Diplomová práce se zabývá transformací a novým návrhem funkčního využití území areálu výstaviště v Brně. Areál je vymezen od jihu velkým městským okruhem města Brna a od severu ulicí Hlinky. Cílem návrhu bylo oživit stávající hodnotné území tak, aby se z něho stal fungující městský organismus volně přístupný veřejnosti, který by tvořil symbiózu mezi historickou částí výstaviště a nově navrženou částí.

Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architecture. / The thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building.

There occurred a change in the Czech architecture from late historicism to modernism in the time from 1890's to the early 20th century. This thesis tries to demonstrate this change on the architecture of the pavilions during the Prague's great exhibitions that held in the years 1891-1908 at the Prague Exhibition Grounds at Holešovice. Individual attention will be focused on the Prague Jubilee Exhibition of 1891, the Czechoslavic Ethnographic Exhibition of 1895, Exhibition of Architects and Engineers of 1898 and Jubilee exhibition of the Trade and Business Chamber of 1908. After putting these exhibitions into the broader context and with the emphasis on significant buildings that should not be neglected as a part of the evolution of Czech architecture, this thesis tries to answer the introductory question whether the Prague Great Exhibitions played an essential role in the birth of Czech modern architecture.

The work at hand deals in a broader way with the placement of the Slavic Epic from an architectural point of view. The author first focuses on the role of historical monumental canvases in relation to the formation of the national identity and looks in this respect at some Czech monumental canvases before the Slavic Epic was painted. Another chapter deals primarily with the Slavic Epic. It presents a detailed view on a difficult process of finding a tailor-made exhibition space for the monumental canvas from the point Alfons Mucha started with its painting until the present time. It also shows specific demands on a building in which the Slavic Epic should have been placed. The next chapter presents all projects that have been made so far to build a new exhibition space for the Slavic Epic. Based on the analysis of this work the final chapter describes author's own ideal proposal of a complex architectural solution of the exhibition space which also encompasses exhibition management and marketing.

Qu’apportent la collecte et l’exposition des objets préislamiques et islamiques dans la définition d’un rapport spécifique entre l’Arabie saoudite et ses objets archéologiques ? Il s’agit de rendre compte de l’activité de conservation saoudienne « consciente et systématique » pour comprendre la manière dont des objets archéologiques sont parvenus à incarner un pan du « patrimoine » du berceau de l’Islam. L’étude de la collecte et de l’exposition d’objets archéologiques dans une approche centrée sur l’objet doit permettre de décrire les évolutions de sens donnés aux objets préislamiques et islamiques en Arabie saoudite. Le propos est organisé en deux parties. La première a pour objectif de présenter, et le processus de collecte de l’objet archéologique en Arabie ottomane puis saoudite (1761-1981), et ses conséquences sur la reconnaissance des objets archéologiques transformées en antiquités nationales. Un suivi chronologique a été privilégié, depuis les missions ethnographiques, épigraphiques et archéologiques menées entre 1761 et 1953 par des étrangers jusqu’à la nationalisation saoudienne de l’archéologie avec la création d’un Département des Antiquités et Musées en 1963 et d’un Département d’Archéologie à la King Saud University en 1966, et le lancement d’un premier plan quinquennal de fouilles archéologiques entre 1976 et 1981. La seconde partie présente le processus d’exposition publique de ces nouvelles antiquités nationales. Le déroulé chronologique est poursuivi pour rendre compte de trois contextes d’exposition de ces antiquités entre 1978 et 2015 : en musées régionaux, en musée national, et dans le cadre d’expositions temporaires à l’étranger. Le récit de ces expositions amène à percevoir les transformations sémiotiques des objets archéologiques et à véritablement présenter la reconnaissance du passé préislamique de l’Arabie saoudite. / What do the processes of collection and exhibition of pre-Islamic and Islamic objects bring to the definition of a specific relationship between Saudi Arabia and its archaeological objects? The objective is to describe the “conscious and systematic” Saudi conservation activities to understand how archaeological objects have come to embody pieces of the cradle of Islam’s “heritage”. To study the collection and exhibition of archaeological objects from a centred-object approach should allow the understanding of the recognition given to pre-Islamic and Islamic objects in Saudi Arabia. The thesis is organized in two parts. The first aims to introduce the collection process of archaeological objects in Ottoman and Saudi Arabia (1761-1981) as well as its impact on the recognition of archaeological objects transformed into national antiquities. A chronological track is privileged, from ethnographic scientific missions to epigraphic and archaeological ones conducted between 1761 and 1953 by foreigners, to the Saudi nationalization of archaeology along with the creation of a Department of Antiquities and Museums in 1963 and of a Department of Archaeology at the King Saud University in 1967, and the launch of a first five-year plan of archaeological excavations between 1976 and 1981. The second part presents the public exhibition process of these national antiquities. The chronological path followed in the first part is pursued to account for three exhibition contexts of these antiquities between 1978 and 2015: in regional museums, in the National Museum, and within temporary exhibitions abroad. The presentation of these exhibitions leads to the understanding of both the semiotic transformation of collected archaeological objects and the inner recognition of the pre-Islamic past of Saudi Arabia.

Interactive digital technology has been increasingly used for the purpose of audiencedevelopment by art museums and galleries alike. However, existing research and practicehave provided limited insights on how to design virtual exhibitions, which provide richinteractions with digital artworks. This study explores how play and game design conceptscan be used to create new interactions when experiencing virtual exhibitions. Additionally,it explores how the familiarity of a virtualised space affects the interaction and theexperiences of interactive digital artwork. To do so, it draws on the concepts of play andgame mechanics, which together with the design of the virtual space and the interactiveartwork create an ‘experiential whole’. Methodologically, it employs the research throughdesign approach, utilising a combination of exploratory designs, playtests with audienceand semi-structured interviews. The main results from the playtests show that playfulinteractions have a positive effect on participants when they have more freedom in a virtualsetting and make the experience more memorable and meaningful in a familiar space. Thethesis is contributing to knowledge on the implementation of game mechanics, whichencourage the exploration and creation of playful interactions, that can be used by otherdesigners to enhance the connection with digital art, and create stronger ties between artinstitutions and visitors.

This study examinates technology's traumatic impact on the male subject in The Atrocity Exhibition by J.G. Ballard. In my analysis I show how the protagonist uses a fetischistic strategy in order to make sense of the trauma that technology embeds. Paradoxically it proves to be the agent of his trauma, but also functions as his shield. The machine is thus in a position of the hinge, the point in a structural system that both enables and deconstruct the system. In the same position we find the woman. She is the very epicentre of the novel and the violence directed towards her is part of a complex problem that I adress. The woman is divided into pieces and fetischized by the male gaze to serve as a solution for his trauma. Hal Foster's notion ”the double logic of prosthesis” constitutes a theoretical base. The model shows how a fetischistic strategy is applied by avant-garde artists to solve the technological trauma that they experience. Both content and composition of The Atrocity Exhibition are inspired by avant-garde practices, I have therefore compared the text with Foster's theory on how the avant-garde problematized the interaction between man and machine. Marshall McLuhan's belief that the human body and technology are inseparable in the era of electronics further helps me to study technology's effect on perception.

Peruvian auteur cinema has faced problems of distribution and cinematographic exhibition in the windows of massive scope. Most of the exhibition windows have been monopolized by big Hollywood productions. Currently, the mandatory confinement due to COVID-19 has accelerated and materialized a digital transformation process that was under development. That is why the main objective of the research seeks to analyze how the digital transformation in the distribution and exhibition channels contributes to Peruvian auteur cinema. In order to carry out this objective, an interpretative research was conducted with a qualitative data methodology. The selected categories were: auteur cinema, digital transformation and distribution and exhibition channels. Semi-structured interviews were conducted with specialists in marketing and film production. In conclusion, from the perspective of the specialists, it is indicated that such transformation allows opening markets and serving audiences that were historically neglected before. Finally, there was a lack of specialization in the different areas of distribution and audience development, demonstrating the importance of the participation of professionals specialized in marketing to lead these processes. © 2022, The Author(s), under exclusive license to Springer Nature Singapore Pte Ltd.

The diploma work titled Ex/position is a project, exhibition, intervention of space, which determined itself as the topic and object of its research (analysis and interest). The Ex/position is an exhibition about an exhibition, a project about a project and a reflection about a context. The main output of the thesis is a curatorial project created in the concept of collaborative practice. The result of it is a collective work in the form of an exhibition. The thesis as a temporary gallery installation is created on the basis of the curatorial and as well authorial concept in collaboration with other authors. They were ideologically, formally, creationally involved in the collective work. The Ex/position reflects these topics: collaboration, the essence of the particular media and their contemporary intermediality, the relation between author and author, author and curator (and their blending) and the creation process of an exhibition.

Project of revitalization of Technical museum Brno deals with extension of its complex. Museum has not enough capacity to shelter and expose all its large vehicles. The extension of transport museum is designed as an urban complex based on axes. The large architectural scale presents monumental objects as small as collection of toys. Typology is minimalistic and variable so it could react on various demands of exhibitions designers and public. Analytical part examines researches about museum exhibition's evolution and contemporary trends.