This thesis aims to create an urban concept for the Brno Exhibition Centre, which is located in the city of Pisarky. The aim was to create new functional and urban design for the whole area. When the work was important to evaluate the use and functionality of the existing exhibition center. There was also necessary to take into account a large number of historically protected buildings and green space, find new application for objects. An equally important factor was the overall closeness of BVV.

The Costume Museum of Canada (CMC) is the first of its kind in Canada. It works as a comprehensive repository where Canadian clothing and textile artifacts are collected, preserved, and presented. Traveling exhibits are important to the CMC to present the collection to a wider audience; however, the CMC’s financial limitations restrict how they can support traveling exhibitions. This practicum project addresses the desire of the museum for a facility to stage traveling exhibits by the design of a Traveling Exhibition System (TES) for the CMC. The practicum explores the concepts of cultural communication, narratology and mise-en-scene. It will facilitate Canadian cultural education through the exhibition of CMC’s vast collection of costumes and related accessories in a cost effective and sustainable manner. TES will be an exhibit system that can be set up within existing buildings and spaces. The project offers the possibility for the CMC to generate revenue and to facilitate dissemination of Canadian fashion culture and history regionally and nationally.

The principal research question of this study is framed as: Do prevailing, industrially and politically sourced definitions of Digital Exhibition faithfully represent the phenomenon's position within the contemporary media theory framework? Within this work Digital Exhibition is defined as: The practice of presenting moving images, either live or pre-recorded, to paying audiences, in public spaces, by means of digital distribution and projection. The majority of established literatures concerning Digital Exhibition are aimed at producing categorical definitions of the phenomenon. These 'meaning making' discourses commonly stem from potentially ideologically affected sources. To address this issue, the author has investigated the political economy of key commentators, and Digital Exhibition has been impartially researched following a 'case studies' methodology; with an analytical framework based upon a series of 'plausible rival hypotheses'. These hypotheses include that Digital Exhibitionism is: • a form of the cinema • a form of television • a new (new media) medium • multiple media • not a medium. It is presented that each investigated hypothesis can be argued to be legitimate when employing established media theories as the means of rationalisation. Nevertheless, the author concludes that individual industrially/politically charged definitions still do not provide an adequately comprehensive account as to the wealth of interpretations that can be drawn for Digital Exhibition. The author also presents his own perspective as to the subjective nature of contemporary media taxonomies, and ultimately proposes that Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals.

Modest Mussorgsky (1839-1881) never published his piano suite, Pictures at an Exhibition. The first publication of the Pictures was Nikolai Rimsky-Korsakov’s (1844-1908) piano edition in 1886, five years after Mussorgsky’s death. Among several piano editions of Pictures, Manfred Schandert’s urtext piano edition of 1984 has shed new light on the piano suite. The urtext edition is based on a facsimile of Mussorgsky’s autograph, and Schandert’s authoritative urtext contains all of Mussorgsky’s musical indications that previous editions neglected to include. Previous orchestrations based on less comprehensive editions include well-known orchestrations by Maurice Ravel (1875-1937) and Leopold Stokowski (1882-1977). Vladimir Ashkenazy (b. 1937), on the other hand, derived his orchestration directly from the Schandert edition. In this study I argue that Ashkenazy offers “corrections” to his predecessors, Ravel and Stokowski, whose orchestrations differ—at times radically—from Mussorgsky’s autograph. This dissertation thus will explore the significant features of Ashkenazy’s orchestration in relation to the urtext edition by comparing it to the orchestrations of Ravel and Stokowski. In an age of attempts to present “authentic” versions of past music, Ashkenazy’s orchestration provides an authenticity that other orchestrations lack. Ashkenazy’s orchestration of Pictures at an Exhibition provides conductors an alternative performance option that is both effective and more closely related to Mussorgsky’s autograph.

In her 2005 essay "From the Critique of Institutions to an Institution of Critique,"artist Andrea Fraser declares that institutional critique is dead and she accordingly callsfor an institution of critique engaged in a practice of self-criticism. This thesis considersthe similarity of the institution of critique to museologist Eilean Hooper-Greenhill'sconceptualization of the post-museum to determine how the institution of critique and the post-museum might inform one another in their current nascent stages.This thesis analyzes publications about institutional critique, essays theorizing the post-museum, and publications that contain theoretical discourses central to realizing an institution of critique and post-museum, none of which consider the institution of critique in relation to the post-museum. This thesis uses these publications to examine the development of the institution of critique and the post-museum in order to demonstrate how one example of the institution of critique serves as a model for the post-museum.

I prefer to make my work specifically for an exhibition about a place. I'll spend days, sometimes months, exploring this place without preconceptions - walking the roads or trails or fields, falling in love with aspects of the landscape, considering questions the place suggests before I begin to contemplate how to make them into images. The actual making of images helps me to refine thought that is often elusive, contradictory, or enigmatic. Each pinhole photograph, painting, sketchbook, found object, sculpture, or drawing provides its own tools for reflection. Over time, these processes form hundreds of images. Some will begin to call themselves together and somehow suggest a new perspective, a cumulative image that reveals something heretofore unseen about this place, even to me. With these new insights in mind, I begin to cull the images, seeking to draft a sense of place, to part out from complexity a body of work that I hope will allow viewers to contemplate a place through the language of its own images.

I am interested in the dual meaning of pattern. Pattern is a design format used for decoration. By introducing certain images into patterns, they have the ability to give meaning or messages. The repetition of a certain image emphasizes importance to a particular idea or issue. I embroider pattern designs onto pre-manufactured clothing pattern pieces as a response to things in society that I find absurd. This body of work focuses on female iconography. The delicate nature of these materials lends themselves to feminine associations. Embroidery, which is stereotypically associated with women's work, is used to play on these clichés.Patterns also are instructions. The original intent for these pattern pieces was to construct a wearable garment. I am using these specifically shaped pieces to create flat representational images on the wall to point to the "roles" that people undertake consciously or unconsciously in their lives.

During the first half of the nineteenth century in many cities in Germany, England and the United States, free and public galleries were opened to encourage the purchase of art works. Some sponsoring organizations were controlled by artists and some by interested lay persons. All of the sponsors hoped to educate the public and to elevate artistic taste as well as to sell works of art. Many of the organizations offered a premium in the form of a yearly engraving to induce interest and to promote membership. Often there was an annual distribution of paintings and other works of art by lottery. In several cities in the United States these organizations, which were called art unions, began offering memberships. The largest and most influential in the United States was the American Art-Union in New York. However, their success was short lived; by the mid-eighteen fifties, they had closed their doors.

O conceito de interatividade tem sido amplamente utilizado como premissa para a estruturação institucional de museus, sendo comumente introduzido no espaço museológico nas décadas recentes. A museografia interativa frequentemente aparece como alternativa para a apresentação de acervos formados a partir de bancos de dados digitais, participando ativamente da constituição de museus encarados como centros de referências e da criação das narrativas museais. O estudo pretende analisar a interatividade entendida como diálogo entre arquitetura, museografia e museologia, investigando sua relação com a concepção e recepção do espaço expositivo contemporâeo. Para tanto, possui como foco principal a análise do contexto brasileiro a partir dos casos de referência selecionados: Museu do Futebol (São Paulo, 2008) e Museu do Amanhã (Rio de Janeiro, 2015). A partir da análise proposta, pretende-se aprofundar o entendimento sobre a consolidação do campo da museografia interativa no Brasil, verificando suas implicações para o projeto de arquitetura de museus ao avaliar como se configura a relação entre acervos digitais, museografia interativa e arquitetura de museus. / Interactivity has been a widely used concept for the structuring of institutional museums. It has been frequently introduced in the museological space as an important point of consideration by the exhibition´s design, markedly in recent decades. The interactive museography is a common solution used to present digital collections, having assumed an important role to reference center museums. Although interactivity in museums has been a recurring theme developed in recent studies, the relation between interactivity and architectural design has not yet been enough analyzed. For this reason, this is the central question addressed by this article: to investigate the interactivity concept known as the relation between architecture, museography and museology, focusing on the relation between the creation and the reception of the exhibition contemporary space. For this reason, the study intends to deepen the analysis of the Brazilian context, especially in the lights of the Museum of Football (São Paulo, 2008) and the Museum of Tomorrow (Rio de Janeiro, 2015). By this research, we intend to deepen the present comprehension of interactive museography in Brazil, investigating the relation between digital collections, interactive museography and museum contemporary architecture.

Este trabalho propõe uma reflexão sobre a função comunicacional dos museus e sobre o importante papel das exposições no processo de extroversão do conhecimento e democratização do acesso à informação. Tem por objetivo analisar as propostas expográficas das exposições de longa duração dos museus estaduais na cidade de São Paulo - Museu da Imigração do Estado de São Paulo e Museu do Futebol - de modo a verificar suas contribuições para a apresentação da temática museológica. Na atualidade, os museus têm se consolidado como meios de comunicação de massa e vêm reconhecendo nos seus diversos públicos especificidades que se traduzem nos vetores para a elaboração de suas atividades. As exposições museológicas tornam-se, então, ferramentas de comunicação indispensáveis para a relação dos museus com a sociedade, de forma que suas configurações no espaço expositivo impactam diretamente na apresentação da temática museológica e, consequentemente, na sua apreensão pelo público. Neste contexto, a expografia se constitui num elemento de comunicação essencial para a concepção das exposições, possibilitando intervenções técnicas capazes de proporcionar o alcance de seus objetivos. Para ampliar a compreensão dos pressupostos teóricos e conceituais que delinearam os enunciados desta pesquisa, considerou-se uma vasta revisão bibliográfica necessária para a plena compreensão do tema apresentado, bem como a elaboração de uma Ficha de Análise Expográfica que permitiu explicitar princípios importantes da proposta expográfica das exposições de longa duração dos museus supracitados. / The present work proposes a reflection about the communication function of museums, as well as about the important role of exhibitions in the process of extroversion of knowledge and in the democratization of access to information. It aims at analysing the expographic propositions of long-term exhibitions in State museums located in São Paulo City - Immigration Museum in São Paulo State and Soccer Museum - in order to verify their contributions to the museological theme presentation. Nowadays, museums have matured as means of mass communication, and have recognized, in their various audiences, particularities that are then used for formulating their activities. That way, museological exhibitions become essencial communication tools for the museum relationship with society, so that their layout in the exhibition space directly affect the museological theme presentation, and thus, the content absorption by the audience. In this context, the expography is an essential communication element for the exhibition conception, enabling technical interventions to facilitate goal achievement. In order to amplify the comprehension of the theoretical and conceptual assumptions that outlined the present research proposition, a wide bibliographic review was checked in order to fully understand the presented theme, and the elaboration of an Expographic Analysis Form, that allowed the clarification of important principles of the long-term exhibition expographic purposes in the aforementioned museums.