With the growing interest in digital ways to experience art exhibitions, HCI and especially experience-centred design research have in recent years begun to show promising results when implementing holograms into the social dynamics found in art exhibitions. However, as to why holograms can enhance engagement and immersion, more research can be done. This thesis seeks to explore holograms' unique characteristics through an iterative experience-centred approach through the theoretical lens of Flow and its ability to prompt for co-experience. In two studies with eight participants, a design workshop and a mini-exhibition, we uncovered four unique characteristics and two takeaways regarding its potential to design for co-experience. The results indicated that holograms were perceived as immersive and presented properties related not only to the hologram but also the environment, as to why. It was concluded that even though holograms can benefit art exhibitions, the social aspects could be explored further.

Mit dem Beitrag der Preisträgerin Teresa Ende, „Von Maiden, Monstern und Mythen: Weiblichkeitsentwürfe plastischer Frauendarstellungen auf der Großen Deutschen Kunstausstellung und der Ausstellung Entartete Kunst 1937 in München“, liegt eine kunstwissenschaftlicher Artikel vor. Die Verfasserin geht zentral der Frage nach, inwiefern und mit welchen inszenatorischen, bildstrategischen und rhetorischen Mitteln die in den beiden einflussreichen Ausstellungen von 1937 gezeigten und kommentierten plastischen Frauenfiguren zur Aufwertung der nationalsozialistisch propagierten ʻneuen Deutschen Kunst‘ und zur Diffamierung moderner Kunst eingesetzt wurden. Sie erörtert zum einen, inwiefern diese zu Mustern einer nationalsozialistisch propagierten Weiblichkeit beziehungsweise zu abschreckenden Figurationen negativer Weiblichkeit und des ʻAnderen‘ werden konnten und revidiert zugleich die kunsthistorische Meinung, dass sich das dargestellte Frauenideal der Nationalsozialisten mit den Schlagworten Ehe, Mutterschaft und ʻvolksgemeinschaftliche‘ Bestimmung hinreichend fassen lasse. Zum anderen beleuchtet sie den Prozess wechselseitiger Codifizierung von genderspezifischen und kunstästhetischen Visualisierungen und Diskursen, mit der die nationalsozialistische Kunst- und Kulturpolitik der ideologischen Totalisierung des Macht- und Staatsgefüges zugearbeitet hat. Mit Konzentration auf Arno Breker wird überdies der bildhauerische Traditionsfundus an Darstellungskonventionen, Sujets, Stilmitteln, Bildsymbolen, Allegorik und mythologischen Figuren sichtbar gemacht, auf den nationalsozialistische beziehungsweise nationalsozialistisch affine Werke und zum Teil verfemte Werke figürlicher Plastik aus den 1910er und 1920er Jahren gemeinsam rekurrieren. Gerade mittels seines genderkritischen Blicks enthüllt der Beitrag so in frappanter Weise die Kontinuitäten der Kunst in Deutschland aus der NS-Zeit zu der vor 1933 wie nach 1945.

Der Alleskönner Beton ist grundsätzlich einfach, schnell und kostengünstig in der Herstellung. Er kann nahezu jede beliebige Form annehmen und wird als einziger Baustoff auch flächendeckend in Entwicklungs- und Schwellenländern eingesetzt. Beton hat aber auch seine Schattenseiten. Die Zementherstellung geht mit einem enormen CO2-Ausstoß einher. Zudem wird eine große Menge natürlicher Ressourcen, teils unnötig, verbraucht. Dennoch werden wir auch in Zukunft nicht ohne Beton auskommen, aber wir haben es in der Hand, den Betonbau nachhaltig zu verbessern. Der SFB/Transregio 280 hat zum Ziel, innovative Konzepte und Strategien für ein intelligentes Bauen mit Carbonbeton zu entwickeln. Damit dies gelingt, sind neue Denkweisen, die Änderung bewährter Denkmuster und das Zunutzemachen verschiedenster Inspirationsquellen unabdingbar. Aus diesem Grund hat der SFB/TRR 280 Kunstschaffende dazu eingeladen, sich von den Themen des Sonderforschungsbereiches inspirieren zu lassen. Ziel des Wettbewerbs war es darzustellen, dass Carbonbeton als Produkt von Wissenschaft und Technik vielfältige Beziehungen zu Kunst und Natur aufweist. Was wird sichtbar? Was bleibt dem Forschenden und was dem Außenstehenden verborgen? Wie lassen sich Natur und Carbonbeton als Kunstobjekt verbinden? Im vorliegenden Band wurden alle Einreichungen und das Making-off der prämierten Ideen zusammengestellt.:Wettbewerb - Entdeckung - Ziel 4 Ausschreibung - Ausstellung - Organisation 5 Die Jury 6 1. Platz - Leporello : Suggestion von Bewegung in statischer Präsenz 9 2. Platz - Fibonaccibikini : Hyperbolische Geometrien im Raum 13 3. Platz - Hülle : Ein poetisches Umschreiben der Leere 17 Register: 25 Graukarten 20 Flügel 22 Körperbau : Videokunst / Videoperformance 24 Asymmetrische Ausblicke : Ruhige Ausschnitte versus dynamische Form 26 Trashtopia : Eine Animation 28 Great Barriere Reef 2023 30 Terra : Zerstörung und Erneuerung 32 Nobjects . Eine Serie 34 Luftstütze : Pflanzeninspiriert 36 Die Natur im Inneren : Skulptur aus Carbonbeton 38 Aus dem Boden am Fluss 40 Chaperon 42 Supernatural - Polar 44 Botanik brut : Fotografischer Beton 46 Würfelzwilling 48 Betonkoeppe 50 Voyager 52 Forme perdu 54 Beton durchwachsen : Ein Kustobjekt aus Beton, das der Natur Raum gibt 56 Bonboo 58 QY03 60 / The all-rounder concrete is basically simple, fast and inexpensive to produce. Concrete components can assume and conserve almost any shape. It is the only building material used extensively also in developing and emerging countries. However, concrete also has its downsides. Cement production is associated with enormous CO2 emissions. In addition, a large amount of natural resources is consumed, sometimes unnecessarily. Nevertheless, we will not be able to build without concrete in the future, but we have it in our hands to improve concrete construction sustainably. The Collaborative Research Centre/Transregio 280 (in short: CRC/TRR 280) aims to develop innovative concepts and strategies for intelligent construction with carbon-reinforced concrete. For this to succeed, new ways of thinking, changing proven patterns of thought and tapping into a wide variety of sources of inspiration are essential. For this reason, we invited artists to be inspired by the research topics of CRC/TRR 280. The aim of the competition was to show that carbon-reinforced concrete, as a product of science and technology, has diverse relationships with art and nature. What becomes visible? What remains hidden to the researcher and what to the outsider? How can nature and carbon-reinforced concrete be combined as art objects? In this catalog, all submissions and the making of the award-winning ideas have been compiled.:Wettbewerb - Entdeckung - Ziel 4 Ausschreibung - Ausstellung - Organisation 5 Die Jury 6 1. Platz - Leporello : Suggestion von Bewegung in statischer Präsenz 9 2. Platz - Fibonaccibikini : Hyperbolische Geometrien im Raum 13 3. Platz - Hülle : Ein poetisches Umschreiben der Leere 17 Register: 25 Graukarten 20 Flügel 22 Körperbau : Videokunst / Videoperformance 24 Asymmetrische Ausblicke : Ruhige Ausschnitte versus dynamische Form 26 Trashtopia : Eine Animation 28 Great Barriere Reef 2023 30 Terra : Zerstörung und Erneuerung 32 Nobjects . Eine Serie 34 Luftstütze : Pflanzeninspiriert 36 Die Natur im Inneren : Skulptur aus Carbonbeton 38 Aus dem Boden am Fluss 40 Chaperon 42 Supernatural - Polar 44 Botanik brut : Fotografischer Beton 46 Würfelzwilling 48 Betonkoeppe 50 Voyager 52 Forme perdu 54 Beton durchwachsen : Ein Kustobjekt aus Beton, das der Natur Raum gibt 56 Bonboo 58 QY03 60

Undersökningens syfte är att ur ett receptionsestetiskt perspektiv öka kunskapen om upplevelse av konst i vid mening. I detta arbete genom en empirisk studie av hur fenomenet upplevelse av konst uppfattas av bildkonstutställare i svenska icke-kommersiella utställningsmiljöer och hur det påverkar utställningarnas praxis.  Metoden grundas på semistrukturerade kvalitativa forskningsintervjuer samt litteraturstudier. I metoden använder undersökningen dels en egen framtagen definition av utställningsbesökare – vardagsbetraktare – och ett framtaget intervjuformulär.   Teorin lutar sig mot semiotiskt tankegods enligt inspiration från Mieke Bal och Norman Bryson samt Maurice Merlot-Ponty kombinerat med en pragmatisk tolkningsmetod enligt Stanley Fish. Resultatet visar att det svårfångade och svårbeskrivna fenomenet upplevelse av konst ur besökarperspektivet finns dolt inbyggt i konstutställarnas vardag och att fenomenet har en betydande påverkan på utställningarnas utförande. Mekanismen, som vilar på en kulturell kodning i den icke-kommersiella konstvärlden, verkar genom konstutställarnas inlevelse som ställföreträdande besökare och som uttolkare av besökarnas beteenden och språkliga kommentarer.

Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle. / Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art.

Exhibition room: How the experience of art is affected by the exhibition room design at Liljevalchs art gallery and Fotografiska. This thesis explores the effect the exhibition design presented in two of Stockholm ́s art galleries has on the viewer. This study investigates Liljevalchs exhibition Vårsalongen and Fotografiskas exhibition The Extraordinary World of Christian Tagliavani. It conducts how the rooms in these two exhibitions relate to each other, and also compare the design of each exhibition room, one by one. This report is based on space syntax theory combined with observations and interviews with both the curators of these two exhibitions and people who has visited both of the exhibition rooms. This analysis show how the exhibition rooms in Liljevalchs and Fotografiska relate to each other. It also shows that the design in the exhibition room, such as the colour on the walls, lights, noises, how the art pieces are hanging as well as the spatial of the room has a big effect on the viewers experience. This thesis describes how these elements above affect the viewer in these two art galleries.

This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution. The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern. This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.

DABUL, Lígia Maria de Souza. O público em público: práticas e interações sociais em exposições de artes plásticas. 2005. 333f. Tese (Doutorado em Sociologia) – Universidade Federal do CEARÁ, Departamento de Ciências Sociais, Programa de Pós- Graduação em Sociologia, Fortaleza-CE, 2005 / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2011-11-29T13:54:01Z No. of bitstreams: 1 2005_TESE_LMSDABUL.pdf: 1849039 bytes, checksum: bec58ce55af60c7c6229b3d92fa040f7 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-29T14:51:32Z (GMT) No. of bitstreams: 1 2005_TESE_LMSDABUL.pdf: 1849039 bytes, checksum: bec58ce55af60c7c6229b3d92fa040f7 (MD5) / Made available in DSpace on 2011-11-29T14:51:32Z (GMT). No. of bitstreams: 1 2005_TESE_LMSDABUL.pdf: 1849039 bytes, checksum: bec58ce55af60c7c6229b3d92fa040f7 (MD5) Previous issue date: 2005 / The result of the following thesis was based on research upon public attendance to art exhibition in Cultural Centres as well as Art Museums. Utilizing observing ethnographic facts, we describe social practices and interactions which take place amongst social actors during the time of the exhibit. On bringing the reader to the researching universe and discussing concepts based on a sociologic approach of art exhibition, we cover the fundamental social practices of the public during exhibits on how to study, play, talk, observe the artistic work, take a glimpse, familiarize, caress and court it. We also try to show how the exhibit may consist an item of a group of activities significant to the social actors. As to conclude, we presented our contributions and discussed the limits of the pattern individual / art work and that of the conception of art exhibition as a receptive message arena. / Essa tese é o resultado de pesquisa sobre a presença do público em exposições de artes plásticas em centros culturais e museus de arte. Utilizando dados da observação etnográfica, descrevemos práticas sociais e interações efetuadas entre os atores sociais durante o tempo em que estão em exposições. Após aproximarmos o leitor do universo da pesquisa e discutirmos conceitos da abordagem sociológica de exposições de arte, tratamos das práticas sociais fundamentais do público em exposições, como estudar, brincar, conversar, observar a obra, dar uma olhada, conviver, fazer carinho e namorar. Tentamos também mostrar como a exposição pode consistir em item de um conjunto de atividades significativas para os atores sociais. A título de conclusão, apresentamos nossas contribuições e discutimos os limites do modelo um indivíduo / uma obra e da concepção de exposição de arte como arena de recepção de mensagens.

The thesis focuses on the contacts between Czechoslovakia and the Soviet Union, specifically in the area of the 1930s fine arts. This topic has been mapped from 1930 to 1938 (before the Munich Agreement). The first part of the text deals with the historical-political background of that period and cultural relations between the two countries with emphasis on fine arts. Specific manifestations of these relations can be found in the next part of the thesis, using analysis and comparison of the Czechoslovak printed periodicals and archival documents, especially political news and correspondence. This thesis focuses mainly on realized art exhibitions and their reflections. All of this has been set into the historical and political context, thus achieving a comprehensive description of the topic. Key words Czechoslovakia, Graphic Arts, Caricature, Catalogue, Contacts, Printed Periodical, Political News, the Soviet Union, 1930s, Fine Arts, Art Exhibition.

Diese Publikation erscheint anlässlich der 9. Internationalen Ausstellung zeitgenössischer Künste Dresden, 10. Juli – 27. September 2015.