This thesis formulates ecological thinking in curatorial practices, as a way to act against neoliberal values, far-right politics and find ways to work in a sensitive way in a time of accelerating ecological crisis. The current socio-political landscape, and its oppressive forces, influence profoundly the art world and whole societies at large. This thesis starts by looking how those forces affect artistic and curatorial practices, and suggests, that a counter-action for these threats could be a practice, that is informed by ecological thinking. Different, ecologically motivated curatorial practices are discussed with curators Jenni Nurmenniemi and Nataša Petrešin-Bachelez, as well as collective Laboratory for Aesthetics and Ecology. Some additional examples are drawn from the work of Mustarinda association. What comes clear, is that ecological thinking is much more than thinking about the environment or sustainability, but rather, it has connection points with theories of new materialisms, post-fossil experimentation and decolonial thought, all of which are also interconnected and entangled. This thesis gathers a praxis, that is informed by said ecological thinking, which functions both as a thinking and a doing. Ecological thinking is about radical coexistence and entangled in the materialities of the more than human world. Ecologically informed practice, then, could mean paying attention to material dimensions of practices, slowing down and rethinking exhibition formats.

The Philadelphia Public History Truck is a nearly two-year-old mobile museum project which creates interdisciplinary exhibitions about the history of Philadelphia neighborhoods with those who live, work, and play within the places and spaces of the city. Since I founded the project in 2013, I have navigated partnerships with both grassroots organizations and larger institutions and faced a wide-ranging gamut of experiences worthy of examination by public historians concerned with power and production of history as well as practice-based reflexivity. The first half of this thesis documents my key reflections of the first eighteen months of work and serves as a primary source on the project. This paper also places History Truck into a long historiography of both public history and mobility in the United States of America to explain the emergence of what I am calling the New Mobile History, an emerging form of practice in which community members and public historians work together from the onset of project development using ephemerality and movement as a tool for creativity and civic-driven history making. By analyzing oral history interviews with Cynthia Little and Michael Frisch, I argue firstly that Philadelphia was the birthplace of this New Mobile History. Secondly, I posit that for this New Mobile History to continue evolving, public historians must balance digital work and relationship-based process to create exhibitions which directly serve communities of memory. Lastly, I consider one possible future for History Truck, including its transformation from project to nonprofit organization manned by post-M.A. fellows who have the ability to work passionately on city streets and with new media. / History

Made available in DSpace on 2016-04-26T18:14:34Z (GMT). No. of bitstreams: 1 Ananda Carvalho.pdf: 30191795 bytes, checksum: 9b856af03add8e53f11cd03efc5b3083 (MD5) Previous issue date: 2014-08-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research seeks to map the creation procedures of curatorial networks, understanding them as communication practices in contemporary art system. Such networks are mappings of these procedures, developed by curators in contemporary art exhibitions, mainly in São Paulo city in the last decade. From the methodological point of view, the research analyzes the objects according to the theory of the creation processes in network proposed by Cecilia Almeida Salles. From the communication point of view, it likewise relies on the theory of complex thinking developed by Edgar Morin. To understand the term contemporary art, this research agrees with Anne Cauquelin, who argues for the existence of an art system that prevails in a communication society. The thesis begins by presenting the introductory courses of curatorial networks with the aim of demonstrating their complexity. Then, it observes the São Paulo s curatorial production from files used for the communication of the exhibitions as curatorial texts, interviews with curators published in the press, photographs and videos of the exhibitions. Through the analysis of these files, the research highlights three major procedures: the relationship between curating and reconstruction of historical discourse; the spatialization of curatorial thinking through exhibition s resources as texts and the organization of the artworks in the space; and the relationship between curating and distribution, that accounts discourse practices that trespass one another, connecting the production and the reception processes. It also analyzes curatorships with historic importance those contextualize the mapped procedures. The three major procedures are broken down into several others, that could interact with each other forming communicative spaces from the perspective of a complex system. Finally, this thesis presents a broad overview of the studied field with a methodological approach that provides the curatorship analysis under an unprecedented point of view of the subject in Brazil / A presente pesquisa busca mapear os procedimentos de criação das redes curatoriais, compreendendo-os como práticas da comunicação no sistema da arte contemporânea. Tais redes são mapeamentos desses procedimentos, desenvolvidos pelos curadores em exposições de arte contemporânea realizadas, principalmente, na cidade de São Paulo na última década. Do ponto de vista metodológico, a pesquisa analisa os objetos de acordo com a teoria dos processos de criação em rede proposta por Cecilia Almeida Salles. Do ponto de vista da comunicação, também se apoia na teoria do pensamento complexo elaborada por Edgar Morin. Para compreender a denominação arte contemporânea, esta pesquisa concorda com Anne Cauquelin, que defende a existência de um sistema da arte que impera num regime da sociedade da comunicação. A tese inicia apresentando os percursos introdutórios das redes curatoriais com o objetivo de demonstrar a complexidade dessas redes. Em seguida, observa a produção curatorial paulistana a partir de arquivos utilizados para a comunicação das exposições como textos curatoriais, entrevistas dos curadores publicadas na imprensa, fotografias e vídeos das exposições. Por meio da análise desses arquivos, destacam-se três grandes procedimentos: a relação entre curadoria e reconstrução do discurso histórico; a espacialização do pensamento curatorial através dos recursos expositivos como textos e organização das obras no espaço; e a relação entre curadoria e partilha, que diz respeito a práticas discursivas que atravessam umas às outras, conectando processos de produção e de recepção. Também são analisadas curadorias de importância histórica que contextualizam os procedimentos mapeados. Os três grandes procedimentos são desdobrados em diversos outros, que podem interagir entre si constituindo espaços comunicacionais sob uma perspectiva de um sistema complexo. Por fim, esta tese apresenta uma visão ampla do campo estudado com uma abordagem metodológica que oferece a análise da curadoria sob um ponto de vista inédito do tema no Brasil

商業策展公司每年舉辦的藝文展覽數量不斷增加，然而受限於人力與資金，展覽評量尚未發展成熟，然而展覽做為一種藝術的呈現方式，評量有助於策展團體了解觀眾對於展覽的評價、展覽成效以及在市場上尋找自身利基，建立獨特的品牌形象。商業策展公司評量方式以參觀人數以及發放意見調查表為主，然而目前市面上觀眾意見調查問卷的評量面向標準不一，無法完整評量一個展覽的成效，且忽略觀眾在展覽中的體驗評量。因此，本研究以Lauterborn 4C四項要素以及Schmitt策略體驗模組（Strategic Experiential Modules, SEMs）理論，發展出一個結合觀眾的展覽認知與展覽體驗的展覽總結式量表。本研究以時藝多媒體舉辦的《米羅特展》以及寬宏藝術舉辦的《失戀博物館》為研究案例，回收問卷490份，有效問卷回收475份，並依照Devellis量表分析步驟，包括題項刪減（item purification）、建構效度分析（construct validity analysis）與信度分析（reliability analysis），建構展覽評量量表，最終發展五大評量層面，包括消費者需求與欲望、物超所值、雙向溝通、感官與社群關聯與行動力以及相對應的九大評量面向和評量子面向。 / In Taiwan, Curatorial companies hold more and more art exhibitions every year. Owing to the lack of human and financial resources, exhibition evaluation hasn’t developed maturely enough. However, exhibition is one of the ways of presenting art and evaluation would help curatorial team know how audiences evaluate the exhibition, what the exhibition’s effects are, and what the company’s brand image is in the market. Nowadays, curatorial companies use the number of visitors and evaluation questionnaires as the way of exhibition evaluation. Nevertheless, the evaluation questionnaires cannot assess the whole parts of exhibition’s effects and ignore the assessment of what the audiences experience in the exhibition. Therefore, this study uses Lauterborn’s 4C elements and Schmitt’s strategic experiential modules to develop the scale that combines audience’s cognition and experience in the exhibition. As for cases, the study uses Joan Miro Exhibition Women, Birds, Stars, held by Mediashpere and Museum of broken relationship, held by Kuang Hong Arts. And follow Devellis’s scale development steps, including item purification, construct validity analysis and reliability analysis to construct summative exhibition scale. Finally, the scale develops five parts, including consumer needs and wants, cost, communication, sense and community and action and the related nine layers and sub-layers.

The Australian Government Internet database, the World War Two Nominal Roll, is problematised and then analysed as a document of patron-sponsored alternative journalism as described by Atton and Hamilton, because it attempts to fulfill functions previously completed in Australia by newspaper publishers and television producers. These functions – of discovering, establishing, editing, contextualizing, recording and publishing memory – have long been regarded as roles of journalism. Later they have been seen as roles also of literary publishing and documentary filmmaking, and most recently of online records management. They became especially evident in the 1990s, the decade of the 50th anniversary of many World War II events, during which many anniversary supplements were published in Australian newspapers and in television documentaries. Partly as a result of this major anniversary, the Australian Government undertook the tasks of discovering, establishing, editing, recording, contextualizing, and publishing World War II military memories as an online database known as the World War Two Nominal Roll. The enactment of this large task required the engagement of a subcontractor who tendered on the basis of skills in records management, and the adoption of a methodology which offered some level of quality assurance of the outputs. The problematisation of this project suggests that the engagement of the subcontractor and the methodology adopted for the World War Two Nominal Roll are analogous to the engagement of professionalized journalists, and the adoption of recognised journalistic methods, for the publication of a media artifact such as an anniversary supplement. In that light, this thesis compares the error rates evident in the Nominal Roll with the literature of error rates in contemporary newspapers, and compares some of the audience effects of publishing the Nominal Roll with those of publishing newspapers. This involves a comprehensive examination and critique of the physical nature of the Roll and the processes of its production. The analysis in the first place suggests that the database Roll is overall more trustworthy than established journalism artifacts but in detail more susceptible to errors of fact and context and less likely to be corrected. This leads to the second assessment that the publication of the database Roll is less effective than newspapers as a means of memorialisation. Finally, the findings suggest that the processes deployed in the compilation of the database Roll would have benefitted from the adoption of aspects of ordinary journalistic routines not used by the database publishers. Reasons for this are proposed and discussed.

This research aims to investigate the extent to which media organisations in Taiwan apply human resource management strategies and policies to sustain their competitive advantage in a threatening environment. This study argues that human capital is the most valuable resource of media companies. As long as the human resource is optimally allocated and managed, it can facilitate media companies to outperform their competitors, and thus, enable media companies to achieve sustained competitive advantage. The first stage of this research analyses the Taiwanese media industry from a broad perspective. During the development of Taiwan’s media industry, the government and political parties played important roles. The key factors involved in the changes in the environment are examined from political, economic, social, and technological points of view. In addition, this research analyses the human resource management practices adopted by the two leading media groups in Taiwan. One of the groups is the United Daily News group, an old established media company with its interest in newspapers, and a newly established Eastern Broadcasting Corporation (EBC) group which is a multi-media company. Qualitative research approach was adopted as the framework for this research and also to explore and understand the links between specific human resource management indicators and media organisations’ sustained competitive advantage. Two Taiwanese media groups were selected as case studies. The case study approach involved in-depth interviews conducted with management staff and non-management staff, in order to understand the two companies’ human resource management policies and practices. Connecting the study as a whole, there are three important findings: (1) The deregulation which began from the late 1980s has transformed the Taiwanese media industry from a party-state domination to a fiercely competitive marketplace. (2) Consequently, Taiwanese news organisations have shown a greater propensity to pursue commercial performance. As such, in addition to journalists, advertising sales personnel were included in the talent pool by news organisations. (3) The view of human resources as a pool of capital implies a change in the perception of costs in media companies’ human resource management practices. HRM is practised by the two companies in different degree. Taiwanese media companies should pay attention to the different characteristics of their core workers, and maintain their core workers to convey their organisational culture, and achieve their companies’ SCA. In Taiwan, the HRM function had been ignored for a long time due to decades of regulation on new competitors. However, when the media proprietors spent a majority of their capital on the payroll and emphasized that ‘human capital’ is their most important asset, to some extent, Taiwanese media companies perceived HRM as a means to achieve their companies’ SCA. In this regard, Taiwanese media companies should make more effort to develop and nurture the HRM practices and policies which are suitable for the organisation’s unique culture, in improving the outcomes of their human resource investment and in turn providing sustained competitive advantage.

The Australian Government Internet database, the World War Two Nominal Roll, is problematised and then analysed as a document of patron-sponsored alternative journalism as described by Atton and Hamilton, because it attempts to fulfill functions previously completed in Australia by newspaper publishers and television producers. These functions – of discovering, establishing, editing, contextualizing, recording and publishing memory – have long been regarded as roles of journalism. Later they have been seen as roles also of literary publishing and documentary filmmaking, and most recently of online records management. They became especially evident in the 1990s, the decade of the 50th anniversary of many World War II events, during which many anniversary supplements were published in Australian newspapers and in television documentaries. Partly as a result of this major anniversary, the Australian Government undertook the tasks of discovering, establishing, editing, recording, contextualizing, and publishing World War II military memories as an online database known as the World War Two Nominal Roll. The enactment of this large task required the engagement of a subcontractor who tendered on the basis of skills in records management, and the adoption of a methodology which offered some level of quality assurance of the outputs. The problematisation of this project suggests that the engagement of the subcontractor and the methodology adopted for the World War Two Nominal Roll are analogous to the engagement of professionalized journalists, and the adoption of recognised journalistic methods, for the publication of a media artifact such as an anniversary supplement. In that light, this thesis compares the error rates evident in the Nominal Roll with the literature of error rates in contemporary newspapers, and compares some of the audience effects of publishing the Nominal Roll with those of publishing newspapers. This involves a comprehensive examination and critique of the physical nature of the Roll and the processes of its production. The analysis in the first place suggests that the database Roll is overall more trustworthy than established journalism artifacts but in detail more susceptible to errors of fact and context and less likely to be corrected. This leads to the second assessment that the publication of the database Roll is less effective than newspapers as a means of memorialisation. Finally, the findings suggest that the processes deployed in the compilation of the database Roll would have benefitted from the adoption of aspects of ordinary journalistic routines not used by the database publishers. Reasons for this are proposed and discussed.

The Australian Government Internet database, the World War Two Nominal Roll, is problematised and then analysed as a document of patron-sponsored alternative journalism as described by Atton and Hamilton, because it attempts to fulfill functions previously completed in Australia by newspaper publishers and television producers. These functions – of discovering, establishing, editing, contextualizing, recording and publishing memory – have long been regarded as roles of journalism. Later they have been seen as roles also of literary publishing and documentary filmmaking, and most recently of online records management. They became especially evident in the 1990s, the decade of the 50th anniversary of many World War II events, during which many anniversary supplements were published in Australian newspapers and in television documentaries. Partly as a result of this major anniversary, the Australian Government undertook the tasks of discovering, establishing, editing, recording, contextualizing, and publishing World War II military memories as an online database known as the World War Two Nominal Roll. The enactment of this large task required the engagement of a subcontractor who tendered on the basis of skills in records management, and the adoption of a methodology which offered some level of quality assurance of the outputs. The problematisation of this project suggests that the engagement of the subcontractor and the methodology adopted for the World War Two Nominal Roll are analogous to the engagement of professionalized journalists, and the adoption of recognised journalistic methods, for the publication of a media artifact such as an anniversary supplement. In that light, this thesis compares the error rates evident in the Nominal Roll with the literature of error rates in contemporary newspapers, and compares some of the audience effects of publishing the Nominal Roll with those of publishing newspapers. This involves a comprehensive examination and critique of the physical nature of the Roll and the processes of its production. The analysis in the first place suggests that the database Roll is overall more trustworthy than established journalism artifacts but in detail more susceptible to errors of fact and context and less likely to be corrected. This leads to the second assessment that the publication of the database Roll is less effective than newspapers as a means of memorialisation. Finally, the findings suggest that the processes deployed in the compilation of the database Roll would have benefitted from the adoption of aspects of ordinary journalistic routines not used by the database publishers. Reasons for this are proposed and discussed.

This thesis investigates the counter-hegemonic formation of Danish-based transnational feminist curatorial collective Kuratorisk Aktion in a single-case study. It serves as a unique example, presenting how the collective engages to overcome the existing gap between curatorial aims and the implementation through curating. Their work and approach is shaped highly by their political mindset, aiming to resist tendencies of depoliticisation, right-wing populism or neoliberalism with the means of curating. Chantal Mouffe’s theory of radical democracy and her deliberations and notions concerning agonisms, citizenship, feminism, counter-hegemonic interventions and activism through art are used in order to contextualise and discuss the possibilities and limitations of the political work by Kuratorisk Aktion. An interview with the collective conducted by scholar Angela Dimitrakaki in 2010 as well as their realised curatorial projects enhanced the argumentation. The analysis exemplified, that over the years Kuratorisk Aktion has developed their personal and exceptional curatorial paradigm, which is able to counteract hegemonic structures. This reveals their radical democratic potential and aspiration through curating and the curatorial.

Publicly funded art institutions in Sweden are tasked with the mission of making contemporary art available and accessible to the citizens. This thesis investigates three cases of publicly funded art institutions in Sweden, namely Göteborgs Konsthall, Malmö Konsthall and Liljevalchs Konsthall. The study examines the exhibitions presented by the institutions during the fall of 2023 and how they are curated to be inclusive or exclusive towards visitor groups. By using a model of curatorial values in conjunction with a constructed model of the exhibition as social space, inspired by Henri Lefebvre’s concept “social space”, this research will reveal different strategies used by the institutions for mediating curatorial intentions through the exhibitions.    Empirically the thesis is based on observations of three exhibitions and their visitors and interviews with exhibition hosts. The material is used to examine how the institutions work towards different audiences and how curatorial decisions influence visitor behaviour within the selected institutions.    The results show that the three cases differ in curatorial decisions and values. Further, the social space model used indicates that institutions differ in how they award agency to visitors. The analysis shows that visitors, by acting in unpredictable ways, contribute to the social space of exhibitions in ways not intended by the curator.     In conclusion, this study shows that the mission of the municipality-driven art institution is multifaceted and holds challenges when attempting to engage a broad audience while displaying exhibitions of high artistic integrity. The curatorial choices reflect in the audience and these choices therefore determine who will partake in the exhibition. The curator therefore plays a crucial role in how the exhibitions work with inclusivity.