2030 marks the 100-year anniversary of The Stockholm Exhibition 1930 and what is often described as an important breakthrough of modernism in Sweden. The “special exhibition” Svea Rike - with the task of strengthening the national identity- has not been given the same attention as other exhibition halls in The Stockholm Exhibition in architectural history. Svea Rike was not part of the initial plans of The Stockholm Exhibition 1930 and is therefore missing in the early and most published plans and models of the exhibition. Exterior and interior photographs of the special exhibition disclose parts of Svea Rike but it’s never entirely uncovered.  In the Svea Rike pavilion at The Stockholm Exhibition 1930 the development of Sweden was shown in a full picture and near the entrance, Herman Lundborg, Head of the State Institute for Racial Biology in Uppsala presented his work on typical racial descriptions and the significance of heritage through photographs, sculptures, and illustration. To see the building Svea Rike is also to see how race and modernity are interconnected and central in the history. Through careful research into archives and collections, examining drawings, photographs, objects, correspondence and other texts, this project aims to find out what the building Svea Rike looked like. Through reading, investigating, approximating, drawing, and model, information is overlapped and a reconstruction of Svea Rike offers a way to see the Stockholm Exhibition from the building Svea Rike.

Buying and viewing art has gone from being a traditionally physical experience to becoming digital. Due to limitations in today's two-dimensional e-commerce websites, 3D technology can be used to simulate the physical experience as much as possible. This thesis studies which factors can potentially play an important role in online art purchases, of which trust on the artist, familiarity to the artist and understanding more in depth the painting techniques were found to be the most influential on enhancing the viewers experience and engagement with a painting viewed online. These factors were later implemented in a 3D exhibition. Interaction, video, light, spatial perception and interior design contributed to a more holistic experience of art in a 3D environment. A conceptual model is then proposed to offer users as realistic and applied experience as possible that can also contribute to a greater willingness to buy art online. / Att köpa och uppleva på konst har gått från att vara en traditionellt fysisk upplevelse till att bli en digital. På grund av begränsningar i dagens tvådimensionella e-handelswebbplatser kan 3D-teknik användas för att simulera den fysiska upplevelsen så mycket som möjligt. Den här avhandlingen studerar vilka faktorer som potentiellt kan spela en viktig roll i onlineköp av konst, varav tillit till konstnären, kännedom om konstnären och en djupare förståelse av målartekniken visade sig vara de mest inflytelserika för att förbättra deltagarnas upplevelse och engagemang av konst som visas online. Dessa faktorer implementerades senare i en 3D-utställning. Resultaten visade att interaktion, video, ljus, rumslig uppfattning och interiördesign bidrog till en helhetsupplevelse av konst i en 3D-miljö. En konceptuell modell föreslås sedan för att erbjuda användare en så realistisk och tillämpad upplevelse som möjligt som också kan bidra till en större vilja att köpa konst online

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Among the founders of the science of town planning at the beginning of the twentieth century, Scotsman Patrick Geddes introduced methods of investigation commensurate with other sciences. A biologist, trained by Thomas Huxley, Geddes borrowed the practices of the microscopical laboratory in creating the Outlook Tower in Edinburgh, Scotland which served as a model for an approach to the study of cities. His method was like that of a field botanist studying a species, and assumed an interdependent relationship between place, work and folk. Embracing the evolutionary theory of Charles Darwin, Geddes proposed subtle town planning interventions as a means by which cities could adaptively respond to change over time. He advocated the employ of a graphic device, which he called his "thinking machines," and which served as a paradigmatic strategy to forge new relationships within sets of ideas. Such an approach aligned him with the taxonomic strategies in practice in the formation of museum collections and display of the nineteenth century. This work examines the archival evidence of the principles underlying Geddes' methods in the hope that they may be recovered in contemporary town planning. / Ph. D.

Propolis – Creating and using an immersive 2D honey bee environment to educate children between the ages of 3-10, about the importance of honey bees. This capstone project will showcase this researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. Within this structure, individuals will be able to observe, determine, and make comparisons between a healthy bee colony and one that is fragile and dying. / Master of Fine Arts / "Honey bees have been on the decline. As of 2016, eight species of bees made it on the United States (U.S.) endangered species list. It reported that the decline of pollinators is due to industrial agriculture, parasites, pathogens, and climate change" (Contributors 2020). The loss of habitat and lack of nectar is due to monocultures and bee-killing pesticides. These are significant threats to honey bees and wild pollinators. There is a need for good, clean food providing for a healthy existence for the honey bee. When bees have proper nutrients, the result is a healthy hive that gives mature bees a better chance to fight off diseases. To showcase the life of a honey bee, this researcher created an immersive environment that simulates a hive structure. The structure, along with the motion graphics and critical takeaway printed pieces, is to help children between the ages of 3-10 understand the importance of honey bees. By comparing healthy and unhealthy bees in their natural habitat in an illustration format, the children could empathize with the honey bees. Hopefully, they will one day change the fate of these amazing creatures. The immersive environment will emulate a spatial audio, 2D character illustration, and animation projected onto a honeycomb structure. Custom seed packets and a brochure will accompany the immersive environment to allow the children to plant a bee-friendly garden and to learn more about the honey bees. This capstone project will showcase the researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. This structure will allow individuals to observe, determine, and make comparisons between a healthy colony and one that is fragile and dying.

This research examines how the practice of curating has been used to further counter-hegemonic agendas in public art institutions since 1989. The central aim is to provide a fuller, contextualised, and medium specific understanding of the how the institutional exhibition might be used to challenge the hegemony of neoliberalism and the post-political consensus politics that sustains its dominance. It provides insights, through both historic case studies and reflective practice, that problematise the idea that the institutional art exhibition is a viable medium for counter-hegemonic critique, or represents the ideal space for the development of an agonistic public discourse. This thesis presents collaborative research undertaken with Tate Liverpool and Liverpool John Moores University. The research presented both extrapolated from, and contributed to, the development of an exhibition, co-curated with Tate Liverpool, entitled Art Turning Left (8 November 2013 – 2 February 2014) and a supplementary publication of the same name. The first section investigates how the idea that curators can counter neoliberal dominance, through institutional exhibition-making, developed. It draws from analyses of previous exhibitions, and the theory of Chantal Mouffe, in order to critically evaluate the curatorial application of counter-hegemonic critique and agonistic practice. It also provides a review of how exhibitions (held in major art institutions since 1989) have articulated politics, in order to determine their relationship to neoliberal dominance, and to identify significant gaps in the dialogue facilitated by these institutions. These analyses provides the theoretical and contextual grounding for the final two chapters, which provide a rationale and critical evaluation of my own attempt to develop an alternative counter-hegemonic curatorial strategy for the exhibition at Tate Liverpool. They document, and analyse, the areas of dissensus, and the ideological and pragmatic limitations that emerged, in trying to realise these theoretical propositions (in practice) in a public art museum. The thesis therefore provides a critical framework for the development of an alternative practice that positions the exhibition as a form of post-political critique and specifically targets the hegemonic role that institutional exhibitions play in reinforcing class distinctions and devaluing nonprofessional creativity.

The paper focuses on the Czechoslovak pavilions at the 1967 and 1970 World Expos. Both events took place in the period around 1968, when, however briefly, the Czechoslovak visual arts partially overlapped with the state's cultural policy. The pavilions (especially at Expo 70) also reflected the socio- political contexts of the year 1968.. In Czechoslovakia towards the end of the 1960s, the purpose of "exhibitioning" - i.e., the state-sponsored exhibition trade - was to communicate with the public and to (re)present the country abroad. Its main goal was to promote and spread the ruling ideology. On the other hand, the Czechoslovak visual arts scene was beginning to consciously work with the medium of the exhibition as a comprehensively composed unit, either through innovative exhibition design and installation or through installation art. While the exhibition trade reached its high point in the 1960s and began to disintegrate into rigid mannerism towards the end of the decade, real experiments with the format of the art exhibition were just beginning. This study focuses on the question of how these two fields (art and the exhibition trade) approached the medium of the exhibition in the 1960s. I study the Czechoslovak pavilions as a cultural artifact in which aesthetic, social, political, and economic forces...

台灣伊斯蘭教(臺灣仍慣稱回教)的發展自古至今分為兩個階段,即明清時 期與 1949 及以後,且皆由中國大陸遷移而來。隨著 1949 年國民黨退居臺灣以來, 數萬信奉伊斯蘭教的軍公教人員分多批次隨之來台,使伊斯蘭教(回教)在臺灣 的發展加入了新的蓬勃血脈,雖然來台原因多有悲情成分,但此卻可謂是伊斯蘭 教(回教)在近現代正式傳入臺灣之始。 作為台灣的極少數族群,僅佔台灣人口 0.23%的台灣華人穆斯林如今已有明 顯的地方化與生活化現象,隨著老一代教胞的逐漸消逝與新生代脫教問題在該群 族中日益顯現,臺灣華人穆斯林的傳承問題便尤為棘手。對於臺灣社會來講,甚 少有人留意這群在臺灣多元社會中來自他鄉的離散者,實踐著與臺灣宗教生活中 佔據主流地方的佛教、道教信仰截然不同之宗教。此番情勢與穆斯林議題在世界 範圍內的討論熱度天壤之別,但卻與台灣在世界版圖中咸少被人提及的情況不謀 而合,而這本身亦是一種「弔詭」的現象值得人們反思。 本創作是台灣首次以民族誌影像的方式,利用紀實攝影手法完成的專題圖片 深度報導,主要拍攝為北台灣華語穆斯林族群,選取台北清真寺及桃園龍岡清真 寺為田野調查點,通過在這兩座清真寺進行日常禮拜的穆斯林,尋找不同年齡 層、不同性別、不同家庭環境的拍攝對象,力圖盡可能全面的再現北台灣華語穆 斯林宗教活動及日常生活的點滴過程,并最終以展覽形式呈現於世人。 / Islam in Taiwan-usually still called Hui Religion-has developed as two stages, Ming & Qing Dynasties and after 1949, which both were originated from Mainland China. Since Kuomintang’s retreat in 1949, thousands of Islamic soldiers came to Taiwan, infusing new blood into Islam’s development. Although the retreat is somewhat tragic, this could be called the formal initiation of modern Islam in Taiwan. Living as minorities in Taiwan with a population of only 0.23% in Taiwan, Asian Islam have been very much localized. Given that old Muslims are passing away and new generations are no longer believing in Islam, the problem of inheritance becomes more and more tough. In Taiwan, few people notice that these travelers have been living a different religious life different from the mainstream Buddhism or Taoism, which is totally the opposite compared with the world scale. However, both being ignored by the world, it coincides with Taiwan’s international position, which is unusual and worth study. This investigative project is designed to show as realistic as possible Asian Islam’s life in Taiwan as a whole by documenting religious and daily lives of Muslims of different ages, genders and families through photography, who are mainly from Northern Taiwan. Field researches have been done in Taipei Mosque and Taoyuan City Mosque. The final product will be a photo exhibition the mass.