museum curators and educators about best practices in exhibition design, potentially leading to increased visitor interest and greater appreciation of rare literary works. By bridging the gap between traditional and modern curation techniques, museums can foster deeper connections with their audiences, ultimately enriching the cultural landscape.
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Dong, Shuang. "Research on the application of digital media technology in museum exhibition design: A case study of the national museum of Singapore." SHS Web of Conferences 181 (2024): 04031. http://dx.doi.org/10.1051/shsconf/202418104031.
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There is a profound transformation in museum exhibition design. The ubiquitous digital media technology is driving the rapid evolution and development of museums. This trend is particularly evident in the need for diverse presentation methods to facilitate a high level of interaction and integration between audiences and exhibits. This research aims to explore the application of digital media technology in museum exhibition design, with the National Museum of Singapore as the research object. Through an in-depth examination of the digitalized exhibition projects in the National Museum of Singapore, insights can be acquired into how these technologies have changed the exhibition methods of museums and enriched the visitors’ experience. This thesis will focus on the application, impact, and potential future development trends of digital media technology in museum exhibition design. The findings of this study can serve as valuable experiences and insights for other museums in the application of digital media technology.
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Reitstatter, Luise, and Karolin Galter. "Learning From Listening To A Citizen Board." Museological Review, no. 27 (January 22, 2025): 174–91. https://doi.org/10.29311/mr.vi27.4894.
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Listening is a skill that goes beyond hearing another person’s words. It is an attentive communication process that deeply acknowledges individual backgrounds in making sense of the world. In this paper, we propose a listening approach to museums in their conception as social spaces in the service of society. Departing from the museum’s historic to contemporary concerns for citizen participation, we detail our work with a citizen board in the ‘Right to the Museum?’ project within a comparative study of five Viennese museums. Engaging in intense dialogue through accompanied museum visits and post- surveys, we present our learnings regarding citizens’ situated interpretation strategies in permanent exhibitions and potential discrepancies between museum missions on paper and perceptions on-site. Based on the responses by the citizen board to museum and exhibition scripts, we also reflect on how such a listening approach can be used to pluralise perspectives on cultural heritage and its societal value. Keywords: museum missions, exhibition scripts, citizen board, listening, identity politics.
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Avram, Adriana. "Muzee ale comunismului și povestea unei ștampile. O recenzie a expozițiilor dedicate din Brașov și din Berlin." Revista Muzeelor 1 (2023): 204–15. http://dx.doi.org/10.61789/rm.2023.12.
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This review aims to bring together two private museums whose theme is largely similar: life in a communist country. The exhibition of the Museum of Memories from Communism in Brașov responded to the shortcomings in Romanian state-owned museums to cover a timeframe from recent history. To put the exhibition into perspective, after I present it and consider its museological features, I briefly bring into discussion the DDR Museum from Berlin. I focus not only on the visible part of the two – that is, the exhibition, but I also go backstage after connecting with those responsible for these two private museological endeavors, in order to discern the collecting undertakings and their role in the wider frame of museums landscape in a former communist country. Finally, after my visiting experience with both exhibitions and an unwilling / unfortunate entanglement with communist practices that are still up and running (the almost-failure of having a form stamped), I reflect on the role of a museum in providing deeper understanding of socio-cultural practices that affect our (not only institutional) lives up to our days.
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Þórsson, Bergsveinn. "Walking through the Anthropocene. Encountering materialisations of the geological epoch in an exhibition space." Nordisk Museologi 28, no. 1 (2020): 103. http://dx.doi.org/10.5617/nm.7986.
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The Anthropocene has been mobilised as a conceptual framework for museums to engage with the global environmental crisis. This article examines the exhibition Welcome to the Anthropocene: The Earth in our Hands that was on display at the Deutsches Museum from 2014 to 2016. Proclaimed as the first largescale exhibition on the concept, the museum attempted to translate its underlying arguments into three-dimensional space. Viewing exhibitions as an assemblage of display technologies, objects and texts, the intention is to examine how the concept materialises in the exhibition space. The findings outline three different versions of the Anthropocene: understanding the Anthropocene as a history, experiencing the Anthropocene through spatial exploration and the concept as a tool to catch slippages. Locating three versions in a single exhibition reveals the complexity of the Anthropocene as a framework for museums and also highlights the possibility of addressing it in different ways simultaneously.
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Hoffman, Sheila K., Aya Tanaka, Bai Xue, et al. "Exhibition Reviews." Museum Worlds 9, no. 1 (2021): 175–207. http://dx.doi.org/10.3167/armw.2021.090114.
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Museum of Russian Icons, Clinton, Massachusetts by Sheila K. HoffmanLocal Cultures Assisting Revitalization: 10 Years Since the Great East Japan Earthquake, National Museum of Ethology (Minpaku), Osaka by Aya TanakaTianjin Museum of Finance, Tianjin by Bai XueVegetation and Universe: The Collection of Flower and Bird Paintings, Zhejiang Provincial Museum, Hangzhou by Ni Na Camellia NgThree Kingdoms: Unveiling the Story, Tokyo National Museum and Kyushu National Museum, Japan, and China Millennium Monument, Nanshan Museum, Wuzhong Museum, and Chengdu Wuhou Shrine, People’s Republic of China by Mingyuan JiangTempest, Tasmanian Museum and Art Gallery, Hobart by Ashleigh McLarinWonders from the South Australian Museum, South Australian Museum, Adelaide by Sandra KearneyBrett Graham, Tai Moana, Tai Tangata, Govett Brewster Art Gallery, New Plymouth by Riria Hotere-BarnesThe “Inbetweenness” of the Korean Gallery at the Musée Guimet, Paris by Sumi Kim
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Jagielska-Burduk, Alicja, and Andrzej Jakubowski. "“Narrative Museums” and Curators’ Rights: The Protection of a Museum Exhibition and Its Scenario under Polish Law." Santander Art and Culture Law Review, no. 2 (6) (2020): 151–76. http://dx.doi.org/10.4467/2450050xsnr.20.014.13017.
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Since at least the 1990s, museums have expanded to cover a variety of societal functions, often enabling inclusive and participatory spaces for critical dialogue about the past and the future, and bridging together various narratives and cultural experiences, contributing to social cohesion and reconciliation. The new functions of museums, involving novel technological forms of display and communication, pose several legal questions concerning the management of such institutions, their resources, and exhibitions, including issues of copyright and other intellectual property rights. While referring to a recent case concerning an alleged infringement of the moral rights of the authors of the permanent exhibition of the Museum of the Second World War in Gdansk (MWII), this article examines the scope of copyright protection in new, so-called, “narrative” museums under Polish law. First it briefly scrutinizes main facts and circumstances of this case. Secondly, it discusses the current legal framework on the copyright protection of museum exhibitions under Polish law. Next, in light of the judgment rendered in the MWII case, the standard of legal protection of moral interests resulting from a museum exhibition’s design and its scenario (script) is explored. Finally, the article concludes with a set of observations concerning the extent to which copyright law may serve as a tool for protecting the integrity of museum exhibitions and their original conceptual design.
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Niu, Ziyuan. "Exploration on Interactive Narrative Application of Museum Digital Exhibition under the Background of Digital Transformation." Highlights in Art and Design 9, no. 2 (2025): 66–70. https://doi.org/10.54097/whkgxq03.
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With the advancement of digital transformation, the interactive narrative of museum digital exhibitions has gradually become the key to the digital transformation of the museum field. People have also entered a period of significant change in the exhibition mode of modern museums. This study delves deeply into this topic, selecting Hubei Provincial Museum as the research object. The museum has created numerous excellent digital exhibitions through cutting - edge technologies such as virtual reality (VR) and 3D modeling and printing technology. These exhibitions adopt a multi - linear narrative approach, combined with interactive experience installations, which greatly enhance the audience's sense of participation and immersion. Meanwhile, the museum utilizes big data and artificial intelligence technology to optimize the tour service, providing personalized visiting suggestions for the audience, further enhancing the visiting experience, reconstructing the audience's visiting mode, and meeting the diversified needs of the audience for cultural experiences. These practices not only offer successful examples for the digital transformation of museums but also provide more inspiration for other museums in this regard. In the future, museums will need to continue exploring technological and content innovation to promote the sustainable development of interactive storytelling in digital exhibitions.
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Ahmad, Shamsidar, Mohamed Yusoff Abbas, Wan Zaiyana Mohd. Yusof, and Mohd Zafrullah Mohd. Taib. "Creating Museum Exhibition: What the public want?" Asian Journal of Behavioural Studies 3, no. 11 (2018): 27. http://dx.doi.org/10.21834/ajbes.v3i11.98.
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The purpose of this paper is the identification of issues from the perspective views of museum scholars and experts toward creating direction in developing museum exhibitions in Malaysia for public learning. Recently, museums have developed a strong interest in technology as their path more towards of leisure industries. However, there are contradicting opinions arising between using “traditional” approach and “interactive” technology exhibition techniques for visitor learning. This paper initiates a search for such literature and identifies key concepts for further deliberations. Finally, these findings are intended to formulate the best-practice on learning “tool” in a museum exhibition practice.Keywords: Museum; museum learning and museum exhibition. eISSN 2398-4295 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. http://dx.doi.org/10.21834/ajbes.v3i11.98
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Maistrovskaya, Mariya T. "EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.
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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.
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Wulandari, Anak Agung Ayu, Ade Ariyani Sari Fajarwati, and Fauzia Latif. "The Relationship of Exhibition Space Design and the Success of Delivering Messages to Museum Visitors in Jakarta." Humaniora 8, no. 3 (2017): 219. http://dx.doi.org/10.21512/humaniora.v8i3.3634.
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The research explored exhibition space designs, particularly the interior design elements such as circulation, lighting, and display techniques to find out whether the design elements corresponded the design principles and to find out which museum had the most ideal exhibition design that was able to deliver exhibition messages to the audience. The research applied qualitative method with case study approach in three museums in Jakarta, those were National Museums, Bank of Indonesia museum, and museum of Fine Art and Ceramic as case studies and qualitative data collecting methods through observations to get real-settings information. Data analysis and comparison of various interior elements shows that from the three case studies only Bank of Indonesia Museum has an integrated exhibition space using various interior elements; circulation and lighting design as well as display technique that support the success of a museum to deliver exhibition messages to their visitor. It can stimulate visitors senses visually, auditory, and kinetic.
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Etz, Sarah, Séverine Marguin, and Henrike Rabe. "Refiguring Museums. Investigating Tensions in Exhibition Spaces." Museum and Society 22, no. 1 (2024): 1–13. http://dx.doi.org/10.29311/mas.v22i1.4563.
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Understood as active in the mediation of knowledge and values, museum spaces have become a growing field of investigation in the course of the spatial turn within the museum studies. In this special issue, we focus on the transformation of museum space. To this end, we introduce a specific theoretical framework, the refiguration of spaces, which aims to think spatial transformation in a non-linear, multiscalar and multiple way: The basic assumption is not to presume a sequential historic transformation of spatial figurations of museums – from chambers of wonders, through universal museums and white cubes towards interactive museums – in which a new type always replaces the previous one, but rather to draw our attention onto the dense juxtaposition of these figurations, which continue to be drawn upon, competing to reshape museums, and informing our spatial understanding of the museum of the future. In this editorial, we firstly (re)trace the different spatial-aesthetic figurations of museums and work out the limitations of a transformational framework. We introduce then the refiguration theory and its potential, before presenting the seven contributions of the special issue and synthesising their findings about the conflicting and shifting multiple spatialities of museums. We end our editorial with a speculative reflection about the futures of refiguring museums.
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Liebhold, Peter. "The Washington City Museum." Public Historian 26, no. 4 (2004): 73–82. http://dx.doi.org/10.1525/tph.2004.26.4.73.
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Overview Exhibition: Washington Perspectives; Multimedia-show: Washington Stories. Exhibition team: Barbara Franco, president and CEO; Susan Schreiber, vice president for programs; Jill Connors-Joyner and Laura Schiavo, exhibitions curators; GSM Design of Montreal, Canada, designer. City Museum of Washington, D.C., May 2003–present. www.citymuseumdc.org
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Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Zhou, Zihan, Zhengyan Li, Tailin Pan, Jian Li, and Yuexin Sun. "Investigation of the Current Situation of Museum Audio Exhibition in Beijing Area and Countermeasures." SHS Web of Conferences 158 (2023): 01014. http://dx.doi.org/10.1051/shsconf/202315801014.
Full textAbstract:
Audio, colorful and effective features are what the cultural inheritance pursues. However, the application status of audio exhibition in contemporary museums is very inconsistent. Through investigating the current status of audio exhibition, including the audio content uploaded by corresponding museums to the online media, in museums with different types in Beijing area, this paper analyzes and summarizes the main characteristics and problems of audio exhibitions in museums in the current stage, and further proposes countermeasures and suggestions, with the expectation of enlightening the promotion of the propagation of museum culture in Beijing area.
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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.
Full textAbstract:
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.