The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to explore how the specific design of the exhibition affects visitors and objects, and how mening and narrative is created. The study does not primarily focus on individual objects, but on the general design and structure of the exhibition space. The study concludes that historical references can be found in the current exhibition – mainly to a sensual, intimate, and aesthetic mode of display from the early twentieth century. Some principles which have been dominating in art museums since the mid-twentieth century are challenged, including the isolation of objects; use of vast, empty spaces; division between different object categories; and sparse, single-row hanging. The varied and dynamic hanging of the current exhibition, in contrast to a repetetive one, creates different patterns of movement and object-visitor interactions. Still, the ritual structure of the exhibition works to direct visitor attention and behaviour, conveying an art-historical narrative. Meanings concerning objects’ historical context are fascilitated through the interplay between visual arrangement and textual information.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-23T11:29:38Z No. of bitstreams: 1 Wilson Renato Negrão.pdf: 4261122 bytes, checksum: 75b15a4600d4114549a298d19171a27e (MD5) / Made available in DSpace on 2018-01-23T11:29:39Z (GMT). No. of bitstreams: 1 Wilson Renato Negrão.pdf: 4261122 bytes, checksum: 75b15a4600d4114549a298d19171a27e (MD5) Previous issue date: 2017-12-05 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The objective of this research is to develop a study of the archives of semiotic-based processes in contemporary art and analyzing the creative process of Rodrigo Braga to investigate the ways of art through this and to understand the artist that transits be-tween different languages. The dissertation will be developed by surveying the evolution of Rodrigo Braga’s career and his emblematic works in the last decades. Covering his sketches, annotations and drawings, even documents in creation process, and by the end, following-up in exhibitions, where the artist will be observed closely, while finishing a work, before opening for public exposure. The result of these analyzes will lead the research meeting some procedural proce-dures that will help to understand the work of Rodrigo Braga. As a new artist, with a career that is still in progress and since his work is in the process of development, the research tends to generate discoveries that are still unpublished, including the artist himself. The studies will focus on his carried out works during the last decades and on the projects which are developed during the research. Through these documents of production process, the trajectories of Rodrigo Braga will be mapped into Brazilian and international artistic context and, thus, to present how much are his works relate to the performance, photography, video, installation and the evolution of his works based on creation process / O objetivo desta pesquisa é buscar desenvolver um estudo de arquivos de processos de base semiótica na arte contemporânea, analisando o processo criativo de Rodrigo Braga e através disto investigar os caminhos da arte para entender um artista que transita entre diferentes linguagens. A dissertação será desenvolvida, através de um levantamento da evolução da carreira de Rodrigo Braga e de trabalhos emblemáticos do artista nas últimas décadas. Serão estudados, na sequência, os esboços, anotações e desenhos, ou seja, documentos de seu processo de criação e, por fim, o acompanhamento em montagens de exposições, onde o artista será observado de perto, enquanto finaliza um trabalho, antes de abrir para exposição pública. O resultado dessas análises levará a pesquisa ao conhecimento de alguns procedimentos processuais que ajudará a entender a obra de Rodrigo Braga. Por se tratar de um artista novo, com a carreira ainda em evolução, onde a sua obra está em processo de desenvolvimento, a pesquisa tende a gerar descobertas que ainda são inéditas, inclusive ao artista. Os estudos serão elaborados focando em trabalhos realizados nas últimas décadas e também nos projetos desenvolvidos no decorrer da pesquisa. Através desses documentos de processo de produção serão mapeados os percursos de Rodrigo Braga no contexto artístico brasileiro e internacional e, assim, apresentar como se dá a relação de suas obras com a performance, fotografia, vídeo, instalação e a evolução de seus trabalhos pautada no processo de criação

This dissertation is a museological study of the coming into being of a natural history museum, its building and its adherent zoological exhibition during the years around the First World War. The main problem of the dissertation is the opposition between the curator´s program 1903 for the exhibit and its realization twenty years later. The theoretical perspective is that in its synchronic aspect science, in accordance with the views of swedish sociologist, Thomas Brante, is divided into three levels interdependent upon one another in varying degrees – theoretical, sociological and psychological level. In the present study, the main issue is the weighing of the relative significance of each of these levels. The exhibit was structured as along a scale, or chain, from lesser to greater animals. In this and in other respects it belonged to the legacy of Swedish naturalist Carolus Linnæus. Interest in maintaining this tradition was powerful in the Swedish society during the years before the First World War. Not until around 1950 was the modern theory of evolution explicitly announced to the visitor of the exhibit, still however without the representation of the forces behind it By an investigation of the milieu to which the museum belonged is shed light upon the scientific and other ideals which are represented in its exhibit. The result of an assess of the significance of the theoretical, the sociological ant the psychological level is that contemporay theory does not stand out as a driving force behind the creation of the exhibit in 1923. Nor does the curator of the exhibition emerge as an innovator. Most dominant is however the sociological level. / avhandlingen framlägges för disputation i ämnet museologi

I detta examensarbete redovisas mitt förslag på utformning av en utomhusutställning på Parken Zoo i Eskilstuna. Studier har gjorts för att försöka reda ut hur målgruppen 3-10-åringar kan stimuleras och ledas genom utställningen. I arbetet ingår även en lekfull gestaltning av 16 utställningskomponenter i form av bostäder åt vanligt förekommande sörmländska djur. För att samla in data och kunskaper har flera observationer gjorts på barn i lekmiljöer. Jag har även gjort en introspektion och samlat data genom regelbunden kontakt med Parken Zoo. Studierna har visat att barn tycks lockas av lekredskap som inbjuder till aktivitet och att leken ofta sker i rumsligheterna mellan redskapen. De vuxnas inställning spelar stor roll för omfattningen av barnets utforskning i lekmiljön. Teoretiskt material är inhämtat från utvecklingspsykologin, muntlig berättarkultur, teorier om lekmiljöer, utställningsdesign och wayshowing. Examensarbetet har resulterat i ett utställningskoncept där de lekfulla bostäderna tolkats utifrån djurordspråk. Dessa har visualiserats med hjälp av idéskisser och fotorealistiska vyer. Vid varje bostad finns det en skylt i form av en lucka i marken. Skyltarna innehåller lättsam information om de olika djuren. Min tolkning är att en utställning med en komplex målgrupp bör innehålla flera ingångspunkter för att bereda möjlighet att stimulera personer som befinner sig i väldigt skilda utvecklingsstadier. Detta kräver utprovningar och vidare forskning. Studien lämnar även öppet för vidare forskning kring fenomen att följa strömmen på lekplatsen. Leker barnen vid de lekredskap de finner roligast eller leker de där flest andra barn är? / This thesis presents my proposal for the design of an outdoor exhibition concept at Parken Zoo in Eskilstuna. The study intend to investigate the potential to guide and stimulate a complex target group of 3-10 year olds. This assignment also includes the designing of the exhibition components, in the form of 16 playful accommodations for some common animals in Södermanland. Several observations of children in playgrounds have taken place in order to collect data. My empirical studies also include an introspection and regular contact with the Zoo. My studies have shown that children seem to be attracted by play equipment that invites to activity. Also, the playing often occurs in the spatiality between the playing devices. The adults’ attitudes play a major part in the child’s exploration process. Theoretical data was obtained from developmental psychology, storytelling culture, theories of play environments, exhibition design and wayshowing. The work has resulted in an exhibition concept, in which the playful accommodations are interpreted upon animal sayings. These have been visualized by rough sketches and photo-realistic views. At each accommodation there is an information sign underneath a shutter. The signs include easy-going information about the different animals. My interpretation is that an exhibition of a complex target group should include multiple entry points to provide an opportunity to reach people from many different age groups. This will although require testing on the target group for further research.The study also leaves open for further research into the phenomena of going with the flow on the playground. Do children choose their preferred playground equipment based on what they find fun or based on where most of the other children are?

A goal in conservation is that cultural heritage should be for everyone and therefore should be experienced by everyone. With ramps, lifts, Braille exhibitions, sign language interpreted tours, tours for the visually impaired, etc., adaptions are made for people with physical disabilities. The purpose of this paper is to highlight how the Nordic Museum works to reach people with neuropsychiatric disorders along with the specific needs and disabilities which may need to be met by the museum. The case study will aim to highlight problems and opportunities in pedagogy of exhibitions focused on neuropsychiatric disorders. Moreover, it provides an indication of how the works with these issues at the museums are implemented, etc., which can create a greater awareness for the various professions in museums and conservations. This has been examined by the means of interviews, with the unions that advocate groups of neuropsychiatric disorders, and observations of selected exhibitions and shows, museum space, some audioguide-tours and part of the museum's website. In addition, other interviews are made with a museum educator with experience in the subject and a museum educator and head of the department of hosts and shops from the Nordic Museum. The materials which are used are mainly written public reports, as for example the Nordic museum Annual 2015. The museum caterers mostly focus on physical disability. They have also focused on reading disabilities and dementia, in addition to the physical functional limitations. The museum does its best and have a desire to improve themselves, which is shown at their website. The educational tools and approaches, etc. is well thought through, but the focus here is primarily on children and not adults. Something that may be because they have more impressions for children than for adults, if one example is taken. Some of the unions advocate “design for all” and more focus on a different view from the society, as well as personal attitudes to face persons with neuropsychiatric disabilities. They believe this will also affect the museum's education in general. Also, the use of different types of media and interactions in the exhibitions, as well as peace in the museum hall will make an impact in the pedagogy of the museum. The conclusions are that it probably always will be development potential in the pedagogy of the museum. The Nordic Museum has come a long way in the use of several media, but the design could in some cases be fine-tuned. Awareness of neuropsychiatric disorders could also be developed, both in society and in museums. / Ett mål inom kulturvård är att kulturarvet ska finnas till för alla och därmed ska kunna upplevas av alla. Anpassningar till personer med fysiska funktionsnedsättningar görs till exempel med ramper, hissar, blindskrift på utställningar, teckentolkade visningar, visningar för personer med nedsatt syn etc. Syftet med uppsatsen är att belysa hur Nordiska museet riktar sig till personer med neuropsykiatriska funktionsnedsättningar, vilka åtgärder som görs och kan göras för att tillgängliggöra museet för dessa personer samt vad för behov som kan behöva tillmötesgås hos dessa personer. I sammanhanget får fallstudien syftet att belysa problem och möjligheter med utställningspedagogik inriktad mot neuropsykiatriska funktionsnedsättningar. Detta kan dessutom ge en indikation på hur arbetet med dessa frågor på museer ser ut etc., vilket kan skapa en större medvetenhet hos olika museala professioner samt inom kulturvårdens andra professioner. Detta har granskats med hjälp av intervjuer och korrespondens med förbund som representerar olika grupper inom neuropsykiatriska funktionsnedsättningar samt observationer av utvalda utställningar och visningar, museets lokaler, vissa audioguiderundor och delar av museets hemsida. Utöver detta har intervjuer gjorts med en museipedagog med erfarenhet i ämnet och en museipedagog samt sektionschefen för bl.a. museivärdar vid Nordiska museet. De material som har används är främst offentliga skriftliga källor, som exempelvis museets årsredovisning 2015. Museet riktar i första hand sitt tillgänglighetsarbete mot fysiska funktionsnedsättningar. För neuropsykiatriskt funktionsnedsatta fokuserar de i första hand på lässvårigheter samt demenssjukdomar. Museet gör sitt bästa och har en vilja att förbättras, vilket märks på exempelvis hemsidan. De pedagogiska verktygen och angreppssätten etc. är väl uttänkta, men fokusen ligger här främst på barn. Detta kan bero på att de har fler visningar för barn än för vuxna. En del av förbunden förespråkar design för alla samt mer fokus på en annan samhällssyn, samt personliga attityder emot personer med neuropsykiatriska funktionsnedsättningar. Detta är något som de tror kommer att påverka museets pedagogik i stort. I övrigt, gällande hela museets pedagogik, lägger de störst vikt på tydlighet, användning av olika typer av medier och interaktioner i utställningar samt försöka få fram ett lugn i lokalerna. Slutsatserna blir här att det troligen alltid kommer finnas utvecklingspotential inom museers pedagogik. På Nordiska museet har de kommit långt i användandet av flertalet medier, men utformningen skulle i vissa fall kunna finputsas. Medvetenheten kring neuropsykiatriska funktionsnedsättningar behöver och kan också utvecklas både i samhället och på museer.

This thesis deals with contemporary art movement called post internet, its forms and its presentation within the gallery spaces. The emphasis is based on a complex description of its topics, mailny the problems of its presentation, the corporate aestetics, the radical identification and the post human body. The third chapter describes the transfer of the art from the internet into the gallery spaces and its methods. The last part of this text is then devoted to the Czech post internet art scene and to the negative impact of the internet on the sociaty and the art.

Plus que d’autres types de grands évènements, les expositions internationales et universelles contribuent à changer le visage des villes organisatrices. Résolument comparative, cette analyse se propose de travailler sur trois expositions ayant eu lieu ces dernières décennies dans la péninsule ibérique. Les exemples de Séville, Lisbonne et Saragosse, villes de taille comparable et de contraintes similaires permettent de mieux évaluer les impacts de cette catégorie de grand évènement à la fois aux échelles métropolitaine, régionale et nationale. Au-delà de cet apport, l’objectif est également de dégager des éléments permettant d’analyser les bénéfices et les limites de ce type de grand évènement atour de quatre principaux items : l’impact urbain, l’impact économique, l’impact en termes d’image et l’impact sur les acteurs. Cette thèse vise à comprendre ce que ces expositions récentes ont apporté à ces villes, à la fois sur le court et le long terme, en analysant successivement les temps de la projection, de la réalisation et de la reconversion des sites d’exposition Ce travail démontre ainsi que les expositions, au-delà des réflexions postulant pour leur déclin progressif et inexorable, sont en fait de véritables accélérateurs du développement urbain et du processus de métropolisation. Mieux préparées et utilisées, elles pourraient donc être appelées aujourd’hui plus qu’hier encore à transformer les villes, notamment pour leur permettre de se mettre en cohérence avec les critères d’un développement métropolitain plus durable. / More than other major events, universal and international exhibitions contribute to revamp host cities. Associated to a comparative method, this analysis intends to study the three exhibitions which took place those ultimate decades in the Iberian peninsula. The examples of Sevilla, Lisbon and Saragossa, comparable towns with similar issues allow to evaluate the impacts of this kind of major events considering the metropolitan, regional and national scales. Beyond this contribution, the goal is to underline the elements that allow to analyse the benefits and the limits of that type of major events given four principal elements: urban impact, economical impact, representative impact and social impact. This thesis aims at understanding the exhibition’s contribution to those towns, on a medium and a long term, considering the time of projection, realization and reconversion of exhibitions spots.This work also demonstrates that exhibitions, beyond the assumption of a progressive and inexorable decline, are real boosters for urban development and metropolisation process. Better prepared and used, exhibitions could be involved now more than ever in cities’ transformation, particularly to respect the criteria of a more sustainable metropolitan development.

Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras. / This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.

Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras. / This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.

Cette thèse suit les trajectoires de quelques images choisies, d'abord réalisées sur et puis par des hommes et des femmes somalis de la Corne de l'Afrique depuis la fin du 19ème siècle à nos jours.Supports et vecteurs de la production et diffusion de savoirs anthropologiques auXIXème siècle, notamment dans le cadre d'exhibitions ethnographiques somalies en Europe - dont l'étude propose une reconstruction chronologique à partir de 1890 - ou au cours de missions d'explorations à caractère politico-commercial, ce travail entreprend d’étudier modalités et contextes de production, appréciation et filiation des « images somalies » produites en France dans les milieux savants et populaires.L’étude des circulations et réappropriations de quelques-unes de ces images historiques sur Internet, pour servir des enjeux contemporains, a conduit ensuite à analyser comment, à l’ère numérique, une jeune génération issue de la diaspora somalienne prend aujourd'hui la parole (et questionne ainsi qui peut parler et comment) à travers des projets de blogs/sites et tente ainsi de constituer (réparer ?) une « autre » archive photographique somalie. Ce faisant, elle interroge à la fois l’image du pays dans le médias internationaux (image associée, en grande partie, à la famine, au terrorisme islamique, à la piraterie et/ou à l’« État en faillite ») et les modalités de transmission d’autres mémoires, enfouies, de ce pays, dans un contexte de « destruction de l’histoire ».Enfin, la troisième et dernière partie de l’étude s'intéresse brièvement aux pratiques photographiques observées à Djibouti de 2010 à 2012, ici aussi avec une attention particulière à la manière dont les images produites ont été (ou sont aujourd’hui) conservées.Ce travail fait le pari d’une écriture de l’histoire (en cours) qui assume les manques et les vides – point que partagent ici chercheuse et sujets de la recherche - et s’élabore à partir de fragments (matériels tout autant que numériques) en mouvement, en s’efforçant de mettre en relief comment leurs circulations affectent à chaque fois leur compréhension et significations. / This thesis traces the trajectories of some selected images, first taken of and then by Somali men and women from the Horn of Africa since the late 19th century to the present.Taken during ethnographic exhibitions of Somalis in Europe (of which this workproposes a detailed timeline since 1890) or commercial and political exploration missions to East Africa, these photographs have been both the medium and vector through which a certain knowledge has been produced and circulated concerning these people. This study undertakes, therefore, to examine the modes and contexts ofproduction, consumption and filiation of these "Somali images" in learned societies and popular newspapers in France.The study of the circulation and reappropriation of these historical images today on the Internet to serve contemporary purposes then leads to an analysis of how, in the digital era, a young, Internet-savvy generation from the Somali diaspora is now reclaiming its voice (raising questions about who can speak and how) through new website and blog projects, which attempt to establish (or mend?) an alternative Somali photographic archive. Thus, these projects both question the image of Somalia in the international media (an image associated, to a great extent, with famine, Islamic terrorism, piracy and "failed states") and offer new ways of preserving and transmitting other, often buried, memories of this country and its past before the civil war in the context of a certain "destruction of history".Finally, the third and last part of this study briefly revolves around photographicpractices observed in Djibouti during fieldwork from 2010 to 2012, here again with aparticular attention to the ways in which images are produced and conserved.This thesis raises the challenge of writing an on-going history that embraces itslacunae and voids – a feature that the researcher and the "subjects" of the research share – based on evolving material and digital fragments, in an attempt to highlight how their circulations profoundly affect their meanings and they ways in which we understand and make sense of them.