This thesis aims to examine if and how gender is framed, presented and problematized in contemporary art exhibitions. To achieve this, exhibitions and the curatorial function at the museums Bildmuseet in Umeå and MAN (Museum Anna Nordlander) in Skellefteå are investigated through interviews and analyses. These were made from a gender theoretical perspective, guided by Judith Butler's poststructural approach, focusing especially on perfomativity and queer. The thesis describes how contemporary art exhibitions can be curated in a gender aware manner. The areas identified as important when it comes to gender aware curation are: including and problematizing gender, educating in gender issues and gender awareness during internal as well as external collaborations. All of the analysed exhibitions contain gender aspects that ​are examined deeper, even though the curators did not intend all of the exhibitions to highlight and problematize gender. In the thesis, it is also discussed what role the curator has in the gender aware work and how gender/sex are represented in the examined exhibitions. It also problematizes the lack of non-binary artist in previous exhibitions of the museums and how this, through different strategies, can be counteracted in order to create a more democratic and inclusive museum.

Diese Publikation erscheint anlässlich der 11. Internationalen Ausstellung zeitgenössischer Künste Dresden und der 1. OSTRALE-BIENNALE vom 28. Juli - 01. Oktober 2017

Diese Publikation erscheint anlässlich der 10. Internationalen Ausstellung zeitgenössischer Künste in Dresden, error:x OSTRALE'O16. Wendebuch. OSTRALE weht ODER : Artyści z Drezna we Wrocławiu, 13.05.-31.07.2016, Browar Mieszczański Wrocław

Diese Publikation erscheint anlässlich der 12. Internationalen Ausstellung zeitgenössischer Künste Dresden und der 2. OSTRALE Biennale, von 11 Juni bis 1 September 2019. / This book is published on the occasion of the 12th International Exhibition of Contemporary Arts Dresden and the 2nd OSTRALE Biennale, from 11 June to 1 September 2019.

- Friedrich Thießen: Der Fall Snowden oder das Ende der anonymen Welt (S. 2-3) - Sebastian Liebold: Imi Knoebel - eine Ausstellung leuchtet in den Winter hinaus (S. 23-24)

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En stor del av vårt kulturarv och samtidshistoria förmedlas genom konstutställningar på privata/ enskilda konsthallar och konstmuseer. Förutom en konstupplevelse möts vi också av dold information som visar metoder, teknik och olika ställningstagande som gjorts för att kunna tillgängliggöra en utställning. Allt detta ger oss viktig information om samtidens fysiska och digitala arenor. För att få tillgång till information om dagens utställningar även i framtiden krävs att informationen bevaras (arkiveras/lagras) och att den går att återfinna. Studiens syfte har varit att undersöka hur fyra privata/enskilda aktörer dokumenterar, bevarar och tillgängliggör sina utställningar och hur de ser på begreppet kulturarv samt hur den rådande corona-pandemin 2020/2021 påverkat dem i deras arbete. Studien har också undersökt hur digitala modeller, verktyg och arbetssätt har använts av några statliga/offentliga konstmuseer, som ett sätt att utveckla utställningspresentationen utifrån ett globalt och långsiktigt perspektiv och underlätta planering och samarbete kring utställningsproduktion. Slutsatsen är att den privata/enskilda kultursektorn har ett annat uppdrag, krav och behov av att förmedla konst än vad den statliga/offentliga kultursektorn har. Därför kan man se skillnader i sättet att se på dokumentation, bevarande och tillgängliggörande. Pandemiåret 2020 har utvecklat deras sätt att tänka och arbeta kring kulturinformation och distribution. Besökare och arrangörer har fått ändra sitt fysiska beteende med tanke på smittspridning/social distansering och blivit hänvisade till digitala alternativ. Detta har ökat tillgängligheten till konsten också för de grupper som inte tidigare kunnat fysiskt bevista en utställning. Ett nytt kulturkommunikationssätt med interaktivitet har initierats och en ny form av kulturkonsumtion, kultur on-demand, har utvecklats. / A large part of our cultural heritage and contemporary history is conveyed through art exhibitions at private art galleries and art museums. In addition to an art experience, we also encounter hidden information concerning aspects such as methods, technology and various positions taken to be able to use an exhibition. All this gives us important information about contemporary physical and digital arenas. In order to have access to information about today's exhibitions even in the future, it is necessary that the information is preserved (archived/stored) and that it can be found. The purpose of the study has been to investigate how four private art galleries and art museums document, preserve, make their exhibitions available, how they view the concept of cultural heritage, as well as how the prevailing corona pandemic 2020/2021 has affected them in their work. In addition, the study has also examined how digital models, tools and working methods have been used by public art museums, as a way to develop the exhibition presentation from a global and long-term perspective as well as to facilitate planning and collaboration around exhibition production. The conclusion is that private art galleries and museums have a different mission, requirements and need to convey art than the public art museums has. Therefore, one can see differences in the way of looking at documentation, preservation and making the information available. The pandemic year 2020 has developed their way of thinking about and working with cultural information and distribution. Visitors and organizers have had to change their physical behavior in view of the spread of infection/social distancing and have been referred to digital alternatives. This has increased the accessibility of art also for those groups who have not previously physically attended an art exhibition. A new way of cultural communication with interactivity has been initiated and a new form of cultural consumption, culture on-demand, has been developed.

Diese Publikation erscheint anlässlich der 13. Internationalen Ausstellung zeitgenössischer Künste, der 3. OSTRALE Biennale, stattfindend vom 1. Juli bis 3. Oktober 2021 in Dresden. / This book is published on the occasion of the 13th International Exhibition of Contemporary Arts, the 3rd OSTRALE Biennale, from July 1st to October 3rd, 2021 in Dresden.

No description available.

[pt] Os sites de redes sociais, liderados pelo Facebook, representam na contemporaneidade um fenômeno social e comunicacional graças a sua popularização e sua incorporação na vida de milhões de pessoas espalhadas pelo mundo. Uma das inovações promovidas por estes sites foi a consolidação da conversação em rede, isto é, da interação social pública, pessoalizada e permanente, praticada em sua grande maioria por mulheres, segundo revelam pesquisas e como pode ser comprovado pela pesquisadora através da própria utilização do Facebook, o que indica uma maior motivação do sexo feminino para a utilização do ciberespaço para fins de relacionamento, afeto e emoção. Diante deste contexto, o objetivo desta pesquisa foi identificar e descrever a apropriação do Facebook por um grupo de mulheres urbanas, economicamente ativas e na faixa etária dos 30 a 45 anos para fins de sociabilidade e exposição, isto é, de que forma estas práticas são realizadas no Facebook pelo grupo feminino observado - suas principais características e suas principais motivações - e como contribuem para a construção e para a manutenção da identidade simbólica da mulher moderna contemporânea. / [en] Social network websites, led mainly by Facebook, represent nowadays a social and communication phenomenon due to their popularization and constant use by millions of people spread all over the world. According to studies, one innovation brought by social network websites was the consolidation of web chats, meaning, public social interaction, personalized and permanent mostly used by women. The current researcher was able to confirm those studies by using Facebook chat, which indicates a greater motivation carried out by women to use cyberspace in order to develop relationships, convey affection and emotion. Within this context, the purpose of this research was to identify and describe the appropriation of Facebook by a group of urban women, economically active, in the age group ranging from 30 to 45 years-old. This group was observed in terms of sociability and exposition, in other words, in which ways those practices are carried out on Facebook by women, focusing on their characteristics and primary motivations. Furthermore, the current study also analyzed the contribution of the construction and maintenance of the symbolic identity of the modern women.