This paper, from Hallwylska museum collections to the exhibition ”Beneath the surface ... The Unmentionableat the turn of the 20th Century” is a survey of how the Hallwylska museum on the basis of its collections createsa temporary exhibition. The paper is focusing on how Wilhelmina von Hallwyl`s collections together with theexhibitor`s different intentions from the exhition. The final shape of the exhibition and the tools the Hallwylskamuseum has used to ensure that the cultural heritage connected with its collections is made available. / ”Under ytan … det onämnbara vid sekelskiftet” 1900 är en fallstudie av hur Hallwylska museet med utgångspunkt från museets samlingar gestaltar en tillfällig utställning. Denna studie är främst inriktad på hur Wilhelmina von Hallwyls samlingar och utställarnas olika intentioner tillsammans formar utställningen. Utställningens slutgiltiga gestaltningen sätts i relation till vilka perspektiv och verktyg museet har använt sig av för att tillgängligöra samlingarnas betydelse för vårt kulturarv.

The purpose of this master thesis is to investigate whether exhibitions and silent pedagogy can be used to develop more inspiring environments in the public library. Silent pedagogy is a term from the field of museum education describing the silent communication with visitors that takes place in exhibitions through introduction and orientation, layout and installation, as well as signage. In the 1980s, articles in a Swedish library magazine discussed the pedagogical importance of library exhibits and how they make the patrons aware of the library’s resources. This led us to museum education and a desire to investigate whether its theories were transferrable to the library context. Interviews were conducted with librarians and museum educators. The results were analyzed in relation to “the contextual model of learning” and the constructivist museum, which are two models concerning learning at the museum. We were able to apply the models and the language of museum education to the library context. The librarians had pedagogical intentions, but they were not pronounced since they did not have a language that provided a means to adequately express it. Our investigation shows that the term silent pedagogy can be useful also in the library, in exhibitions as well as in the library as a whole. / Uppsatsnivå: D

This thesis presents a study on how four Swedish university libraries use exhibitions as a tool for science communication. I describe the methodology of the exhibitions, how they differ between libraries, and how working with the exhibitions is experienced by the librarians and researchers involved. A smaller part of the study describes how the exhibitions have been made visible online and in social media. All the exhibitions have used a modified version of the five-step model created by Forskarnas Galleri at Malmö University. The exhibitions use a mix of media and tools to present the research. The exhibition experience has happened both synchronously and diachronously, i.e., the visitor has taken part of the knowledge both by visiting the exhibition and by taking part of the literature presented afterwards. Except for during the vernissage, the visitors have experienced the knowledge transfer through indirect mediation, as neither librarians nor researches have been present as permanent guides at the exhibition site during its tenure. Both librarians and researchers agree in their view that the universities see the exhibitions as something positive and worthwhile, and both groups see them as something positive for them personally. The librarians were more unanimously positive to using a more image-based language, while the researchers varied in their responses. Some were more apprehensive and worried that their research message would be altered if it was simplified. Both librarians and researchers expressed that they would have liked to do more with the exhibitions, for instance using them as backdrop for lectures or doing tours. There was a consensus between both groups that it was very hard to assess how many people had visited the exhibition, and what the visitor's view of the exhibitions were. The exhibitions were all visible online and in social media to some extent, but the results varied greatly with some exhibitions being very visible while others barely showed up. Overall, the bibliographic footprint of the exhibition was small, with no traces in an altmetric analysis and only half of the exhibitions being published as 'artistic output' in an open archive. This is a two years master’s thesis in Library and Information Science.