The survey aims to problematize masculinity in the exhibitions of the museum.  In what way is masculinity interpreted and valued in exhibitions? What is the attitude towards masculinity in gender oriented museological texts? This study investigates in which way masculinity is written about – how interpretations of masculinity emerge in the texts and what consequences this may have. The survey is based on the method of discourse analysis and the material is processed from a gender perspective. The source material consists of museological texts dealing with the topic of gender and museology, which also is the core material. A complement to this is a selection of exhibition catalogs from museums as well as reviews which are also based on art exhibitions. The main point of the source material consists of the museological texts. The survey highlights that the gender-conscious museological discourse understands, interpret and evaluate masculinity on a more or less given regulatory framework. The classification of this framework means that masculinity is understood in terms of power or unmanliness as a norm and representation. The result is a definition that is reproduced and transmitted via testimony, texts. This contributes to a perception of masculinity which is formulated in evaluative attitudes – about masculinity itself seen as a problem. The discursive framework which the gender-conscious texts consists of constructs the perception of masculinity, and are not merely observations about masculinity as reflections of reality. The discursive classification presumes what there is to know, or what can be found in the study and interpretation of masculinity, men or masculinity. The gender conscious museological discourse affects how truths and statements are constructed, developed and reproduced. The attitude towards masculinity – the perception of masculinity – in the gender-conscious museological discourse as it manifests itself in these texts, is that masculinity in practice doesn’t need to be problematized.

Bevor das Buchmuseum der Sächsischen Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB) an seinem alten Standort im Frühjahr 2002 geschlossen wurde und seit 15. Januar 2003 im Bibliotheksneubau wieder der Öffentlichkeit zugänglich ist, fand im November des vergangenen Jahres die letzte Eröffnung einer Sonderausstellung in den alten Räumen statt. Dem Zensieren, Verbieten und Verfolgen des gedruckten Wortes im 20. Jahrhundert nachzugehen und dies an prägnanten Beispielen vorzuführen, galt die Auswahl der Exponate. Dabei spannte sich der Bogen von staatlicher Reglementierung bis zur Selbstzensur der Autoren und Verlage. Auch die Bibliotheken blieben davon nicht unberührt, sondern beteiligten sich beispielsweise mit Ausleihbeschränkungen. Um diese Aspekte zu verdeutlichen, wurde eine chronologische Gliederung gewählt, die Unterschiede und Gemeinsamkeiten an markanten Beispielen beleuchten sollte. / Before the book museum of the Saxon State and University Library Dresden (SLUB) closed at its original location in spring 2002 , ready to move into a newly built library centre, a last spezial exhibition was opened in the former rooms in November of last year. The selected exhibits offered striking examples to illustrate the censoring, prohibition and persecution of the printed word during the 20th century, whether attributable to state regimentation or self-censorship on the part of authors and publishers. Libraries were equally involved, for example with restrictions on lending. A chronological structure was chosen to elucidate these perspectives and to present the distinguishing an common aspects revealed in prominent examples.

In 1993, facing a future of escalating land-use controversies and a less than sympathetic public attitude towards mining, major corporations in the British Columbia mining industry and the provincial government invested in a public education project: Vancouver's Science World's Mine Games exhibit. This thesis will examine two pedagogical highlights of the Mine Games exhibit promoted by Science World and its sponsors. They are the interactivity of the exhibit (as evidenced by the hands-on stations and the computer games) and the decision-making or 'consensus-building' process experienced in the simulated town-meeting, Hotseat! One of the virtues of an exhibition that explicitly makes a case for its merits and attempts to tell an important story is that it encourages debate and makes possible the suggestion of other stories. In this thesis, I critique Mine Games on the claims it has made for itself. The thesis adopts a comparative approach, contrasting the pedagogical goals and content of the Mine Games exhibit with school based mining curriculum. I argue that the narrative and museological conventions of the exhibit reveal the story of Mine Games for what it is — a specific, comedic story that excludes other stories. Hidden under the facade of high-tech displays and computer games is a traditional approach used both in schools and museums to exercise control and deliver a non-threatening message: environmental controversies are resolvable, all it takes is reasoned compromise.

Disertacijoje analizuojami XX a. paskutiniojo dešimtmečio meno diskurso ideologiniai procesai: skirtingų vertybinių, ideologinių orientacijų formavimasis, nykimas ir jų koreliacija, daranti įtaką meno ir menininko sampratos kaitai. Šie procesai analizuojami remiantis aptariamo laikotarpio parodų recenzijomis, pačiomis parodomis, aktyviai meno scenoje veikusių menininkų pasisakymais, jų kūriniais, formavusiais viešąjį dailės gyvenimą. Atskiras dėmesys skiriamas įvairiems meno lauko pjūviams – sociopolitiniam kontekstui, meno kūriniams, institucinėms parodoms ir tekstams kultūros savaitraščiuose. Ideologijų ir vertybių pokyčiai, vykę Lietuvos meno diskurse XX a. paskutiniajame dešimtmetyje, darbe tyrinėjami akcentuojant meninius, institucinius ir sociopolitinius kontekstus, atskleidžiant kintantį simbolinių konstrukcijų turinį bei jų poveikį meno lauko kovoms už legitimaciją. Disertacijoje keliami šie uždaviniai: apibrėžti posovietinio intelektualo (menininko) vaidmenį atgimimo ir nepriklausomybės metų Lietuvos meno procesuose; ištirti viešajame diskurse įtvirtintas atminties politikos formas; apibrėžti ideologijos sampratos specifiškumą posovietinėje visuomenėje, analizuoti ideologinį modernistinio meno pobūdį; apibrėžti pagrindinių meno institucijų ideologines nuostatas, atskleisti institucijų ideologinių susidūrimų pobūdį ir priežastis; išanalizuoti reikšmingiausias parodas ir atskleisti jų konstruotų naratyvų ideologines potekstes; atskleisti svarbiausius šio laikotarpio... [toliau žr. visą tekstą] / Dissertation thesis analyses the ideological processes of art discourse in the last decade of the 20th century – the formation and decline of different value related and ideological orientations, and their correlation, which makes an influence upon the changing conception of art and artist. These processes are analyzed referring to the reviews of the exhibitions of the discussed period, the exhibitions themselves, the declarations by the artists, who actively participated on the art scene, and their works, which were shaping the public art life. A separate attention is devoted to various layers of the artistic field – to the sociopolitical context, the works of art, the institutional exhibitions, and to the texts in cultural periodicals. The main aim of the thesis is to make a thorough analysis of the ideological and value related changes, which took place in the Lithuanian art discourse in the 1990s, and by underlining the artistic, institutional and sociopolitical contexts to reveal the changing content of symbolic constructions and their influence on the struggles for legitimization in the artistic field. The tasks of the research are: to define the role of the postsoviet intellectual (artist) in the Lithuanian art processes during the Rebirth period and in the years of independence; to explore the forms of politics of memory, which were established in the public discourse; to define the specificity of the concept of ideology in the postsoviet society; to analyze the... [to full text]

This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.

This thesis examines the internationalization of Finnish contemporary artists. The focus is on their exhibitions at contemporary art institutions in Sweden, covering the period 2004–2013. The aim is to investigate what makes these exhibitions to materialize. The main question is: How do different actors, networks, collaborations, and the field of artistic production look like when art is exported for exhibition purposes from Finland to Sweden? Pierre Bourdieu’s field theory and the Uppsala internationalization process model are used as the theoretical framework. Information is collected via interviews with three Finnish artists and three Swedish curators. The main result is that the artists do not actively impact the internationalization process themselves. Rather, the internationalization occurs through an international network of professionals, some acting on behalf of the artists, and some acting in their own interests. The main driving factor for internationalization is that the Finnish art market is small. Consequently, young contemporary artists are oriented internationally. For internationalization to occur, the artists must be available to foreign curators through the international networks. Finland is aware of this and promotes international art contacts through the foundation Frame Visual Art Finland. Important contact surfaces, where curators can learn about the artists, are art events, like European art biennials.

This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all “kitsch”. Comparatively few artists in the GDR however, painted in the style prescribed by political leaders. An open issue in this study was, against background: Has GDR art gained in interest and respectability?    This study focuses on two exhibitions The Divided Heaven in Neue Nationalgalerie, Berlin and an exhibition in Kalmar konstmuseum, Sweden, named Maintaining the Order of Things – the Aesthetic of Modernism in Commercialism, Nationalism, Elitism and Socialism, 2011. The exhibitions have been analyzed along several dimensions: The number of works from the GDR, strategies for hanging them, the presentation of the exhibitions in information brochures and the homepage of the museums. Descriptions of the works give information on typical motives in the GDR over time and some information as regards the artists. The way the building has supported visitors in experiencing an exhibition has been considered and its importance as an institution.     The study of the two exhibitions illustrates two different strategies for showing art from the GDR, in contrast or integrated. The Swedish exhibition which primarily exposed paintings from the 60 s focused on comparing GDR paintings and the Swedish sketches on commissioned  etchings on vases from Orrefors glassworks.  The German exhibition exposed GDR art together with art from other countries, along thematic lines.     The study indicates an increasing interest in the art from the GDR, which is confirmed by the great number of exhibitions 2012.  Also projects researching the art from this period in German history and the construction of a new museum for it supports the idea that interest in and respect for art produced in the former GDR is gradually established. This increased interest has not yet included the officially promoted style – Socialist Realism. / <p>Vid den elektroniska publiceringen har två bilder tagits bort från den ursprungliga versionen av upphovsrättsliga skäl, bild 21 och 26.</p>

This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.

This study maps a way of looking at design history in New Zealand through the investigation of a taxon of industrially manufactured ceramics. Understanding design as an enfolded process of production, distribution, mediation and consumption, three threshold moments are identified as occurring within the European settlement period: the internationalisation of commodity production and consumption; the emergence of import substitution; and the deregulation of the market. While production has formed an element in the design of ceramics in New Zealand, it is contended that greater significance lies in both the trade and the mediation of these commodities and in particular in the way these have influenced local consumer choice. Emerging from this study, a series of key binaries become apparent: between the metropolitan centre and the frontier; between state and business; and between the traditional and the progressive. Likewise, the positioning of design within the institutionalised sites of power-or its absence from them-has been a prime force both in the development of manufacturing industry and in determining the nature of the consumer market.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994. / Cette communication a été réalisée à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques de l'Université du Québec à Montréal extensionné à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU