This thesis examines the use of design in the construction of Poland's national identity at the international exhibitions in the Cold War period. It is the first comprehensive study of Polish design discourse in any language that rests at the crossroads of design studies and cultural history. Based on original archival material, both written and visual, and oral interviews this thesis tracks the process of construction of Imagined Poland alongside the development of the design discipline during the three post-war decades. It charts the trajectory of these two narratives and examines their critical reception. In doing so this research casts new light on the relationship between design and political history in the Cold War Europe. However, it is not a thesis about designed objects or spaces per se, but rather about their discursive qualities and the way that they were put in work to narrate the nation. Versatile and embedded in the cultural, economic and social contexts, design understand here in its broadest sense proved to be well suited to this role: it allowed political authorities, trade representatives and creative intelligentsia to address timely issues on their agendas. This thesis closely examines eight exhibitions organised in the Soviet Union, Italy, Belgium and Poland. The narratives of these events, as the thesis argues, reflected the state's changing self-understanding towards international public opinion. It indicates that although Polish exhibitions were occasionally adjusted to the particular location, their themes were largely shaped in response to the political developments at home and in the Eastern Europe. By using exhibitions as a framework, this thesis offers a new perspective to study Polish international modernism and suggests a limited impact of ideology on the development of professional networks. Subsequently it provides a nuanced reading of Poland's relationship with the Soviet Union, the Eastern Bloc and the rest of Europe beyond reductive paradigm of totalitarianism.

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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.

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

CAPES / Esta pesquisa tem como objetivo identificar as narrativas sobre cultura popular brasileira que foram enunciadas na exposição Puras Misturas, que ocorreu Pavilhão das Culturas Brasileiras em São Paulo-SP, de abril a novembro de 2010. Para tanto, me atento às estratégias expográficas e curatoriais idealizadas e materializadas na mostra. Por material, utilizo as narrativas dos sujeitos envolvidos no evento, arquivos pessoais disponibilizados pelas curadoras e pelo arquiteto responsável pelo projeto expográfico, o catálogo da exposição e documentos alocados em arquivos públicos, levantados na fase de pesquisa exploratória. O método utilizado baseia-se no cruzamento entre a materialidade da exposição, visitada por meio da reconstrução da mostra, e as intencionalidades dos sujeitos envolvidos no projeto, acessadas por meio de entrevistas. Por fim, demonstro que a enunciação das narrativas sobre cultura popular aconteceu nas acomodações e contradições entre linguagem curatorial, expografia e seleção de artefatos para compor a Puras Misturas. / This research has as an objective to identify the narratives about Brazilian popular culture that were enunciated on Puras Misturas exhibition, that occurred at the Pavilhão das Culturas Brasileiras in São Paulo, from april to november 2010. To that end, I turn to the expographic and curatorial strategies conceived and materialized at that display. As a reference data, I use the narratives of the subjects involved in the event, personal files provided by the curators and by the architect responsible for the expographical project, the exhibition catalog and stored documents in public archives, gathered at the exploratory research stage. The method used is based on the interlacement between the exhibition materiality, visited by means of its reconstruction and the intentionality of the subjects involved in the project, accessed by interviews. Lastly, I demonstrate that the enunciation of the narratives about popular culture in Puras Misturas happened on the adaptations and contradictions between curatorial language, expography and artifacts selection.

CAPES / Esta pesquisa tem como objetivo identificar as narrativas sobre cultura popular brasileira que foram enunciadas na exposição Puras Misturas, que ocorreu Pavilhão das Culturas Brasileiras em São Paulo-SP, de abril a novembro de 2010. Para tanto, me atento às estratégias expográficas e curatoriais idealizadas e materializadas na mostra. Por material, utilizo as narrativas dos sujeitos envolvidos no evento, arquivos pessoais disponibilizados pelas curadoras e pelo arquiteto responsável pelo projeto expográfico, o catálogo da exposição e documentos alocados em arquivos públicos, levantados na fase de pesquisa exploratória. O método utilizado baseia-se no cruzamento entre a materialidade da exposição, visitada por meio da reconstrução da mostra, e as intencionalidades dos sujeitos envolvidos no projeto, acessadas por meio de entrevistas. Por fim, demonstro que a enunciação das narrativas sobre cultura popular aconteceu nas acomodações e contradições entre linguagem curatorial, expografia e seleção de artefatos para compor a Puras Misturas. / This research has as an objective to identify the narratives about Brazilian popular culture that were enunciated on Puras Misturas exhibition, that occurred at the Pavilhão das Culturas Brasileiras in São Paulo, from april to november 2010. To that end, I turn to the expographic and curatorial strategies conceived and materialized at that display. As a reference data, I use the narratives of the subjects involved in the event, personal files provided by the curators and by the architect responsible for the expographical project, the exhibition catalog and stored documents in public archives, gathered at the exploratory research stage. The method used is based on the interlacement between the exhibition materiality, visited by means of its reconstruction and the intentionality of the subjects involved in the project, accessed by interviews. Lastly, I demonstrate that the enunciation of the narratives about popular culture in Puras Misturas happened on the adaptations and contradictions between curatorial language, expography and artifacts selection.

Orientador : Maria Margaret Lopes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias / Made available in DSpace on 2018-08-04T02:34:20Z (GMT). No. of bitstreams: 1 Heizer_AldaLucia_D.pdf: 6141642 bytes, checksum: 0983ba3a2e79903ed8c65ba8fac199e2 (MD5) Previous issue date: 2005 / Resumo: A presente pesquisa tem por finalidade contribuir para a História das Grandes Exposições da segunda metade do século XIX, sublinhando a participação do Império do Brasil nesses grandes eventos, em particular na Exposição Universal de Paris de 1889. Consideramos possível, ao analisar os catálogos de instrumentos científicos, relatórios, memórias, revistas científicas, entre outras fontes, identificar pistas que nos revelam que o Império do Brasil pretendia desfazer a imagem de flor exótica nos trópicos. A partir da constatação de que os trabalhos acadêmicos realizados no Brasil sobre estes grandes eventos, dos anos de 1980 para cá, não se ocuparam da participação dos países da América Latina, este trabalho pretende se desenvolver na confluência de linhas de pesquisa que, embora plenamente articuláveis, permanecem, até hoje, em grande parte dissociadas na produção historiográfica nacional. Trata-se de pesquisas em História das Exposições Universais e a História dos Instrumentos Científicos / Abstract: This present research has the purpose to contribute for the history of the Great Expositions of the second half of the XIX century, underlining the participation of the Brazilian Empire on these events, in particular in the Paris Universal Exposition in 1889. We found it possible, when analyzing the scientific instrument¿s catalogues, reports, memories, scientific magazines, among other sources, to identify tracks that reveal to us that the Brazilian Empire intended to appear under the image of the ¿Exotic flower of the tropics¿. After discover that the academic works that were made in Brazil about these great events, from 1980 until today, disregard the participation of the Latin American countries, this work intend to be developed in the confluence of the lines of research , although they can be articulated, remains until today dissociated in the national history production. It¿s about research on the history of the Great Universal Expositions and the History of Scientific Instruments / Doutorado / Doutor em Ensino e História de Ciências da Terra

This paper discuses three different freakshow-attractions at the amusement park Gröna Lund in Stockholm during the 20th century; two tribes from the African continent, the exhibit of people with dwarfism and all female striptease. These attractions have been examined with international and intersectional perspective aswell as their effect on the possible heritage status of the amusement park Gröna Lund and their part in creating a so-called dissonant heritage. The thesis does not examine individual freaks or the amusement often refereed to as burlesque that also was an important part of the amusement park Gröna Lund. By studying the amusement park Gröna Lund’s company archive at the Centre for business history in Stockholm I found the main source material for this thesis. This material consisted of pictures, commercial flyers given out at exhibitions, advertising banners and articles from various Swedish newspapers. The material has then been exposed to both textual and image analysis. The result is that the human attractions at Gröna Lund can, and should, be seen as a part of an international freakshow market - although influenced by social and political trends and institutions. I also argue that the amusement park, and the human attractions are a part of a dissonant heritage, a more intersectional Swedish heritage. This is a two years master’s thesis in Archive, Library and Museum studies.

XX amžiaus antroje pusėje juvelyrikai priartėjus prie kitų vaizduojamojo meno rūšių, papuošalui tapus meno kūriniu, išreiškiančiu individualią kūrėjo poziciją, ir pradėjus rengti specializuotas juvelyrikos parodas, iškilo juvelyrikos eksponavimo reikšmė. Problematiškumas slypi srities specifikoje (dažnai maži mąsteliai, brangių medžiagų naudojimas) bei santykyje su kūnu, nes dėvėjimas yra esminis papuošalo suvokimui. Todėl įprastas juvelyrikos eksponavimas stiklinėse vitrinose netenkina juvelyrikos, kuriamos postmodernaus meno principais. Darbo tikslas – išanalizuoti galimas meninės juvelyrikos eksponavimo strategijas pasitelkiant trumpalaikių meninės juvelyrikos parodų pavyzdžius iš Lietuvos bei užsienio nuo XX a. 8 dešimtmečio iki šių dienų. Tyrimas nėra istorinio pobūdžio: juvelyrikos parodos nėra analizuojamos chronologiniu principu ar kaip vientisas reiškinys, procesas, kuriame galima užfiksuoti tam tikrą raidą. Nagrinėjamos trumpalaikės personalinės ir grupinės juvelyrikos parodos, nes jose gali būti įgyvendinti tokie ekspoziciniai sprendimai, kurie netinkami ilgalaikėms muziejų ekspozicijoms. Tyrimu siekiama išsiaiškinti, kaip juvelyrikos eksponavimas veikia pačių kūrinių supratimą, priėmimą ir turinį, kokios skirtingos juvelyrikos eksponavimo praktikos naudojamos, koks yra žiūrovo ryšys su papuošalu parodos metu bei kaip skirtingi eksponavimo būdai lemia šį ryšį, koks žiūrovo santykis su ekspozicija. Magistrinio darbo struktūra paremta skirtingų juvelyrikos parodose... [toliau žr. visą tekstą] / Contemporary jewellery cannot be dissociated from developments in the fine art. In the second part of the 20th century jewellery started to be considered as an art form which can express the individuality of an artist. During that time the first specialized jewellery exhibitions were held and since then the attention was drawn to the importance of how objects are displayed in the exhibition. What makes exhibiting jewellery difficult is its connection to the body - wearability is the essence of it. In addition, usually jewellery is small scale and made of precious materials. As a result, typical showcases made of glass are no longer satisfying for displaying art jewellery. The aim of this research is to analyze possible strategies of how art jewellery can be presented. The examples of temporary jewellery exhibitions, both personal and group, from Lithuania and abroad from the 1970s to the present are included. The research is not historical and based on chronology, jewellery exhibitions are not seen as a continuous phenomenon with clear evolution. Temporary exhibitions offer a possibility of to putting into practice such display solutions which would not be suitable for permanent museum displays. This paper looks into the questions such as what kind of different display strategies are used to exhibit jewellery, how the display affects the perception of the artworks, what the relation between the viewer and the jewellery work in the exhibition is, how display influences this... [to full text]

This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.