Through inquiry, experience, and discovery, this practicum reveals the landscape of Old Wives Lake, Saskatchewan and the prairie pothole region that surrounds it. It is my intention for this work to become a device for the revealing of unseen forces, for the creation of a different attention, an altering of perception, and an openness to a unique landscape of ever changing and shifting phenomena. It is accepted that complex systems, cannot be fully understood without time, patience, and commitment; however, through learning, understanding and revealing, the potential to not simply ‘see’ a landscape, but ‘read’ a landscape is harvested to enlighten and share in its discovery. The result is an exhibition of the unexpected Saskatchewan landscape.

An exhibition space is neither neutral nor universal and meaning is continually constructed within these mediated spaces. My thesis is an examination of two instances where artists have broken outside the box and carefully crafted unique exhibition spaces within which an intentional dialogue between art works and viewer, art works and space, content and context is established. It considers two twentieth century artists from the United States of America, Mark Rothko and Donald Judd, both of whom rethought and ultimately rejected the mediating constraints prevalent in the conventional exhibition spaces of their time. Seeking to install their work on a permanent basis outside these preexisting, traditional spaces, the alternatives they created -- the Rothko Chapel, Houston, Texas and The Chinati Foundation, Marfa, Texas, respectively -- are predicated, I argue, upon their anarchism and thus the anarchist paradigms of individual autonomy, liberty and non-coercion. In light of their politics, I assess how the core tenet of sovereignty not only had implications for Rothko and Judd -- for it fuelled the drive to create these alternative sites -- but that there are also implications for the viewer. More specifically, after an analysis of the sites I reflect upon the consequences for the spectator in terms of the following: the co-relation between anti-authoritarian ‘open’ social systems and the ‘open’ art experience; the value of directly experiencing anti-representational work; intersubjectivity and the multiplicity of meanings; and last, the temporal nature of the embodied viewing experience.

Hochfliegende Raumfahrt-, Atom- und Automatisierungsvisionen revitalisierten seit den 1950er Jahren die Popularisierung von Zukunftstechnik. Selbst die Psychiatrische Landesanstalt Hubertusburg blieb von diesen Zeitströmungen nicht unberührt: Karl Hans Janke (1909–1988) entwarf in den fast vier Jahrzehnten, die er in Wermsdorf wegen "chronisch paranoider Schizophrenie" verbrachte, tausende Fahr- und Flugzeuge, Raumschiffe und Triebwerke, Energiekonzepte und elektrische Geräte. Der begabte Zeichner und Konstrukteur bastelte zahlreiche Modelle und arbeitete an einer alternativen Entwicklungsgeschichte des Menschen, die er in seine Kosmologie einbettete. Dazu hielt er Vorträge und korrespondierte mit Betrieben und staatlichen Stellen.

Anlässlich des zwanzigsten Jahrestages der politischen Wende in Ostdeutschland fanden zahlreiche Ausstellungen statt, die sich mit der Kunstproduktion in der DDR beschäftigten. Ausgehend von Ausstellungen in Berlin, Dresden und Leipzig untersucht der Beitrag Auswahl und Präsentation prozessorientierter Kunstformen.

En España, al igual que en el resto de países europeos a finales del siglo XIX y principios del XX, se hace exhibición de "lo primitivo": personas (indígenas procedentes de los nuevos territorios colonizados) y objetos (piezas de arte y artefactos de la cultura material de los indígenas procedentes de las colonias). Algunas de estas muestras coinciden con las primeras exposiciones organizadas en España: Exposición General de las Islas Filipinas en Madrid (1887), Exposición Universal de Barcelona (1888) y Exposición Internacional de Barcelona (1929). El presente trabajo analiza la presencia o ausencia de "lo primitivo" (personas y objetos) en los principales acontecimientos expositivos españoles, su relación con acontecimientos homónimos en otros países europeos y su posible recepción en colecciones museísticas (museos de antropología, etnología y misionales). / In Spain, as in the rest of European countries at the end of the nineteenth century and beginning of the twentieth, aboriginal from the new colonized territories and "primitive" objects (art and artefacts from the material culture of the colonies) were also exhibited. Some of these events coincide with the first organized Exhibitions in Spain: General Exhibition of the Philippines Islands in Madrid (1887), Barcelona World Exhibition (1888) and Barcelona International Exhibition (1929). This work analyzes the presence or absence of "the primitive" (people and objects) in the major Spanish exhibitions, the relationship with similar events in other European countries and the possible reception in museum collections (museums of anthropology, ethnology and missionary).

This thesis bridges narrative theory and the practice of developing narrative exhibitions in museums. It aims to show how an understanding of narrative theory provides a dynamic context for evaluating ongoing exhibition practices and adapting them to changing attitudes and aspirations. For practitioners within the museum sector it introduces a rich body of previously under-utilised scholarship along with a method of interfacing it with museum practice. The idea of deriving ideas for museums from other sectors is not new. Museums increasingly embraced narrative in the 1980s after seeing its value in attracting audiences to film, theatre and theme-parks. Then it was assumed that what was relevant in one sector would be equally relevant in another. However, the interim upsurge of Media Studies suggests that rigorous examination of how each medium operates is necessary in order to identify similar constraints and affordances before scholarship from one area of practice can be appropriately applied in another sector. In opening a path for museum practitioners to gain insight from narrative practitioners in other sectors, the thesis intends also to open the way for knowledge to flow from the discipline of museum studies out into other areas of narrative practice, where cross-disciplinary approaches have already gained ground. At the outset, a context is established through a review of narrative literature. Two different approaches are used. Firstly a broad review of different ways to approach narrative is carried out and a typology of narrative is developed. Secondly commonalities are identified between narrative in exhibitions and narrative practice in other media. Exhibition practices are then described in detail, focusing on experience at the Museum of New Zealand Te Papa Tongarewa, where research was enriched by in-depth interviews with exhibition development staff. Te Papa’s development of narrative exhibitions is traced, and two case studies demonstrate how their model is put into practice to achieve narrative delivery within the museum galleries. For museum professionals and narrative practitioners in other fields, this thesis provides an opportunity to examine processes of narrative delivery against a backdrop of theory. It makes a useful link between the museum sector and other areas of narrative practice.

Cette thèse porte sur les expositions de jeux vidéo présentées dans les institutions muséales, dans lesquelles on trouve des jeux issus du commerce. L’analyse s’intéresse aux changements de signification et d’usage que subissent ces jeux vidéo en passant tour à tour du salon familial aux espaces de conception muséographique, puis au lieu d’exposition. La thèse s’appuie sur une enquête de terrain lors de l’une de ces expositions. Elle est complétée par l’étude des politiques publiques en faveur du jeu vidéo, ainsi que par un état des lieux de l’utilisation du jeu vidéo dans les institutions muséales. Ce travail adopte une démarche interdisciplinaire afin d’étudier les dimensions symbolique, sociale et matérielle de l’objet. Ancrée dans les Cultural Studies et l’étude de la dimension culturelle des changements sociaux, ce travail tire également profit de travaux et méthodes des Sciences de l’Information et de la Communication, de la Sociologie ainsi que des études de genre. La thèse rend compte de l’articulation entre trois moments de la construction du jeu vidéo comme objet muséal. Le premier est la reconnaissance du jeu vidéo comme bien culturel par des politiques publiques et des institutions. Le second est celui de la conception d’une exposition sur le jeu vidéo dans un centre de sciences, qui suppose le détournement de jeux vidéo pour concevoir des installations interactives. Le troisième est celui de la visite de l’exposition par les publics et des significations qu’ils produisent. Loin d’être isolés les uns des autres, ces trois moments s’enchevêtrent et nous portons une attention particulière à la manière dont les pratiques des unes et des autres se co-construisent. / This research explores exhibitions of video games featured in museums, in which commercial gaming products can be found. The study focuses on the changes of signification and uses that affect videogames during their shift from family living room to exhibition spaces, and investigates the professional spaces where the exhibition is designed. It relies on a field work during one of these exhibitions,completed by a study of public policy and the uses of video games in French museums. The study employs an interdisciplinary approach to explore the social, symbolic and material aspects of the object. This research is rooted in Cultural Studies and the study of the cultural aspects of social change. It also evokes various domains such as Communication, Sociology and Gender Studies. This research explores the articulation between three moments constructing video game as a museum object. First, the recognition of video game as a cultural good by public policies. Second, the design of a video game exhibition in a science center, that implies the modification of video games to create interactive exhibits. Third, the exhibition visited by people and the significance they grasp. Far from being isolated, these three moments are parts of a context where these different practices enrich one another.

EXPRMNTL fut probablement la plus importante manifestation jamais consacrée au cinéma expérimental. Conçu et organisé par Jacques Ledoux et la Cinémathèque royale de Belgique, le festival de Knokke / Bruxelles, qui ne connut que cinq éditions (1949, 1958, 1963, 1967, 1974) jouit aujourd'hui d'un statut mythique. Cette initiative singulière et inclassable fut bien davantage qu'un simple festival de cinéma : un point de rencontre pour la création d'avant-garde et la pensée contemporaine, un événement placé sous le signe de l'imprévu, du désir et de la contestation, y compris celle du festival même. En somme : une manifestation à ce point cohérente avec son objet qu'elle fut en elle-même une expérience. Cette recherche retrace l'histoire des cinq éditions du festival, de sa naissance à sa disparition. Elle se fonde sur les archives de la manifestation, jusqu'ici inexplorées, sur les comptes-rendus parus dans la presse de l'époque et sur de nombreux entretiens avec des acteurs et témoins. / EXPRMNTL was probably the most important event ever devoted to experimental cinema. Designed and organized by Jacques Ledoux and the Royal Belgian Film Archives, the festival of Knokke / Brussels, which only had five editions (1949, 1958, 1963, 1967, 1974) now enjoys a mythical status. This unique and unclassifiable initiative was more than just a film festival: a meeting point for avant-garde culture and contemporary thinking, an event placed under the sign of the unexpected, desire and protest, including that of the festival itself. In short: an event so consistent with its object that it was in itself an experience. This research traces the history of the five editions of the festival. It is based on the hitherto unexplored archives of the event, the reports published in the press at the time and many interviews with protagonists and witnesses.

Denna studie är ett examensarbete som utförs som en del av utbildningen Produktutveckling med inriktning ljusdesign under våren 2018 vid Jönköpings Tekniska Högskola. Studien gjordes för att undersöka hur belysning kan underlätta orientering i mörka utställningsrum, utan att negativt påverka den upplevda atmosfären samtidigt som utställningsföremålen är i fokus för besökarna. Målet är att kunskapen som samlas in från denna studie ska kunna användas för att skapa ett underlag vid planering av belysning på Marinmuseet i Karlskrona. Studien genomfördes först genom en förstudie där problem och förutsättningar för att orientera sig i mörka utställningsrum undersöktes genom en enkät och en observationsstudie på Vasamuseet och Marinmuseet. En huvudstudie genomfördes sedan på Marinmuseet där. Lou Michels teori Visual Objective Theory prövades som ett verktyg för att underlätta orientering i mörka utställningsrum. Huvudstudien genomfördes under två dagar med hjälp av en enkätundersökning och en observationsstudie. Resultatet från enkätstudien antydde att upplevelsen av atmosfär kan påverkas av Visual Objective Theory, dock finns det inget som pekar mot att den påverkas negativt. I övrigt gav enkätstudien inga starka implikationer till en slutsats. Observationsstudien var mer tydlig och gav underlag för att Visual Objective Theory är ett bra verktyg för att påverka besökarnas rörelsemönster. / This study is a thesis performed as a part of the education Product development aligned with Lighting design during the spring 2018 at Jönköping School of Engineering. This study was made to research how lighting can facilitate orientation in dark exhibition rooms, without negatively affecting the experienced atmosphere while at the same time maintaining the exhibition subjects in focus for the visitors. The goal is that the knowledge collected from this study can be used as a basis when planning lighting at the Marine Museum in Karlskrona. The study was first performed through a prestudy where problems and conditions for orienting in dark exhibition rooms was tested with a survey and an observational study at the Vasamuseet and Marinmuseet. A main study was then performed at Marinmuseet, where Lou Michels theory Visual Objective Theory was tested as a tool to facilitate orientation in dark exhibition rooms. The main study was performed during two days, containing a questionnaire and an observational study. The results from the survey implied that the experience of atmosphere can be affected by Visual Objective Theory, however there is nothing implying that the experience is negatively affected. Other than that the results from the survey gave no strong implications for a conclusion. The observational study was clearer and gave support for Visual Objective Theory being a good tool for affecting the visitors movement patterns.

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.