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Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions. / Curatorial writings : Analysis from the perspective of curatorial theory and the history of exhibitionsGonzález Vásquez, Angélica 15 December 2016 (has links)
Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentes. / This thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training.
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Výstavy moderního umění a jejich význam pro cestovní ruch / Exhibitions of modern art and their influence in tourismKováčová, Lenka January 2009 (has links)
The thesis is focused on cultural tourism, declares the importance of exhibitions of modern art in cultural tourism and the importance of marketing strategy of gallery or museum, which is described on the example of Tate Modern gallery.
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Projektový management v oblasti kultury - mezinárodní výstava / Project management in culture: the international exhibitionHořejší, Anna January 2009 (has links)
The topic of the thesis is project management in the cultural organizations. The general levels of this topic are desribed in the theoretical part. This part analysis the sphere of the contemporary Czech cultural institutions, their cooperation and their position between the traditional roles and the modern management. Specific aspects of the project management for the exhibition project are also described. The aim of the analytical part is to describe and analyse the concrete project of the exhibition "Tschechische Fotografie des 20. Jahrhunderts" (Czech Photography of 20th Century) in Bonn (organised in the international cooperation of two different cultural organizations), to analyse the project processes, strenghts and risks and to give some recommendations to the project. The key topic for all these aspects is the coordination or synchronisation of the organizators and the positive aspects and complications of this cooperation.
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The turning of the screw : the Sixth Guggenheim International Exhibition, Daniel Buren, and the new cultural conservatismAlberro, Alexander January 1990 (has links)
In this study I have sought to explore the theoretical foundations of the French artist Daniel Buren's work and its subsequent resonance in a context of emergent cultural conservatism. The study also traces, the increasingly tenuous position of the avant-garde, the survival of which is contingent on the presence of certain liberal democratic institutions. For me these concerns led to a systematic investigation of the censorship of Buren's installation at the 1971 Guggenheim International Exhibition. This was the last in a series of exhibitions that was to promote international goodwill by bringing together the best of recently produced works by contemporary avant-garde artists from around the world, and awarding prizes to those considered outstanding. But the real ideological significance of this show was apparent in the aggressive attempt by the administrators of the Guggenheim to promote American cultural superiority.
Buren was invited to contribute a piece to the show in the belief that his work fit into the formalist mode around which the exhibition was organized. Yet the day before the show opened Museum officials suddenly decided to remove his work from the exhibition. The official explanation provided by the authorities of the Guggenheim cited the size and placement of Buren's work as being in direct conflict with the work of other artists in the exhibition. However, this explanation was clearly specious given that the Guggenheim officials knew months in advance exactly what this work would look like, and its intended place of installation. Moreover, Museum officials used the complaints of four participating artists as justification for their actions. Meanwhile, fifteen other artists in the show objected to the Museum's use of censorship. The issue of the Guggenheim Museum's sudden decision to withdraw Buren's installation from the Sixth Guggenheim International is thus more complex than the official explanation would indicate.
My thesis contends that the abrupt removal of Daniel Buren's work is traceable to efforts by Guggenheim officials to protect other works in the exhibition, and the International series as a whole, from floating into the avant-gardist-traditionalist polemic that had again flared up in the New York art world. Chapters One and Two examine the organization of the 1971 Guggenheim International and the rationale behind that organization. Chapter Three looks at the threefold controversy surrounding the 1971 International: the conflict that arose between participating artists, the questions of censorship that were raised by the actions of Museum officials, and the overwhelmingly hostile critical response to the exhibition. This study investigates a period of social and epistemological rupture in American art, the reverberations of which continue to be felt today. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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Hanging Emily : exhibition strategies and Emily CarrKnutson, Karen Leslie 05 1900 (has links)
This study examines the impact of new museological theory on museum education
practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a
case study that concerns both the negotiation of meanings around Emily Carr's work as they
are situated within current and traditional art historical/ historical beliefs, and the desire to offer
museum visitors a more sufficient or comprehensive educational experience.
The dissertation examines the installation of Carr in a variety of galleries across
Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver
Art Gallery) as a means of contextualizing a range of problems associated with museum
practice. The National Gallery chapter explores issues of ideology raised by the new
museology. The chapter concerning the display at the Art Gallery of Greater Victoria
concerns the particularities of site and place (Victoria was Carr's birthplace) as well as
notions of resonance and contextualization in art displays. The discussion of the Art Gallery
of Ontario concerns contextualization of a different sort, the display created with a solid
foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with
that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of
subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the
Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in
the earlier chapters, by the challenges of post-modem theorists to historical understanding,
historiography, and museum practice. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate
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Tracing change in Northwest Coast exhibit and collection catalogues, 1949-1998Goudie, Tanya 11 1900 (has links)
This thesis explores changing perceptions, theory, structure and policy within art exhibit and
collection catalogues of First Peoples' objects from the Pacific Northwest Coast. This work looks
at emerging viewpoints on material culture and its display over forty years as they present
themselves in catalogue entries, textual content and labeling of Native groups and individuals.
Early concepts based on salvage anthropology such as Native cultural demise and the
degeneration of remaining people weakened as scholarship changed from a predominantly
anthropological understanding of the objects to an aesthetic understanding based in art history.
Political actions by Native groups have demanded policy changes within Canadian museum
structure that includes the Native voice in curatorial decisions and textual discussions on both old
and new objects. These very policy changes bring with them increased responsibility for the
museum as well as new challenges of representation of the objects and their makers. The theme
explored in this thesis is the changing role and responsibility of academia in the representation of
the Other. / Arts, Faculty of / Anthropology, Department of / Graduate
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WARP + WEFT : translating textiles into interior architecture - in search for inspiration and continuation of African textile traditionsRaubenheimer, Hendrieka 07 December 2012 (has links)
WARP and WEFT is a textile making guild, intricately woven into KNOOP, the proposed Clothing and Consumer Science building for the University of Pretoria. This building is situated in Hatfield next to the railway line, in close proximity to the Gautrain station and Rissik Station. KNOOP was designed in 2008 by Korine Stegmann in fulfilment of her MArch(Prof) at the University of Pretoria. Therefore, the building in which the intervention is proposed is, to date, only an architectural proposal and has not yet been built. The project was initiated due to a fascination with textiles and the relevance of textiles in interior architecture. This fascination with textiles is ascribed to the following: The first intriguing aspect of textiles is the structure and the underlying construction principles of textiles. The second aspect is the unique character of textiles compared to other building materials. Another interesting notion is the current international textile trend and current re-focus on textiles as a construction material after a long period of being neglected. The current hype about textiles is ascribed to the tactile qualities of textiles, which opposes an increasing movement towards virtualism. The raw and organic production process of handmade textiles is desirable and opposes automated production. Similarly to the Arts and Crafts movement, designers are once more interested in handmade products. Fourthly, textiles used in architecture has the intriguing ability to create an architecture which better relates to fashion in terms of fashion’s ability to easily change and adapt; fashion’s fleeting nature. Lastly, handmade textiles of a specific region have the ability to convey the identity of that specific region. This is a crucial ability to resist globalization and monotony in cultural identity. Appropriately, the fascination of this dissertation is with traditional African handmade textiles and its relevance in interior architecture. The contemporary unbuilt building was selected to demonstrate the value of a collaborative approach between an architect and interior architect prior to construction. The analysis of the architectural proposal shows that the interior architect can effectively recognize the strengths and weaknesses of a building from an interior perspective and enhance and improve these aspects. The aim is also to show that two programmes can function collaborative in one building and that intervention is possible within a building with a fixed programme. The site was selected due to the location and framework it falls within. The location of the site allows for exposure due to the pedestrian demand on the site. Also, the site is advantageously located within close proximity to main transportation nodes. The site falls within the extended Arcadia Arts and Cultural Corridor. The vision for this corridor is a lively and multicultural precinct which hosts a variety of arts and cultural facilities. The vision for these facilities is to portray the zest of local culture, especially to those disembarking the Gautrain. The textile making guild, WARP + WEFT is an important project within this precinct, due to the core concept of the guild to celebrate African textiles. The aim of the guild is to produce contemporary woven textiles which portray the identity of traditional African woven textiles. The vision for WARP + WEFT within the precinct is to exhibit textiles, expose the textile making processes and to create a unique African textile experience for both the public and the users of the guild. The interior intervention will celebrate African textiles by demonstrating how textiles are used to solve and embrace aspects identified through the analysis of the architectural proposal. These aspects include acoustic absorption, solar screening, adding softness, texture and colour to an environment predominantly defined by cold, hard, smooth and monotone surfaces, as well as providing versatile branding elements. The use of textiles in the interior intervention introduces the unique design question of how to design with textiles for a textile related programme, opposed to textiles being used for another programme, such as a theatre or a hotel. It is a matter of “textiles for textiles” instead of “textiles for music” or “textiles for sleeping”. The solution to this unique design problem is to differentiate between spaces which celebrate textiles by acting as a background or blank canvas for the exhibition and production of textiles and spaces which celebrate textiles by becoming textile-like. To create these spatial variations, the exclusive use of textiles is not sufficient. Textiles need to be translated into interior architecture which will be achieved through the following five methods: Translation through metaphor, translation through structure, interpretation of actual textiles, engagement through text and the translation of the unique qualities of textiles. Thus, the aim of the investigation is to celebrate textiles through the application of textiles and through the translation of textiles in interior architecture. / Dissertation MInt(Prof)--University of Pretoria, 2012 / Architecture / MInt(Prof) / Unrestricted
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Budoucnost brněnského výstaviště / Brno Trade Fairs FutureMičková, Markéta January 2018 (has links)
The diploma thesis follows the urban planning analysis of the BVV area, which was elaborated in the subject TG02 –Specializovanýateliér. The Diploma Project processes an architectural study of the hotel with a congress center. The request for the proposal was the classification of the building into First Class (**** hotel) according to the Official Uniform Classification of Accommodation Facilities of the Czech Republic, as well as the number of rooms 250. The congressional part should serve more than 2,000 persons. The design responds to the historical urbanism of the BVV area, where it retains and optically complements the view axis to the Z-pavilion. The building also reacts to the height next to the standing mansion. In its close proximity is the lower part of the building with the congress center, the height part with rooms is located on the opposite side, at the sports hall. The object is optically divided into two parts - a lower base and a "growing" height part with room. The congress and the hotel part are optically separated by planing offsets and façade solutions. Lower, congress, part orbit horizontal aluminum lamellas, instead, the hotel creates vertical lamellas. These lamellas serve not only as optical separation but also as shading.
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Whom Does the Object Call for? : Encoding activism in exhibitions in SwedenAddo, Giuseppina January 2021 (has links)
The museum of the twenty-first century is operating against the backdrop of ongoing social concerns pertaining to climate change, gender inequalities and racial tensions, and often exhibitions become the contact zones where those expressions are formulated. This research analyses how a democratic and inclusive philosophical perspective such as the Tigens Metod (or method of the thing) is executed by museum professionals. In doing so, Stuart Hall’s model of encoding/decoding is applied as the theoretical framework in investigating the process of exhibition production. It is argued that occasionally resistant positions can emerge from the museum’s ideological discourse and that key actors within the museum field yield different codes according to their own framework of knowledge and relations of production. This challenges the basic assumption in Hall’s model that media institutions yield one singular preferred code into the system. Overall, it is argued that an object-oriented democracy has the potential of challenging power structures, albeit still contingent upon the choices made by museum professionals.
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Výstavní galerie / Exhibition GalleryBednářová, Bronislava January 2014 (has links)
This master´s thesis is deal with design of steel structure of exhibition gallery. Layout od building is three-arm star, where each arm is rectangular with dimensions 6 x 18 m and arm has two floors. All three arms are connected to the hexagonal prism (space frame), which is on the second floor walkway and covered skylight. Maximum building height is 11.28 meters from the finished grade. The main structure of building is created by twelve frame in cross direction. The roof is flat. The surface of facade is glass created by aluminium structure.
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