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About 1400 works on paper in the collection of the Kupferstichkabinett, Staatliche Museen zu Berlin were analysed for sheet dimensions and their aspect ratios and considered for storage- and handling-related damages. A new stacked enclosure system was developed for objects measuring up to 1350 × 950 mm to upgrade flat file storage, to reduce the risk of mechanical damage and improve the ease of handling in the museum study room and for exhibition preparation. Five defined standard dimensions for oversized artworks on paper and for enclosures and frames were introduced at the museum. They reflect the most common aspect ratios of 1:1.4 followed by 1:1.3. The new enclosure system consists of an outer shallow cardboard tray that holds up to five artworks enclosed in a folder. The folders are made either of cardboard, of a corrugated backboard and a cardboard cover, or of a corrugated backboard faced with museum board to which the object can be hinged; the latter serves as a mounting board for framing when the front cardboard cover is folded back. The trays are stackable. The corrugated cardboard walls of the tray retard the transfer of external relative humidity fluctuations into the stacked storage system. [ABSTRACT FROM AUTHOR]

When mounting large-sized objects on paper, there is often a risk that the work, if handled carelessly, touches the glass. This can result in damage to the paint layer. One way to prevent this is to mount with cross-shaped hinges made of Japanese paper attached to the centre of the verso of the object. In order to minimize tensions in the paper, the wheat starch paste can be applied by means of a stencilled-dot method or the 'micro-dot' method. After mounting the work on a backing board by means of the presented hinges the object is enclosed dustproof. The so-called package consists of glazing, spacer, mat, work of art and backboard. The additional framing is done with a mounting frame which gives particularly large-format framing sufficient stability. [ABSTRACT FROM AUTHOR]

In 2017 an exhibition of over 100 craft pieces created by Chilean political prisoners held in concentration camps during the military dictatorship, was launched in the UK along with an accompanying short film, 'Crafting Resistance: the Art of Chilean Political Prisoners'. Drawing on these arts-based interventions, the paper reflects on the use of craft objects both as a symbol of political resistance and a means of initiating difficult conversations around forced political exile, trauma and mental health while creating space for people to 'tell their stories'. Indeed, the paper contends that projects such as Crafting Resistance can 'care for knowledge' through the curation of craftwork while simultaneously creating space for counter memories. The analysis also highlights the changing relationship between the craft makers and the craftwork, argueing that placing the craft objects within the exhibition assigns a new role to the objects as they became part of a display of collective memories and potentially contribute towards collective healing. Finally, the paper advocates for greater recognition of the historical use of craft as a political expression, which to date has been relatively neglected in debates around the use of arts-based research and methods. [ABSTRACT FROM AUTHOR]

This paper examines the ethical value of artistic artifacts in challenging the unequal valuation of working bodies with a focus on the contemporary art exhibition 'Useless bodies?' by Danish artists Michael Elmgreen and Ingar Dragset. Drawing on Judith Butler's work and posthuman theory, particularly Braidotti's contributions, the paper argues that this exhibition exemplifies how art can foster an ethics of interdependency, one that both critiques dynamics of misrecognition and imagines alternative futures. Furthermore, the paper proposes that this affirmative and critical ethics provides theoretical and methodological foundations for work and organization studies, prompting new questions about the significance of embodiment, esthetics, and artifacts for conducting (ethical) research. [ABSTRACT FROM AUTHOR]

Multimodal learning analytics (MMLA) research has made significant progress in modelling collaboration quality for the purpose of understanding collaboration behaviour and building automated collaboration estimation models. Deploying these automated models in authentic classroom scenarios, however, remains a challenge. This paper presents findings from an evaluation of collaboration quality estimation models. We collected audio, video and log data from two different Estonian schools. These data were used in different combinations to build collaboration estimation models and then assessed across different subjects, different types of activities (collaborative‐writing, group‐discussion) and different schools. Our results suggest that the automated collaboration model can generalize to the context of different schools but with a 25% degradation in balanced accuracy (from 82% to 57%). Moreover, the results also indicate that multimodality brings more performance improvement in the case of group‐discussion‐based activities than collaborative‐writing‐based activities. Further, our results suggest that the video data could be an alternative for understanding collaboration in authentic settings where higher‐quality audio data cannot be collected due to contextual factors. The findings have implications for building automated collaboration estimation systems to assist teachers with monitoring their collaborative classrooms. Practitioners notesWhat is already known about this topicMultimodal learning analytics researchers have established several features as potential indicators for collaboration quality, e.g., speaking time or joint visual attention.The current state of the art has shown the feasibility of building automated collaboration quality models.Recent research has provided preliminary evidence of the generalizability of developed automated models across contexts different in terms of given task and subject.What does this paper addThis paper offers collaboration indicators for different types of collaborative learning activities in authentic classroom settings.The paper includes a systematic investigation into collaboration quality automated model's generalizability across different tasks, types of tasks and schools.This paper also offers a comparison between different modalities' potential to estimate collaboration quality in authentic settings.Implications for practiceThe findings inform the development of automated collaboration monitoring systems for authentic classroom settings.This paper provides evidence on across‐school generalizability capabilities of collaboration quality estimation models. [ABSTRACT FROM AUTHOR]

Throughout the 1970s, a drive towards the diversification of mediums available to artists led to artists working across numerous mediums not usually associated with visual art. While some came to work with sound as a central focus in their practice, most used sound as a medium to be employed in particular artworks for conceptual purposes. The paper is focused on five audio and sound exhibitions presented in New York City between 1978 and 1984. These large group exhibitions were held in alternative art spaces and not-for-profit art galleries and have received little critical attention beyond reviews published in local newspapers and art magazines. As such, these exhibitions have all but disappeared from the history of sound in art and from art history in general. I will argue that this cluster of group shows signal to an emergent practice that was moving past the post-medium condition and conceptual art towards the postmodernism of the 1980s. These exhibitions point to an understanding of sound as a medium of visual art that is at odds with contemporary scholarship in the sonic arts, which favours a music-based understanding of approaches to sound within the art gallery. [ABSTRACT FROM AUTHOR]

Crisis management is a challenging and interdisciplinary task in which various information must be acquired and fused. In Germany, Civil Crisis Management is usually organized into two parts: the organizational‐administrative division and the operative‐tactical division, which are subordinate to the authorities (political) leadership. To organize an efficient and interdisciplinary response, crisis staffs can be called up. In these administrative crisis staffs, information sources are bundled, responsible experts collaborate and exchange information. To achieve a common understanding of the crisis, situational displays are created. Situational displays present the extend of the crisis and offer high‐level information required by the staff members. They can show the extent of the crisis area on maps or integrate other, for example numeric, information. This paper presents both state of the art in situational display creation and the most recent requirements in administrative crisis management. Data were collected through structured questionnaires and workshops regarding the tools for the creation of situational displays. For both data gathering methods, we were able to acquire active crisis management experts as participants. To determine the state of the art for situational displays for administrative crisis management staff we utilized structured questionnaires, which were answered by 14 crisis management authorities. Through two expert workshops with each nine participants, the requirements for situational display were collected. This paper compares the two datasets to evaluate the recent state of situational displays for administrative crisis staff in practice. The article summarizes usage of situational displays by practitioners and compiles lessons from the field. [ABSTRACT FROM AUTHOR]

• Extended reality fosters artists, curators to frame and contextualize exhibitions. • Extended reality allow new conceptualizations of exhibiting art. • Ways of presenting art through extended reality can form a continuum with exhibits. • Extended reality exhibitions interrelate media design, aims/scope and content. This manuscript addresses the increasing importance of Extended Reality (XR) in art exhibitions. It elaborates on the technologies employed, design issues, pertinent aims, and evaluation metrics. The main research questions concern the types of technologies currently used, the primary design considerations, and the ways user experience can be enhanced in accordance with the artists' and curators' vision, as well as visitors' needs. Moreover, the paper also examines relevant evaluation criteria. The manuscript reviews the types of technologies used for virtual art exhibitions and examines their design characteristics and pertinent issues on interfaces, resources, and affordances. Furthermore, an analysis of the use of virtual humans as a model for increased engagement follows a discussion of a comparison between virtual versus physical exhibitions. Moreover, the parameters that affect user experience are discussed thoroughly, given their pivotal importance in such exhibitions. Finally, the paper concludes with a discussion of the above-mentioned aspects of XR exhibitions with an emphasis on optimizing design for art-related content and offering informed suggestions for future directions. The overall scope of this paper is to examine ways to exploit XR as a creative medium rather than merely replicate physical exhibitions. In this context, the papers' discussion includes the Metaverse. [ABSTRACT FROM AUTHOR]

The study of clan paintings reveals a shift in perspective from art aesthetics to cultural connotations to cultural identity, yet literature seldom discusses the relationship between art and kinship culture. Taking the murals of ancestral hall architecture in Guangzhou as an example, this paper utilizes text mining to identify factors influencing its decorative art. It reveals the traditional rites' artistic expression through dimensions of characters' demeanor and the transmission of content values, offering a fresh perspective for heritage value research. Findings: (1) themes and implications are mostly oriented towards positive value transmission, transitioning from idealistic layman life to the realism of lower-class existence, emphasizing humanization; (2) the extroverted portrayal of characters contrasts with the dignified, restrained etiquette of traditional rites, with some characters' portrayal and facial expressions exuding approachability; (3) murals conveying positive emotions are mostly related to longevity, auspiciousness, fortune, and heroic deeds, while those conveying negative emotions mainly involve elderly male figures, reflecting a content bias related to characters; (4) historical allusion murals with complex content reduce the emotional resonance and arousal efficiency of the viewer; (5) incomplete mural content increases negative emotions in perceivers, highlighting the impact of mural preservation on emotional resonance. To delve into the formation of clan painting art, it is essential not only to interpret the diversity of its patterns but also to demonstrate the representation of its social attributes in decorative art. The formation of clan painting decorative art exhibits kinship cultural attributes, epitomizing the essence of traditional ceremonial thought. [ABSTRACT FROM AUTHOR]

It is currently part of the mission of art museums to actively involve children in learning experiences and empower them through a variety of programmes – including developing text panels specialized for children. To date, we have only a limited understanding of the semiotic resources in audience-sensitive exhibition text panels. Drawing upon Systemic Functional Linguistics, this paper analyses and compares 56 text panels in an exhibition from the Art Gallery of New South Wales in Australia. They are comprised of two versions of text panels for 28 artworks, targeting different groups of audiences, respectively (children and adults). It is found that the children's texts have been recontextualized to evoke interest in learning to paint, while the adults' texts focus on aesthetic appreciation. The comparative analysis shows that audience-sensitive text writing is interrelated with its social context in view of field, tenor, mode, and genre. This paper further explores how the production of audience-sensitive text panels contributes to the pedagogic, commercial, and community value of art museums. [ABSTRACT FROM AUTHOR]

Between October 2021 and January 2022 an ambitious combined art and science exhibition presented a unique object-rich cosmological story at the University Library of Leuven, Belgium, as part of the Kunst Leuven KNAL! City Festival 2021 (English: BANG! Big Bang City Festival). To the Edge of Time was a transdisciplinary introduction for general audiences to one of the most famous and complex developments in science, the Big Bang theory. The exhibition presented artworks and science objects as equal partners that through curatorial placement and interpretation could fluidly convey key theoretical moments, materials, philosophical perspectives and ideas. The scientific story focused on how the groundbreaking work of the Belgian priest-astronomer Georges Lemaître bridged the insights of two of the twentieth century's other leading European scientists, German physicist Albert Einstein and the British cosmologist Stephen Hawking. Objects from their lives and archives revealed their specific ideas and processes of thinking and discovery. Artworks from leading international artists brought new material, critical and conceptual dimensions and multisensory encounters. The exhibition was the result of a curatorial collaboration between the author, British contemporary art and transdisciplinary curator Hannah Redler-Hawes, and Belgian cosmologist and former collaborator of Stephen Hawking, Professor Thomas Hertog, of KU Leuven. As guest curators, they worked with Annelies Vogels, Exhibition Coordinator of the university and Wouter Daenen of KU Leuven Libraries, and others to form a closely collaborating curatorial team. To the Edge of Time was not only the first exhibition worldwide to explore Lemaître's work through a transdisciplinary narrative, but also to place Stephen Hawking's work in a broader historical context. In the trans- and interdisciplinary exhibition field, where new commissions and collaborations between living artists and scientists have been increasing, it was somewhat unusual for a cosmology exhibition in its reliance on material culture, concentration on historical art and science objects and its combining of these with presentations of recent contemporary art and advanced theoretical physics concepts. These combinations helped to convey parallel movements of thought where neither the art nor the science were presented as derivative to each other, a key curatorial ambition. This practice-based paper, offering Redler-Hawes's personal reflections, discusses how the narrative evolved to define a shared language between the contributors. It considers, through a narrated walk-through of key objectartwork 'constellations', how the presentation generated new insights into different methods of enquiry, knowledge acquisition and making sense of our place in the cosmos, by bringing major themes in twentieth century science into dialogue with international artists working independently and in collaboration with science during the twentieth and early twenty-first centuries. [ABSTRACT FROM AUTHOR]

Fung Ming Chip (馮明秋, b. 1951) is a contemporary artist based in Hong Kong who practices shufa (書法, lit. "the way of writing"). Traditionally, shufa is the art of writing Chinese characters with a brush on paper or silk; it is deeply connected to the arts of poetry and painting. However, the theories of making and viewing that undergird traditional shufa, as well as the stakes of its contemporary practice, remain largely unknown to Western audiences. This essay is a response to Fung's latest solo exhibition, entitled NumberS Series. It considers how Fung Ming Chip's latest works have moved beyond traditional shufa practice and language itself to examine the relationship between art and time. Unlike previous critical works that contextualize Fung's art with respect to Euro–North American art and art history, this article uses Fung's writings and early Chinese theories of aesthetics and ontology to establish that his art works in a distinctly non-Western manner that has its own relevance and perspective for a contemporary, global audience. [ABSTRACT FROM AUTHOR]

This article examines the thematic scope and media-specific characteristics of media art by analysing it through one of this art exhibitions practices: the annual specialized media art exhibitions–festivals–conferences. An overview of media art terminology and a study of the evolution of technological art festivals provide a framework for exploring the themes of the three major festivals, Ars Electronica, SIGGRAPH, and the RIXC Art Science Festival. Comparative and contrastive analysis of the data has revealed that in many cases the festivals address specific themes in their calls for submissions of papers and artworks. This allows for a better assessment of the place of technology-oriented media art in the overall mainstream contemporary art and opens up a space for discussions about the pending recognition of media art that can broaden the thematic range of the entire art field. [ABSTRACT FROM AUTHOR]

The article focuses on the art exhibitions "Summoning the Ghosts" and "Paper Daughter," which showed how historical representations about Asians are visually constructed and sustained in contemporary American society, and what role they play in the formation of the author's own preconceptions about his cultural heritage. Summoning the Ghosts (1999-2000) is based on a rural Chinese superstition that ghosts are identified by the absence of feet. The act of making the paper feet, refers to the bound feet of nineteenth-century Chinese women. Paper Daughter (1996-1998) is a meditation on the value of identity, personal history, sacrifice, and migration. In the installation, the author has used photography as a means to address how the physical characteristics of his ethnicity act as the site or mark of difference, discrimination, and, ultimately, identity. Paper daughters were young Chinese women who bought special documents from American citizens of Chinese ancestry in order to enter the country as their legitimate offspring. They sacrificed their true identity for a fabricated past, thereby gaining passage to America.

In order to better realize the effective display of painting art, this paper puts forward an interactive modeling method of structural sense of painting art communication from the perspective of media integration. From the perspective of comprehensive media, the painting art is spread and displayed, and the interactive evaluation index of painting art communication structure sense is constructed, and the interactive behavior evaluation model of painting art communication structure sense is constructed to realize the interactive modeling of communication structure sense. The experimental results show that from the perspective of integrating media, the somatosensory interaction mode of the communication structure of painting art is highly practical in the practical application process, which meets the research requirements and can realize the effective display of painting art in a modified way. [ABSTRACT FROM AUTHOR]

This paper deals with two different versions of Hybrid Job Shop Scheduling Problems (HJSP); the minimization of the maximum completion time (makespan) and the minimization of the total completion time. State of the art shows that the literature on HJSP is rather scarce and that the majority of works concern the general problem called Flexible Job Shop Scheduling Problem (FJSP) in which parallel machines of a stage may have different speeds or yields. We propose the use of a genetic algorithm (GA) and a hybrid version of a GA (HGA) that applies a stochastic local search with two operators, specifically adapted to the HJSP. To conduct a clear statistical study based on the GA, HGA, and other state-of-the-art approaches, we extended our testbed to cover many existing benchmarks. The results of our experimental study show that our proposed algorithms improve the best-known results on a large set of benchmarks found in the literature. The scalability study shows that the proposed algorithm scales better and can deal with larger instances in the literature. [ABSTRACT FROM AUTHOR]

A large volume of evidence indicates that only high-class students attend extracurricular activities (Art, music, sport, dancing). On the other hand, this evidence intensively underlines the substantial importance of such extracurricular activities, particularly in visual art, in promoting children's cognitive and non-cognitive well-being. Adolescents' participation in visual art was always interrelated with enhancing their emotional affection towards the Art and cognitive skill in making one, which ultimately built solid efficacy that allows them to interact with their society. The present cross-sectional study sought to shed light on the potential impact of visual art on adolescents' emotional, cognition, and self-efficacy development, which needs to be improved in the Chinese context. Hence, randomly sampled (N = 2139) junior secondary school students were recruited from the rural province of Guizhou in Southwest China to attain the aim of the study. The study's finding affirms that students engaged in artistic activities start to develop a habit of communicating with their peers, showing their work, and commenting on works made by their peers or observed in art exhibitions or museums; such a process makes them self-efficacious. Ultimately, this paper extends the application of visual art activities from educational benefits to nonacademic development, which are the primary agents for children's well-being. [ABSTRACT FROM AUTHOR]

Describing the artistic and curatorial work of the Indonesian art collective Hysteria over the last 15 years, this paper considers public art as a practice of devising relations with various urban sites and actors. I focus on Hysteria's core strategy of organising art festivals and exhibitions in kampungs – working-class urban neighbourhoods – with the aim of creating novel spaces for artistic expression, showing that the kampung serves both as inspiration for artistic experimentation and improvised public space in the absence of proper art infrastructure. Further, kampung space allows economically precarious artists to engage the city, that is, explore its social make-up and uncover economic opportunities. A long-term perspective on Hysteria's work reveals that activities provide members as well as involved artists with valuable urban knowledge and connections. Turning the kampung into a subject of public art and infrastructure of encounter through what I call the ' kampung formula', Hysteria managed to establish itself as a representative of the poor and key interlocutor of urban development agencies, becoming eligible for a number of pro-poor project grants. Describing the relational network of art, kampung and the wider city, I therefore propose to see public art as a kind of 'infrastructural adventurism' that provides glimpses into various aspects of both formal and informal economies in the Indonesian city and extracts knowledge and value from marginal urban places. [ABSTRACT FROM AUTHOR]

Bricolage is a kinetic biological artwork first exhibited at the Perth International Arts Festival in 2020. The artists used stem cell technologies to create bioengineered living entities from donated human heart muscle cells. These living entities are suspended in an incubator from the ceiling and are made visible to gallerygoers, who watch the performance of cells generating and moving independently. This paper considers how the assemblage, animation, and performance of cells embedded in Bricolage highlight questions around the conceptualizations and perceptions of life, duration, animation, and aliveness. [ABSTRACT FROM AUTHOR]

The paper introduces the exhibition, The Real Faces of the Royal Borough. This touring exhibition combines digital portraiture by artist Nevada Lynn and research on gentrification and displacement by urban geographer Sharda Rozena. By focusing on the individual lives and experiences of twelve residents from Kensington and Chelsea, we highlight the everyday impact of gentrification in this London borough, including displacement, transient community, high costs of living and unaffordable rents. The portraits help us to humanise the housing crisis and increase people's awareness of the injustices that arise from the ongoing gentrification of the Royal Borough. [ABSTRACT FROM AUTHOR]

This paper presents an educational program for children with disabilities implemented in conjunction with a temporary exhibition of visual artists with disabilities in a museum in Greece. Through the description of the exhibition, the design and implementation of the educational program, and the creative activities offered, the authors identify benefits for the children and stress the importance of developing more collaborations between museums, artists with disabilities, and schools to move towards a more inclusive society. [ABSTRACT FROM AUTHOR]

The paper presents Stefan Szuman as a multidimensional person both in his personal life and academic work. He was characterised by his academic knowledge in several areas: medicine, psychology and art. He communicated with professionals from various fields - philosophy, pedagogy, literary studies, linguistics and musicology - such as: Witkacy, Bruno Schulz or Jan Puget. In his research, he was interested in topics related to mental development (the essence of development; developmental factors; cognitive, emotional, personality changes), education, teaching (students' attention, teaching skills) and communing with art. He used different research methods: observation, conversation, quasi-experiment and tests. He presented the results of his researches using appropriate and sophisticated language. The paper shows the current remembrance of Szuman and his works both through public events (e.g. art exhibitions) and conferences. [ABSTRACT FROM AUTHOR]

HVDC electrodes are usually implemented in HVDC links to avoid the installation of a metallic return. Submarine cables, especially those dealing with lengths of thousands of kilometers, are expensive, and high costs of laying are normally expected. Due to the high number of reversible HVDC links, the marine electrodes must be able to withstand both anodic and cathodic operations, which leads to careful considerations in terms of the material to be used. This paper shows the state of the art of the currently installed reversible sea return electrodes, focusing on the type of installation (sea, shore or pond electrodes) and on the material used, from the first plant installed in 1954 up to the more recent ones established during the XXI century. All reported data derive from publicly available sources. Moreover, since nowadays environmental issues are among the most important topics, for each material and for each type of installation, a guideline on the possible interferences caused by marine electrodes with the surrounding environment is proposed. [ABSTRACT FROM AUTHOR]

"Do they read? Oh, yes, they do," was the conclusion of a paper identifying the proof of label use in visitors' in-gallery conversations versus the difficulties of observing them reading. This paper -methodologically refines this research question by asking how exactly exhibit labels are used. Answers are derived from an empirical study that analyzed viewing behavior both before and after the reinstallation of a museum's collection through mobile eye tracking (MET), subjective mapping, and questionnaires. As the introduction of interpretive labels was one of the major changes implemented, the paper demonstrates differences in visitors' responses to the artworks with or without contextual information. Analytical emphasis rests on the exploration of patterns in the process of decision making (differentiating between visitors' reading affinities); visual engagement (analyzing the combined activities of looking and reading); and memory (echoing label texts in visitors' artwork reflections). Our findings show that all visitors read, albeit to very different extents, the majority being medium-affinity readers; that the basic viewing pattern "art-label-art" becomes more complex with more text and more -visitors on-site; and that art interpretations deepen and differ through additional information. The power of labels to guide eyes and thoughts suggests their intentional use in museum and curatorial practice. [ABSTRACT FROM AUTHOR]

The article discusses three major exhibitions in London that disrupt traditional understandings of the past and invite viewers to imagine fantastical futures. The Hayward Gallery's "The Black Fantastic" showcases Nick Cave's Soundsuits, which erase the appearance of race and gender. TATE Britain's "The Procession" by Hew Locke features elaborate costumes and explores themes of politics, greed, race, and history. The Victorian and Albert Museum's "Africa Fashion" celebrates the creativity and innovation of African designers and examines the strategic political act of making and wearing indigenous cloth. These exhibitions aim to challenge assumptions and clichés about Africa and address racism and social injustice. [Extracted from the article]

The 4th Hangzhou Triennial of Fiber Art took place at the Zhejiang Art Museum from October 18 to December 5, 2022. Despite the pandemic preventing international artists from attending the opening ceremony, the exhibition utilized online platforms to increase its visibility. The theme of the exhibition, "Being Theoria," aimed to provide a space for contemplation and reflection. The artworks on display included installations, sculptures, and textiles, exploring the relationship between fiber and culture. The exhibition also highlighted the growth of Chinese artists in the field of fiber art. Overall, the Hangzhou Fiber Art Triennial is a global exhibition that showcases a diverse range of artworks, fostering connections between different countries and regions with rich textile industries and craft histories. [Extracted from the article]

Within an art exhibition, the disposition of space is fundamental in experiencing artworks. A study of the exhibition space as discourse enmeshes art within a framework of relationship and processes instead of viewing art as an isolated and autonomous object. This paper features the case study of Art '76, the inaugural exhibition of Singapore's first large-scale institution of art, the National Museum Art Gallery (NMAG). The NMAG's opening in 1976 had been much anticipated by artists and the art audience since the 1960s, it was also an important milestone in the National Museum of Singapore's process of modernisation and revitalisation. During Singapore's post-independent period, the National Museum began to redefine itself as a civic museum focussing on Singapore's history and culture, shifting away from its previous incarnation of a research-focused colonial institution, the Raffles Library and Museum. Singapore was not alone in exploring the role of modern art in nation-building, as neighbouring Southeast Asian countries such as Indonesia, Philippines, Malaysia and Thailand also began to moot for their own institution of modern art around the same period of time. Art '76 and the NMAG represent a case of distinct spatial typology that arose out of unique institutional and socio-political dynamic in post-independent Singapore. In analysing the legacy as well as the relationships and contentions that shaped the spatial articulation of Art '76, this paper studies existing visual and oral archive, as well as critically evaluating the concepts of space as a subject of historical study. [ABSTRACT FROM AUTHOR]

The paper analyses the role of the Lithuanian diaspora and its artists in the art field of Argentina in the 30's and 40's, and overviews their input into the development of the nativist discourse. The paper employs social art history to show the impact the transatlantic migration had on the social mobility of migrant artists and their careers in South America and Lithuania. [ABSTRACT FROM AUTHOR]

Hand stencils directly represent modern humans in landscape settings around the world. Yet their social and cultural contexts are often overlooked due to the lack of ethnography associated with the artwork. This paper explores the hand stencils from Kundumbue and Pundimbung rock art sites, situated in the traditional boundaries of the Auwim people in the East Sepik Province of Papua New Guinea. Combining archaeological rock art analysis with ethnographic knowledge, we demonstrate that the hand stencils are a priority in each clan's place‐making practices, around which they construct the community's social narratives. Rock shelters and their rock art also show a form of communal history that is evoked through their production in contemporary settings, in addition to having been a form of esoteric magic in the past. We conclude that hand stencils can have multiple meanings over time and across space as a widespread cultural marker. However, aspects of the identities of individuals, groups and communities who created the now static hand imagery, remain in place. [ABSTRACT FROM AUTHOR]

This article investigates the idiosyncrasies of creative work in Russian art institutions through a study of their materialities. As identified in previous research, social inequalities are a significant feature of creative work. I argue, however, that in order to reveal inequalities that are constructed performatively, that is, in the 'here' and 'now', we need to further develop the existing arsenal of methods that is employed in critical creative work studies. In the Russian case, art institutions display a wealth of techniques for constructing and maintaining hierarchies, which of necessity must frequently be re-established due to conditions in the local context. In particular, the following explores two perennial paradigms of cultural production: 'high culture' and 'creativity'. As these paradigms coexist in the economy of the Russian art world, they compete for resources, including funding, public attention and legitimation. In the struggle, a binary of purity/dirt develops the social space of institutions, organisational identities and hierarchies inside and between organisations. This paper primarily focuses on an ethnographic study of cultural producers from the visual arts sector in Russia's two largest cities: Moscow and St. Petersburg. [ABSTRACT FROM AUTHOR]

Quartz (Amethyst), Jackson's Crossroads, Georgia, 2009; painted 1:1 at 18.5 cm across, watercolor, colored pencil on cardboard by Hildegard Königshofer. Art was born out of a desire or need for documentation or the presentation of knowledge in visual form. Quartz (Smoky Quartz), Microcline (Amazonite), Pikes Peak, Colorado, 2009; painted 1:1 at 13.7 cm across, watercolor and colored pencil on watercolor paper by Hildegard Königshofer. [Extracted from the article]

Exhibitions are embodied knowledge, and the processes of making exhibitions are also in themselves knowledge production practices. Science and technology exhibitions are therefore doubly of interest to historians of science: both as epistemic agents and as research methods. Yet both exhibitions and exhibition-making practices are ephemeral, as is the subsequent experience of the visitor. How can we research, interrogate, and understand both the productive creation of exhibitions and the phenomenologies and epistemologies of their reception and impact? "Exhibition histories" has become a significant field of late, most closely associated with research on art exhibitions but also extending to world and trade fairs, and now increasingly crossing over into histories of science and technology. It is not an easy task: the range of exhibition archive materials includes – but is not limited to – 35mm slides, architectural blueprints, models, drawings, briefs, memos, budgets, press films, reviews, and personal accounts. This primary material is distributed unevenly across public and organized repositories, closed commercial archives, the personal papers of designers, often embargoed national bureaus of information, and more. Further, the experience of visiting an exhibition leaves far fewer traces to follow, requiring the researcher to do different kinds of things with the same widely varied material. This paper proposes methodologies for historians of science and technology wishing to understand the spatialization of science in exhibition contexts, the impacts of science exhibitions, and the more elusive phenomenological aspects of the exhibition visitor experience. Historians of science must accurately historicize context while researching both along and against the grain of archival material left by the making of exhibitions, as well as understanding the embodied trajectories of visitors. The practice of making exhibitions can also offer the researcher critically valuable insights into what to look for – and what may be absent – in archival records. [ABSTRACT FROM AUTHOR]

One area of increasing interest in contemporary art is the reconsideration and reinterpretation of archives to convey historical knowledge based on memory through exhibitions, organized by institutions. The aim of this paper is to contribute to a better understanding of how and why contemporary art institutions use archives in their exhibition practices. Six art institutions, which are members of L'Internationale, were sampled. Data from research demonstrated that contemporary art institutions organize archive-based art exhibitions to reinterpret the widely-known history; to reveal the lesser-known history; to fill in the gaps between artist, artwork, and institution; as a result of artists' archives and archive-based artworks and as an output of their research function. The paper argues that archive-based exhibitions provide a foundation for the new institutional activities and alternative interpretations out of the canonical history of art. [ABSTRACT FROM AUTHOR]

The article is based on a paper presented at the conference "How to Tell About Art?" (Vilnius Academy of Arts, 7-8 May 2021; curated by Lina Michelkevičė, Laura Petrauskaitė, and Aušra Trakšelytė). The topic of the presentation was suggested by the growing interest among the Lithuanian public in historical art exhibitions. Both the conference report and the article are based on the assumption that the increasing visibility of the historical art exhibitions in the Lithuanian cultural field and their growing popularity might have an impact that goes beyond the art historical reflections. Such exhibitions not only develop the audience's sensitivity to artefacts, but also stimulate and partially satisfy the desire to learn about the history of culture, society and politics. The immanent characteristic of art - the perpetual movement of a visual artwork from (total) invisibility to (partial) visibility - implies the significance of an art exhibition and its capacity to communicate the 'inconvenient', and therefore silenced and distorted, memory. A fragment of the past will remain irrelevant for as long as it is unrecognised. By bringing the viewer face to face with the artefacts of a forgotten reality, the exhibition brings the latter closer, sharpens its colours, and makes it vivid. By taking the series of exhibitions dedicated to Lithuanian art and artistic life during WWII as its case study, the article aims to at least partially answer the question: how relevant, influential, and meaningful is the communication of 'inconvenient' and therefore silenced historical topics, particularly in an art exhibition that uses catalogue as its integral part? The article explains the motives for organising these exhibitions, analyses their brief descriptions along with their narrative structure, and overviews the forms and methods of dissemination. In order to provide a broader context for the issues at stake, a juxtaposition is made with similarly themed exhibitions recently held in Germany and Italy. They became renowned for their local and international focus on art produced under the Fascist and National Socialist regimes, as well as under the conditions of WWII. [ABSTRACT FROM AUTHOR]

Human's involvement with culture is a vital part of his life, but what happens when someone is blind or visually impaired (VI) and how Information and Communication Technologies (ICTs) help the access to cultural locations? The difficulties and limitations that blind and visually impaired (BVI) persons face while visiting museums or art exhibitions are of high importance. These limitations concern both the access to the location and the perception of the exhibits. This bibliographic research is divided into four main parts. In the first part of our paper we will analyze the difficulties that these people face as visitors in art exhibitions and how their disabilities affect an autonomous visit. Afterwards, we will refer to the importance of the disability arts when combined with ICTs. In the next part, we will mention the projects that are already applied or those for which efforts have been made globally for their implementation. These will be accompanied by recorded feedback from blind and visually impaired visitors. Finally, we will make a scheduled visit to the Tactual Museum of Athens in order to collect material on practices used in their exhibition and we shall record reactions from visually impaired visitors. [ABSTRACT FROM AUTHOR]

The Singapore Pavilion, set up as part of the 59th edition of the Art Exhibition La Biennale di Venezia, hosts the work of artist Shubigi Rao, a threefold multidisciplinary installation comprising a book, a video and a paper maze built around the theme of books destruction. They are part of a decade-long project under the title Pulp: A Short Biography of the Banished Book. Starting in 2014, it has brought the artist to visit archives and libraries all around the world and to meet women and men who daily dedicate themselves to defending books and cultures on the margins. Here we present the works exhibited in Venice (2022) and the three books that have already been published (2016, 2018, 2022) out of the five scheduled. [ABSTRACT FROM AUTHOR]

Towards the end of the 1960s—a period of intense creative, technological and political changes—the Argentinian art critic and entrepreneur Jorge Glusberg founded the CAyC (Center for Art and Communication) in Buenos Aires. CAyC was an interdisciplinary experimental project that explored the relationship between art, technology and society. It sought to articulate a network of discussions and productions by a new style of Latin American artist, deeply influenced by science, technology and society. Glusberg defined such practice as Systems Art, which appeared in three ways, namely as a system of collective representation; a system of meaning that defied formal categories; and a system of relationships and processes for social inquiry. In doing so, the artist became a researcher who reflected on their social context and the latter's processes of production. This paper will discuss CAyC's pioneering work and its global influence through three main initiatives: its exhibitions Art and Cybernetics, Systems Art in Latin America and the International Open Encounters on Video. These events were driven by the revolutionary artistic and experimental promotion of the distinctive ways in which Latin American artists were using technology to respond to local issues at a time when computer systems and cybernetic models for management and organizational practices were being introduced across the region. [ABSTRACT FROM AUTHOR]

Evaluates the exhibitions at the Irish Museum of Modern Art (IMMA) in Dublin, 'Picasso: working on paper' and 'The Barry Joule archive, works on paper attributed to Francis Bacon.' Curator of the Picasso exhibition, Anne Baldassari; Comparison of the two artists; Comments from IMMA director Declan McGanagle.

Agile is often associated with a lack of architectural thinking causing technical debt but has the advantage of user centricity and a strong focus on value. Model-driven software engineering (MDSE) strongly performs for building a quality architecture and code, but lacks focus on user requirements and tends to consider development as a monolithic whole. The combination of Agile and MDSE has been explored, but a convincing integrated method has not been proposed yet. This paper addresses this gap by exploring the specific combination of MERODE—as an example of a proven MDSE method—with Scrum, a reference agile method offering a concrete (sprint-based) life cycle management on the basis of user stories. The method resulting of this integration is called Agile MERODE; it is driven by user stories, themselves associated with behavior-driven development scenarios. It allows for domain-driven design and permits fast development from domain models by means of code generation. An illustrative example further clarifies the practical application of Agile MERODE, while a case study shows the planning game application in the case's context. While the approach, in its entirety, allows reducing technical debt by building the architecture in a logical, consistent and complete manner, introducing MDSE involves a trade-off with pure value-driven development. Agile MERODE contributes to the state of the art by showing how to increase user centricity in MDSE, how to align model-driven engineering with the Scrum cycle, and how to reduce the technical debt of agile developments yet remaining value-focused. [ABSTRACT FROM AUTHOR]

It is estimated that by 2050, 50% of Pacific peoples will be living out their full lives in cities and towns throughout Oceania and around the world. Over the last 35 years, previous patterns of circular migration have been giving way to permanent urban settlers and to generations born and raised in urban places. These 'urbanites' demonstrate a firm commitment to urban living in both the present and the future. In the cities, Pacific people have been building roots and making the city 'home'. This special issue focuses on some of the diverse practices Pacific urbanites employ in creating 'home', which we define as the context where they centre their social, cultural and economic worlds and the place in which they see themselves living out their aspirations and future life course. Practices range from the use of graffiti, sharing music, playing reggae, the role of artists and exhibitions, and mobile phone use. In doing so, this special issue contributes to a growing body of work focused on the ways urban‐based Pacific peoples contest essentialising stereotypes that deny their legitimacy and dismiss their urban experiences as less authentic. The collection of papers demonstrates how Pacific peoples are imagining and demonstrating their identities as Pacific urbanites reflecting their commitment to an urban Pacific, national, cultural and political belonging. [ABSTRACT FROM AUTHOR]

The large-scale painting ›People’s Justice‹, a work by the artist collective Taring Padi, originally intended as an agit-prop artwork in Indonesia two decades ago, was publicly exhibited in Kassel in 2022 at the international art exhibition ›documenta fifteen‹. Public criticism declared the large-scale image to be an anti-Semitic machination and scandalized the art exhibition as a whole as marked by anti-Semitic activism. Taring Padi’s large-scale painting was first covered, then completely removed. – In our paper, we analyze the political problematic that set the matrix for the scandal and the organizational ethical aporia of a diffusion of responsibility: the organization of the art exhibition sought to maximize the curatorial freedom of the artist collectives, but in doing so increased the risk of dramatic reputational damage. Then we develop the specifically aesthetic problematic that the novel genre of ›post-autonomous art‹, so characteristic of ›documenta fifteen‹, makes particularly high demands on the ability to reflect on the difference between art and politics, as well as on cultural identities and differences, when post-autonomous art operates in multicultural contexts. These high demands affect not only the artists and curators, but also the real and virtual audiences of an open multicultural art exhibition. We identify some reasons why the high demands were not well met in the staging of ›documenta fifteen‹. Then we develop some suggestions within the normative framework of discourse ethics that reveal the deep normative aporias of such exhibitions and their difficult discourse culture and can be prospectively helpful. Finally, we briefly summarize the characteristic difficulties and aporias we have elaborated and end with an outlook on Aline Caillet’s art-philosophical concept of a specifically aesthetic responsibility. [ABSTRACT FROM AUTHOR]

This paper aims to analyse to what extent the willingness to pay of art gallery visitors for the preservation of cultural artefacts is affected by the identity traits of the objects. To this purpose, we designed a discrete choice experiment that took place during a major exhibition dedicated to the artist Costantino Nivola (1911–1988) in Sassari (Sardinia, Italy). His works are known worldwide and many of them were produced after he moved from Sardinia to the United States in 1939. As a result, both the American and the Sardinian culture show up in his works and, in particular, were clearly visible in the exhibition under study. The discrete choice experiments allowed us to elicit respondents' preferences towards the identity features stemming from Nivola's artefacts. The results confirm the importance of this component indicating that its presence almost doubles respondents' willingness-to-pay for the acquisition of these artefacts to a permanent collection. [ABSTRACT FROM AUTHOR]

This paper focuses on Pictures for Schools, an art patronage scheme established in postwar Britain by the artist and educationalist Nan Youngman (1906–1995) to sell affordable works of art to educational establishments. Highlighting the use of works of art as a pedagogical tool, Pictures for Schools is contextualised within a wider programme of visual education, which encouraged citizens to be critical observers of the places and objects which surrounded them everyday in postwar Britain. The paper explores the ways in which artworks offered children a critical education across two types of educational spaces, the classroom and the art gallery. Using material from Youngman's archives, it visits a series of educational spaces where, in the decade leading up to the Second World War, and influenced by the educationalists Marion Richardson and Henry Morris, Youngman established the the value of the active, participatory form of art education she later promoted through Pictures for Schools. The paper then explores the ways in which Pictures for Schools worked to develop children's skills as critical observers. At the first Pictures for Schools exhibition, held in 1947 at the Victoria and Albert Museum in London, children voted for their favourite exhibit. At later exhibitions, held annually until 1969, children were given questionnaires which encouraged them to look closely at the artworks. This paper argues that in doing this, Pictures for Schools aimed to develop the critical capacities of future citizens who were asked to play an active part in postwar reconstruction and society. [ABSTRACT FROM AUTHOR]

Gordon Crook (1921–2011), a British textile artist who arrived in New Zealand in 1972 and settled in Wellington, became well known as a tapestry weaver and designer of decorative banners, as well as a silkscreen printer, before turning to pastel drawing in 1984–85. He created two suites of pastels, each ‘drawing’ consisting of three sheets of fine art paper pasted on watermarked paper on board. These were shown at two exhibitions in Wellington, one at the Janne Land Gallery (1985) and the second at the City Art Gallery (1986). They marked a sharp change of direction in his work, from cheerful and decorative to introspective and complex composite images of memory and feeling states. They are represented in the Museum of New Zealand Te Papa Tongarewa collection by arguably the best of these drawings, Gymnasium. Crook did not turn to pastels again, but his work on these two suites served as the foundation for his collaged photographic prints of 1989, as well as the tapestries and prints of his Wolf-Man project of 1991. This paper is based on Crook’s voluminous correspondence archived in the Alexander Turnbull Library, Wellington. [ABSTRACT FROM AUTHOR]

Mobile technologies are transforming the ways in which we experience arts and heritage sites, and galleries and museums are facing increased pressure to provide stimulating, alternative technology-based solutions for enriching visitor experiences. Focusing on the opportunities afforded by augmented reality (AR), this paper critiques the role this technology plays in providing visitors the opportunity to experience art and exhibitions through a series of dynamic, small-scale micro-mobilities. We propose that AR creates curated spaces of mobility in galleries and museums and in doing so, visitors become empowered through spaces of agency, autonomy and dwelling as they negotiate these spaces and encounter art through technology-mediated forms of wayfinding, interpretation and personal curation. Through negotiated agencies of human and non-human, visitors become emancipated, active agents in a process of co-production. Such positioning is further critiqued as the paper investigates the opportunities afforded by augmented reality to create alternative spaces of connection and interpretation through conceptualisations of dwelling and we suggest technology holds the potential to facilitate an enriched, deeper and more personal connection to that experienced in art gallery and exhibition spaces. [ABSTRACT FROM AUTHOR]

This article examines the significance of Zulfa al-Sa'di's paintings in the advent of modern art in Palestine. Although her work was largely prompted by the political context of 1930s Palestine, al-Sa'di also drew from a robust archive of images, newspapers, and texts, recognizing their value as agents of national unity. Her ability to bridge Islamic themes with Christian motifs, historical texts with contemporary media, politics with poetry, painting with photography, and art with nationalism made her work palatable to an Arab intelligentsia who sought to reconcile tradition with modernity. Additionally, this paper will consider the context in which al-Sa'di's oeuvres gained traction, most notably the 1933 National Arab Fair in Jerusalem. National fairs represented a pivotal shift in the production, consumption, and exhibition of culture. They not only facilitated the display of Palestinian art, but also informed its content and purpose. The paper demonstrates that al-Sa'di's apparently traditional portraits relied on an intrinsically modern system of representation underpinned by the fair's political agenda. By contextualizing al-Sa'di's portraits and reading them against her cache of historical and contemporary references, this article aims to give a more substantial account of al-Sa'di, giving back visibility and agency to her life and work and asserting her importance in the history of Palestinian art. [ABSTRACT FROM AUTHOR]

Graphite on rag paper, 9.375 × 13 in. To see more of Tom Wudl's art, contact studio@wudl.net and lalouver.com FURTHER READING 1 Wudl, T. (2020). Pencil, acrylic paint, oil paint, aluminum leaf, and pure silver on vellum paper, 12 × 12.5 in. On the back cover: Tom Wudl, Boundless Oceans of Concentrations, 2009. The art of Tom Wudl reflects this commitment toward the sacred, resulting in jewel-like formations that float against delicate backgrounds on rice paper, reminiscent of an eternal landscape. [Extracted from the article]

The Winogradsky column is a nineteenth-century device for culturing microorganisms using samples of water, mud and other nutrients in transparent tube-shaped containers. In this device, metabolic processes and microbial functions are not reduced to mere illustration but are staged at the intersection of presence and representation. In this article, the Winogdrasky column is analysed as a cultural artifact that embodies recent changes of conceptualization of microorganisms in the life sciences and the humanities. As an instrument that models specific ecosystems, the Winogradsky column moves away from conceptualizations of microbial species as isolated and self-defined organisms in favour of a more ecological, interdependent, multi-species interpretation of life. This paper also traces the transition of the Winogradsky column from an experimental device of the natural sciences into a form of display in natural history museums and later appropriated as an artistic medium. With examples from displays at natural history museums as well as works of art and biology, the Winogradsky column embodies the shift in thought and discourses regarding microorganisms, their ubiquity and impact on the environment and on us, which corresponds to a larger epistemological transformation to re-frame microorganisms towards a post-anthropocentric turn. [ABSTRACT FROM AUTHOR]

This paper provides a reflection on the use of visual art workshops in an interdisciplinary feminist project with female survivors of domestic violence living in refuges in England and Portugal. The paper discusses the fieldwork in each location with attention to the interaction between participants, between participants and the researcher/s, and the cultural and institutional structures influencing the research and the images produced. Despite some key differences in the context, the analysis highlights key resonances and commonalities amongst the objects that survivors of domestic abuse depicted in each location. We use the feminist notion of 'giving voice' as an analytical tool throughout the paper. The paper argues that 'giving voice' was not unproblematically accomplished by using visual methods and suggests that our understanding remained partial and often reliant on verbal narratives accompanying the visual images produced. We also highlight issues of power emerging when exhibiting art generated through the study. [ABSTRACT FROM AUTHOR]

In this paper we discuss the exhibition Post-Opera, a complex and provocative curatorial project by Kris Dittel and Jelena Novak, in which the changeable relations between the voice and the (human) body are investigated from the creative and the theoretical perspectives, relying on juxtaposing and reflection between visual arts, technology and opera. Firstly, in the paper we examine the curatorial procedure, in its shift from the mediatory function between the work and the audience towards the practice, which intervenes in both of these domains and results in an exhibition as an autonomous art object. In the second part we interpret the politics and the effectiveness of the singing and the speaking voice in contemporary art and culture, while in the third part we write about the resemantization of the relation between the singing body and the sung voice within 'installing the operatic'. [ABSTRACT FROM AUTHOR]