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Understanding that good decision-making is paramount for the success of an organization and recognizing that strategic decision-making inside museums is a topic that has been over-passed by researchers, this paper intends to contribute to the relevance of the subject through the implementation of an innovative tool. Decision-making in museums is normally focused on the intuition, subjectivity, and experience of the curator, who brings all his knowledge to the exhibition programming. However, museums’ management and environment are constantly changing, thus the application of this tool would aim to make decisions in a more democratic, transparent, inclusive, and accurate manner. Besides, it will be easier to understand how distinct subjects can work together, demonstrating successful results to improve the decision-making process when programming and measuring temporary exhibition seasons in museums. This paper describes the design and implementation of the Multi-Attribute Utility Theory (MAUT) for the Museu Nacional d'Art de Catalunya (MNAC). It also analyzes and evaluates the decision-making process when scheduling exhibitions for a season., Peer Reviewed, Postprint (author's final draft)

This essay's main topic is how the digitalization of art affects the experience. This was done by comparing a digitalized and a physical viewing of the art exhibit Katja of Sweden at Kristinehamns Konstmuseum. The two versions were analysed through Spielberg’s seven phenomenological steps: experience, ideation, generalizing, nuancing, constitution, reduction, and interpretation. They were then compared through a comparative method highlighting the similarities and differences between the two versions of the art exhibit. The concept of a museum as a place and space was then analysed through Christian Norberg-Schultz's argument phenomenon of place, and Walter Benjamins's argument of the aura of the artwork. The conclusion that came from the analysis was that digitalization affected how the visitor interacted with the art exhibit's place and space. Even so, the digitalisation of the exhibit Katja of Sweden was deemed a necessary precaution to ensure that the visitors could take part in the exhibit even if the museum were closed, due to the restrictions that came with the Covid-19 pandemic.

This essay's main topic is how the digitalization of art affects the experience. This was done by comparing a digitalized and a physical viewing of the art exhibit Katja of Sweden at Kristinehamns Konstmuseum. The two versions were analysed through Spielberg’s seven phenomenological steps: experience, ideation, generalizing, nuancing, constitution, reduction, and interpretation. They were then compared through a comparative method highlighting the similarities and differences between the two versions of the art exhibit. The concept of a museum as a place and space was then analysed through Christian Norberg-Schultz's argument phenomenon of place, and Walter Benjamins's argument of the aura of the artwork. The conclusion that came from the analysis was that digitalization affected how the visitor interacted with the art exhibit's place and space. Even so, the digitalisation of the exhibit Katja of Sweden was deemed a necessary precaution to ensure that the visitors could take part in the exhibit even if the museum were closed, due to the restrictions that came with the Covid-19 pandemic.

The objective of this work is to offer a reflection on the use of digital applications that contribute to the creation of a multimedia knowledge, in particular, to recreate virtual scenarios with the appearance of museum rooms. The aim is to contribute, from teaching, to the approach to artistic manifestations that sink their roots in classical mythology. The final work example has been developed with the Emaze and People art factory applications that combine the use of artistic images and oral expression with brief explanatory audios. To contextualize the working method, the descriptio phase is highlighted, as well as the relevance that underlies the selection of works of art of each exhibition. The character of hypertext, of multilingual narration that acquire the final results is one of the conclusions of these virtual works, because whoever develops the museum can choose the narrative thread to follow. This conjunction highlights the importance of creative and communicative skills developed by learners, as well as emotional competence. Finally, it is concluded that the motivating nature of this practice contributes to the good learning of Classical Culture by bringing its participants to the functions of the role of exhibition curator, allowing them to observe classical mythology from multiple personal perspectives thus contributing to the integral formation of the disciple., El objetivo de este trabajo es ofrecer una reflexión sobre el uso de aplicaciones digitales que contribuyan a la creación de un conocimiento multimedia, en concreto, para recrear escenarios virtuales con apariencia de salas de un museo. La finalidad es contribuir, desde la docencia, al acercamiento a las manifestaciones artísticas que hunden sus raíces en la Mitología clásica. El ejemplo de trabajo final ha sido elaborado con las aplicaciones Emaze y People art factory que combinan el uso de imágenes artísticas y la expresión oral con breves audios explicativos. Para contextualizar el método de trabajo se resalta la fase de descriptio, así como la relevancia que subyace en la selección de obras de arte de cada exposición. El carácter de hipertexto, de narración multilineal que adquieren los resultados finales es una de las conclusiones de estos trabajos virtuales, pues quien desarrolla el museo puede escoger el hilo narrativo que seguir. Esta conjunción pone de relieve la importancia de la habilidad creativa y comunicativa desarrollada por parte de los discentes, así como la competencia emocional. Se concluye, por último, que la naturaleza motivadora de esta práctica contribuye al buen aprendizaje de la Cultura Clásica al acercar a sus participantes a las funciones del rol de comisario de exposición, permitiéndoles observar la Mitología clásica desde múltiples perspectivas personales contribuyendo, así, a la formación integral del discente.

This article presents the shared teaching and research experience carried out between the Education Department of the Artium Museoa, Museum of Contemporary Art of the Basque Country and the subject Education of the Arts and Visual Culture of the Bachelor’s Degree in Primary Education of the Faculty of Education of Bilbao (UPV/EHU). After analyze theories that contemplate the need to advocate for a quality Arts Education and the relevance that the link between educational centers and art museums acquires in this path, the museum-university educational program Mano a mano is presented. In view of the museum's potential as an educational tool, this program has been designed jointly in order to contribute to improving the skills of future teachers when it comes to working in and trough art and wanting, in turn, to value the possibilities offered by collaboration with an art museum. Finally, it is verified that with this program the students of the Bachelor’s Degree in Primary Education gain confidence within the museum, increase their ability to design educational proposals through the arts and grow their interest and motivation in relation to contemporary art., En este artículo se presenta la experiencia docente e investigadora compartida llevada a cabo entre el Departamento de Educación de Artium Museoa, Museo de Arte Contemporáneo del País Vasco y la asignatura Educación en las artes y en la cultura visual del Grado en Educación Primaria de la Facultad de Educación de Bilbao (UPV/EHU). Tras analizar teorías que contemplan la necesidad de abogar por una educación artística de calidad y la relevancia que adquiere en dicho camino el vínculo entre los centros educativos y los museos de arte, se presenta el programa educativo museo-universidad Mano a mano. Ante la potencialidad del museo como herramienta educativa, este programa ha sido diseñado de manera conjunta con el fin de contribuir a la mejora de las capacidades del futuro profesorado a la hora de trabajar en y desde el arte, queriendo, a su vez, poner en valor las posibilidades que brinda la colaboración con un museo de arte. Finalmente, se constata que gracias al programa diseñado el alumnado del Grado de Educación Primaria gana confianza dentro del museo, aumenta su capacidad para plantear propuestas educativas a través de las artes y crece su interés y motivación en relación al arte contemporáneo.

The thesis focuses on both developing an architectural design as proposal for new premises for Malmö Konstmuseum as well as investigating specific topics in architecture. The project is a typological study of form, space and order with a focus on structuralism and deals with man’s relationship to its spatial environment. The project starts with a literature study serving as a basis. It continues by defining and describing concepts in architecture and design that serves as subjects and a framework to be translated and appropriated in its material design. The concepts are understood and developed in parallel disposition within, against and next to each other. The concepts are arranged in three groups of triads which deal with a topic. The first topic is ‘architecture’: 1.architecture (structuralism) 2. program (museum) 3. building (wood). The second, ‘spaces’: 1.space (vision and movement) 2. room (limits and frames) 3. encasement (functionalism) The third, ‘context’: 1. place (Rosengård) 2. macrostructure (Industrial and cultural implications) 3. ideosphere (incursions, surrealism). These establish orders in how architecture can be interpreted and in turn formalize to be systematized and contrasted. From this order an overall abstract architecture is created to intermediate the formalized ideas with the development of framework and methods for the design. The architecture is broken down into components and parts. The components are constructed by a set of parts that are used through out the structure as reoccurring separate entities and forms. Assembled components form new meanings in its variations of shape, position and scale as they materialize a structure and are inserted into it . The architecture form larger compositions, spatial and material relations that can be reviewed. The various structures are designed and investigated through various orders and systems as tool and as a way to control the design. The project builds structures in structures. The design pr

“Between Wonderland or Utopia: Louisiana Museum of Modern Art as a new museum for the Danish Welfare society” focuses on Louisiana, established in 1958, as a key model for challenging the traditional museum category in postwar Europe. During the first twenty years, Louisiana was leading in creating an experience museum with a new democratic Bildung concept for the rising Welfare society, the text argues. The argument is unfolded in an analysis of the exhibitionary complex and the new experience educative curatorial formats – from the open and inviting architectural decentered structure; myriad participatory practices; new exhibition formats and publications, a children’s museum, and commitment to public engagement through symposiums and concerts. While shifting its focus from Danish and Scandinavian art and design to international modern art, Louisiana with its founding director Knud W. Jensen was devoted to bringing art and culture to the broad audiences and presenting a cultural alternative to the rising consumerism. Louisiana strived to be a cultural asset and relevant to the contemporary society – a museum for developing, shaping and “educating” individuals in the new postwar society.

This report describes the process of designing a shared family experience for Kunstmuseum Den Haag that encourages visitors to explore and discuss the personal art experience together. Kunstmuseum Den Haag is an art museum with a large variation of art pieces. They would like to see more families visiting the museum. Their vision is ‘Getting closer to art’, meaning they wish to offer visitors a personal connection with art. The personal art experience is anything someone thinks, feels or perceives about art that is unique to that person. It is interesting to help families explore and discuss this experience, because children might have trouble identifying them and have trouble putting them into words. In turn, adults might underestimate their children and never try, or they don’t know how to talk about it. By discussing the experience, you can not only learn about art, but more about yourself and your family members as well. To have a shared experience that successfully enhanced the personal experience, it is important that all family members are equally engaged. During this project, I identified four design principles of creating engagement in museums and four ways towards enhancing the personal art experience. The four ways to engagement are: - Role-play and autonomy - Anticipation and reward - Appropriate novelty and challenge - Facilitation of varied energy levels The four ways to enhancing the personal experience are: - Pushing and challenging behaviour - Novelty and weirdness - Asking the right questions - Relatability to one’s own life The final product consists of six role-booklets that each use different questions and exercises to explore and discuss the personal art experience. With the roles, one can move, be creative, search for details, experiment physically, fantasize, fabricate, change, feel and share opinions. Every player answers one question per artwork, Design for Interaction

Architecture is a creative craft within certain limitations of program, technical requirements, environmental aspects, etc. and every project comes with a vast number of challenges that have to be tackled, giving the designer endless possibilities for solutions. A design tool used by many architects throughout the centuries to explore these possibilities has been painting. What is essential to consider is that architectural paintings can help architects stimulate their creativity and imagination. Despite this, the ways in which architectural paintings can be used in the design process and the process of making an architectural painting is rarely explicitly investigated. Therefore, the aim of this research is to understand the implicit creative process of architects who use painting as a design tool. The project "Elbetitsa" is an example of how architectural paintings can be used as a tool during the design process to stimulate creativity and create meaningful projects by addressing the multidimensional character of architecture., Elbetitsa - A manifesto for a new age, Architecture, Urbanism and Building Sciences | Explorelab

In this thesis, work has been carried out in order to explore the role of materiality in works of conceptual art – and what possible influence the preservation of such objects might have for their meaning within the context of a modern art museum. The study is divided into three parts, where the initial one examines the concept of materiality, the second part maps the history and complexity of conservation, and the final part is based on three case studies of individual artworks. The research is carried out through a literature study within the fields of conservation and art history, as well as different kinds of institutionally produced reports along with exhibition descriptions and art reviews. Interviews have also been carried out with a curator and conservators from two museums of contemporary art, Moderna museet in Stockholm and Kunstsammlung Nordrhein-westfalen in Düsseldorff. One aspect of the study has been to, from a perspective of discourse theory, investigate whether any so-called antagonistic relationships could be identified within the practices of the art museum, between different professional attitudes towards the idea of preserving artworks where the materiality may or may not be of relevance for the conceptual integrity of the piece. No such antagonism has been observed, but rather a situation where the professional boundaries are blurred in relation to the individual object. In the theoretical forms of a communicative network, conservators, curators and the artist responsible for the piece engage in the custodial presentation of the artwork. In this work, traditional notions of preservation may give way to a process-oriented relationship with the object to enable a continuous relevance toward the public and as an active part of the contemporary art scene. Even if the context of the art museum establishes the physical limits of the conceptual art composition, the preservation of the artwork may be viewed as pragmatic in terms of its materiality – wh

In this thesis, work has been carried out in order to explore the role of materiality in works of conceptual art – and what possible influence the preservation of such objects might have for their meaning within the context of a modern art museum. The study is divided into three parts, where the initial one examines the concept of materiality, the second part maps the history and complexity of conservation, and the final part is based on three case studies of individual artworks. The research is carried out through a literature study within the fields of conservation and art history, as well as different kinds of institutionally produced reports along with exhibition descriptions and art reviews. Interviews have also been carried out with a curator and conservators from two museums of contemporary art, Moderna museet in Stockholm and Kunstsammlung Nordrhein-westfalen in Düsseldorff. One aspect of the study has been to, from a perspective of discourse theory, investigate whether any so-called antagonistic relationships could be identified within the practices of the art museum, between different professional attitudes towards the idea of preserving artworks where the materiality may or may not be of relevance for the conceptual integrity of the piece. No such antagonism has been observed, but rather a situation where the professional boundaries are blurred in relation to the individual object. In the theoretical forms of a communicative network, conservators, curators and the artist responsible for the piece engage in the custodial presentation of the artwork. In this work, traditional notions of preservation may give way to a process-oriented relationship with the object to enable a continuous relevance toward the public and as an active part of the contemporary art scene. Even if the context of the art museum establishes the physical limits of the conceptual art composition, the preservation of the artwork may be viewed as pragmatic in terms of its materiality – wh

In recent years, due to the active development of cultural and creative industries in Taiwan, cultural elements in exhibitions are often used in product design. Generally speaking, cultural and creative design elements exist in ordinary life and can be found in specific life. Although Tainan Art Museum in Taiwan aims to promote local art, it introduces a special exhibition of Japanese contemporary artist Yoshitomo Nara for the purpose of promoting modern art. Taking this special exhibition as a case, this research aims to analyze the attractiveness of the commodities in transnational exhibitions and discuss the essential spirit of the intercultural commodities. The research results put forward four attractiveness, that are practical feeling, satisfied feeling, mysterious feeling and unique feeling, for the formation of museum cultural commodities, can be used as a reference for the future product development and selection of art museums.

Este proyecto de investigación diseña, analiza y planifica un lugar de valor patrimonial, el cual va encaminado a la recuperación del patrimonio histórico rural a través de la arquitectura. El problema que se ha encontrado gracias al trabajo de investigación realizado, es que el lugar no cuenta con un diseño de espacio público ni de equipamientos culturales adecuados como es el caso de la Casa Museo en el Pantano de Vargas. Para ello se realizó una propuesta de diseño arquitectónica que da vida a un museo de arte y patrimonio, en donde se recuperara y relatara a través de pinturas, fotografías, teatros, cuenteros y de más muestras culturales los hechos sucedidos en la batalla del Pantano de Vargas el día 25 de Julio del año 1819. Se logró contrastar gracias a un análisis multiescalar realizado en el Pantano de Vargas como la arquitectura contemporánea puede llegar a resaltar la arquitectura pasada sin necesidad de modificarla, a través de operaciones de diseño y configuraciones sensoriales a partir de aulas, recintos y porches que le permiten al visitante obtener varias perspectivas del paisaje y así generar diversidad de emociones al recorrer el museo., This research project designs, analyzes and plans a place of heritage value, which is aimed at the recovery of rural historical heritage through architecture. The problem that has been found thanks to the research work carried out is that the place does not have a public space design or adequate cultural facilities, as is the case of the House Museum in the Pantano de Vargas. To this end, an architectural design proposal was made that gives life to an art and heritage museum, where the events that occurred in the battle of the Pantano de Vargas on July 25, 1819. It was possible to contrast, thanks to a multiscalar analysis carried out in the Pantano de Vargas, how contemporary architecture can highlight past architecture without the need to modify it, through design operations and sensory configurations through from classrooms, enclosures and porches that allow the visitor to obtain various perspectives of the landscape and thus generate a diversity of emotions when touring the museum.

Este proyecto de investigación diseña, analiza y planifica un lugar de valor patrimonial, el cual va encaminado a la recuperación del patrimonio histórico rural a través de la arquitectura. El problema que se ha encontrado gracias al trabajo de investigación realizado, es que el lugar no cuenta con un diseño de espacio público ni de equipamientos culturales adecuados como es el caso de la Casa Museo en el Pantano de Vargas. Para ello se realizó una propuesta de diseño arquitectónica que da vida a un museo de arte y patrimonio, en donde se recuperara y relatara a través de pinturas, fotografías, teatros, cuenteros y de más muestras culturales los hechos sucedidos en la batalla del Pantano de Vargas el día 25 de Julio del año 1819. Se logró contrastar gracias a un análisis multiescalar realizado en el Pantano de Vargas como la arquitectura contemporánea puede llegar a resaltar la arquitectura pasada sin necesidad de modificarla, a través de operaciones de diseño y configuraciones sensoriales a partir de aulas, recintos y porches que le permiten al visitante obtener varias perspectivas del paisaje y así generar diversidad de emociones al recorrer el museo., This research project designs, analyzes and plans a place of heritage value, which is aimed at the recovery of rural historical heritage through architecture. The problem that has been found thanks to the research work carried out is that the place does not have a public space design or adequate cultural facilities, as is the case of the House Museum in the Pantano de Vargas. To this end, an architectural design proposal was made that gives life to an art and heritage museum, where the events that occurred in the battle of the Pantano de Vargas on July 25, 1819. It was possible to contrast, thanks to a multiscalar analysis carried out in the Pantano de Vargas, how contemporary architecture can highlight past architecture without the need to modify it, through design operations and sensory configurations through from classrooms, enclosures and porches that allow the visitor to obtain various perspectives of the landscape and thus generate a diversity of emotions when touring the museum.

The Art Museum has long acted as a complex and multifaceted symbol of power, exclusion and liberation. In recent time, the Art Museum’s position has shifted from a place of fine culture, a space that separate the elite from “the others”, to undergo a democratization in an attempt to reach a wider audience and become more accessible. At the same time, there is a conflict regarding the Art Museum where the desire to become a democratic space is opposed to the need to act as an icon in the city in order to attract the tourism sector. In the development of new Art Museums these underlying motifs often oppose each other and places the institutions in a situation of strong duality. This conflict of goals and vision also applies to the discussion regarding the development of a new Art Museum in Malmö which this thesis aims to explore. The discussion regarding new premises in connection to Malmö Art Museum has been in progress ever since the 1980s, but more recently the discussion has reached a point of reality. In realizing this project many questions can be raised concerning the aims and intentions. What should the new Art Museum bring to the city, how can it evolve in harmony with Malmö Stad’s goals and wishes and finally who are we building for? A vision has been developed for Malmö’s new Art Museum which revolves around establishing a democratic space, an inclusive place for everyone. Alongside the vision, different location possibilities have been investigated, all of which in turn would influence the museum’s character in different directions. The following work explores how an Art Museum could take shape at Rosengård’s Station in Malmö, what tools we as architects have in working with inclusion and how the museum can be spread further in the city through satellites to lower the thresholds and reach a wider audience.

Architecture is a creative craft within certain limitations of program, technical requirements, environmental aspects, etc. and every project comes with a vast number of challenges that have to be tackled, giving the designer endless possibilities for solutions. A design tool used by many architects throughout the centuries to explore these possibilities has been painting. What is essential to consider is that architectural paintings can help architects stimulate their creativity and imagination. Despite this, the ways in which architectural paintings can be used in the design process and the process of making an architectural painting is rarely explicitly investigated. Therefore, the aim of this research is to understand the implicit creative process of architects who use painting as a design tool. The project "Elbetitsa" is an example of how architectural paintings can be used as a tool during the design process to stimulate creativity and create meaningful projects by addressing the multidimensional character of architecture., Elbetitsa - A manifesto for a new age, Architecture, Urbanism and Building Sciences | Explorelab

This report describes the process of designing a shared family experience for Kunstmuseum Den Haag that encourages visitors to explore and discuss the personal art experience together. Kunstmuseum Den Haag is an art museum with a large variation of art pieces. They would like to see more families visiting the museum. Their vision is ‘Getting closer to art’, meaning they wish to offer visitors a personal connection with art. The personal art experience is anything someone thinks, feels or perceives about art that is unique to that person. It is interesting to help families explore and discuss this experience, because children might have trouble identifying them and have trouble putting them into words. In turn, adults might underestimate their children and never try, or they don’t know how to talk about it. By discussing the experience, you can not only learn about art, but more about yourself and your family members as well. To have a shared experience that successfully enhanced the personal experience, it is important that all family members are equally engaged. During this project, I identified four design principles of creating engagement in museums and four ways towards enhancing the personal art experience. The four ways to engagement are: - Role-play and autonomy - Anticipation and reward - Appropriate novelty and challenge - Facilitation of varied energy levels The four ways to enhancing the personal experience are: - Pushing and challenging behaviour - Novelty and weirdness - Asking the right questions - Relatability to one’s own life The final product consists of six role-booklets that each use different questions and exercises to explore and discuss the personal art experience. With the roles, one can move, be creative, search for details, experiment physically, fantasize, fabricate, change, feel and share opinions. Every player answers one question per artwork, Design for Interaction

Museum directors play a fundamental role in the management of arts institutions, and they need to constantly adapt to the changes and requirements of the society. Questions have been raised about how decisions are made in museums, and if any specific method exists to analyze and select exhibitions for a complete annual program. Interviews conducted with several directors and experts have confirmed that, in general, the decision-making process within cultural institutions is intuitive and based on the experience and subjectivity of the director, who has an artistic background but sometimes lacks experience in arts management. In order to address this subject, this study applied the Multi-Attribute Utility Theory (MAUT) to CaixaForum Barcelona, an important cultural institution in Spain, and analyzed the decision-making process followed while selecting artists and topics for a temporary exhibition. This research contributes to a new decision-making method and the improvement of exhibition scheduling in arts organizations., Peer Reviewed, Postprint (author's final draft)

美術館は博物館の一形態である。日本において博物館は, 明治期に近代国家形成のための装置として輸入された。そして教育行政と勧業の両面で, 近代社会の発達と共に活動を展開した。博物館の目的や機能は, 1951年に成立した, 博物館法において定義されている。しかし, 博物館教育の理念にはすべての博物館を統一するような定義がない。そのため博物館教育は, 自然史博物館や科学館, 動物園, 植物園, 水族館などの自然科学系博物館と, 歴史博物館, 美術館などの人文博物館とが別のものと認識されている。さらに学芸員の教育理念や教育能力にも共通した基準は存在せず, 異分野の博物館同士が, 博物館教育について議論や交流する機会は極めて少ない。したがって両者を比較した研究も少ないことから, 「博物館教育」を定義することを困難にしている。そこで, 本稿では自然科学系と人文科学系の博物館, 『東京国立博物館百年史』『国立科学博物館百年史』の比較検討をおこなう。東京国立博物館は, 「富国強兵」「殖産興業」を推し進める博覧会を実施する内務省系博物館として発展した。一方, 国立科学博物館は「文明開化」による学校教育の実施支援を行う文部省系博物館として出発している。異なる使命を担い発展してきた両館は, 国内の多くの博物館へ影響を与え続けてきた, いわば我が国の博物館の象徴的存在である。2系統の博物館の発展経緯の中で, 特に博物館教育の理念の構築と具体的取り組みに注目し, 明治から現代までの変遷を辿るものとする。以上の文献調査を元に, 博物館教育が分化した起点を明らかにし, 現代へ引き継がれた博物館の教育活動の理念と課題について報告する。

Сфера культуры и искусства состоит из множества субъектов, которые в связи с большой конкуренцией вынуждены использовать различные инструменты маркетинга для формирования бренда и завоевания аудитории. В данной статье анализируется SMM деятельность художественных музеев города Екатеринбурга, проводится контент-анализ описаний профилей музеев, представлена статистика виртуальной активности в аккаунтах музеев в социальных сетях, выявляются закономерности продвижения художественных музеев города Екатеринбурга посредством социальных сетей. В статье делаются выводы о том, что музеи стараются дать в социальных сетях основную необходимую для принятия решения о посещении музея информацию: анонсы мероприятий, контактную информацию, информацию об экспонирующихся произведениях и их авторах. Для привлечения дополнительного внимания публикуются поздравления с праздниками, проводятся конкурсы, создаются оригинальные рубрики, публикуются видео-лекции., The sphere of art and culture consists of many actors who are forced to use various marketing tools to form a brand and win an audience. This article analyzes SMM activities of art museums in Yekaterinburg, conducts a content analysis of the descriptions of the museums profiles, presents statistics of activity in the accounts of museums in social networks, and identifies the patterns of promoting art museums in Yekaterinburg through social networks. The article concludes that museums are trying to provide all needed information for making a decision on visiting a museum in social networks: announcements of events, contact information, information about exhibited works and their authors. In order to attract additional attention, museums publish congratulations on the holidays, hold contests, create original headings, and shoot video lectures.

The active museum of art: During this Graduation project I search for a new way of positioning an art museum in the 21st century in Rotterdam south Tarwewijk. An Art Museum changes the local environment of its surrounding area. It can have a positive influence by developing neighbourhood assets but it also can lead to gentrification and displacement. To increase these neighbourhood assets this graduation research search for an active museum that integrates art in the daily lives of people and local neighbourhood by focusing on theme of participation and interaction. Creating an inclusive public space for a dynamic collaboration between the art, artists the audience and the environment. Where the design concept results in building a connection between Rotterdam south and the rest of Rotterdam. Reflecting the city structure and history. Merging art disciplines, building as performance (active building), openness, transparency, porosity, strong centre point for encounter and free choice of routing.

Contemporary practices articulate artistic creation around collective processes that have streets and cities as the privileged locus of instauration. This study seeks to reflect on the transformations that have impacted the art in the contemporary scene, from the understanding that the art museum is a refuge and the place of encounter with the artistic object. In our formulation, we argue that the artistic object is evidenced only as a memory or relic of the moment of installation of art in the creation of the artist, unlike what happens with the collective art that takes place in the streets and that is presented as a effective possibility of encounter with art in natura. We seek to anchor our reflections in the thinking of theorists and artists such as Harold Rosenberg, Allan Kaprow, Ferreira Gullar, Andreas Huyssen, among others., Las prácticas contemporáneas articulan la creación artística en torno a procesos colectivos que tienen las calles y las ciudades como locus privilegiado de instauración. Este estudio busca reflexionar sobre las transformaciones que han impactado el arte en el escenario contemporáneo, a partir de la comprensión de que el museo de arte es un refugio y el lugar de encuentro con el objeto artístico. En nuestra formulación, argumentamos que el objeto artístico se evidencia sólo como memoria o reliquia del momento de instauración del arte en la creación del artista, a diferencia de lo que sucede con el arte colectivo que se realiza en las calles y que se presenta como una posibilidad efectiva de encuentro con el arte in natura. Buscamos anclar nuestras reflexiones en el pensamiento de teóricos y artistas como Harold Rosenberg, Allan Kaprow, Ferreira Gullar, Andreas Huyssen, entre otros.

Visual art resource collections specially art works like, painting, sculpture, installation art form are totally ignored for retrieving this kind of information sources. The main concept of visual art resource is visual form and esthetic value of non textual content. They kept in museums and art galleries. West Bengal is a cultural hub of visual art resources. There are many art museum and art gallery which preserves art resources. Transforming visual code into written code and visual information into textual description is very challenging work. Content of painting, sculpture or installation arts are significant challenges to concept-based indexing. The main motto of this research project is how to access, process and manage this type of iconographic resources. In terms of library and information science knowledge organization is a vital part. It’s made easy retrieval and identification of concern users.

This essay analyses two texts by Polish art historian Piotr Piotrowski (1952-2015) that articulate theoretical stances towards art museography, the one devoted to issues of trauma management, contemporaneity and identity, and the other presenting a methodological tactic to deflect the power of the art-historical museum piece in critical and democratic ways. Reflecting on how they deal with psychological as well as openly political issues, I interpret and assess their joint contribution to the broader interdisciplinary field of (critical) museography. The texts are “New Museums in New Europe” and “Making the National Museum Critical”. The first text discusses four new or newly re-furbished museums in a culture in Eastern Europe since 1989 characterized as “post-traumatic”. These museums are contextualized both in relation to the Western museum boom of the same years, and to the new museums’ recent history, where sometimes the very architecture and site of these institutions renders trauma tangible. The second text is a case-study based on experience and inside knowledge, from the short period when the author directed and together with Katarzyna Murawska-Muthesius oversaw the Warsaw National Museum of Art (2009-2010). Together they developed Piotrowski’s concept of “the critical museum” as a way of dealing with the challenges of running an old national art museum based on masterpieces while also striving to engage with pressing contemporary issues. I contend that the latter concept, in particular, is promising, given that it is possible to maintain a difference within the museum institution as a prerequisite for critical intervention.

This essay analyses two texts by Polish art historian Piotr Piotrowski (1952-2015) that articulate theoretical stances towards art museography, the one devoted to issues of trauma management, contemporaneity and identity, and the other presenting a methodological tactic to deflect the power of the art-historical museum piece in critical and democratic ways. Reflecting on how they deal with psychological as well as openly political issues, I interpret and assess their joint contribution to the broader interdisciplinary field of (critical) museography. The texts are “New Museums in New Europe” and “Making the National Museum Critical”. The first text discusses four new or newly re-furbished museums in a culture in Eastern Europe since 1989 characterized as “post-traumatic”. These museums are contextualized both in relation to the Western museum boom of the same years, and to the new museums’ recent history, where sometimes the very architecture and site of these institutions renders trauma tangible. The second text is a case-study based on experience and inside knowledge, from the short period when the author directed and together with Katarzyna Murawska-Muthesius oversaw the Warsaw National Museum of Art (2009-2010). Together they developed Piotrowski’s concept of “the critical museum” as a way of dealing with the challenges of running an old national art museum based on masterpieces while also striving to engage with pressing contemporary issues. I contend that the latter concept, in particular, is promising, given that it is possible to maintain a difference within the museum institution as a prerequisite for critical intervention.

A lot of research on the experience of atmosphere uses physical measurements. However, a recognised idea among lighting designers is that these physical values and the experience of light is not always the same, which makes it relevant to work more with visual observations to understand and analyse spatiality and the effects of light. The purpose of the study was to investigate how spaciousness and atmosphere in museum and art gallery environments can be linked to their lighting and art. This is to provide an increased understanding of how light affects spatiality and how it relates to the room’s atmosphere, and to be able to see how the atmosphere is experienced in connection with the exhibits. The study was conducted through visual observations during site visits, for each evaluated room at each museum and art gallery. The rooms were analyzed using the PERCIFAL and Branzell methods, but the values of illuminance, color temperature, color rendering index, and spectral power distribution were also documented. Additionally, an online survey was sent out to collect further data concerning the experience of atmosphere. Part 1 was quantitative and focused on atmosphere words and was judged on a 7-point scale, while Part 2 was qualitative and focused on the connection between the exhibited object and the room. Here, the respondents responded in text form. The result of the study shows that the experience of atmosphere is affected by the interplay between light and spatiality, and that it is not one lone parameter that is decisive. The respondents thought that an interplay between atmosphere and the exhibited object could elevate the experience of art, and that light was a big part of how the room and its atmosphere was experienced. This shows that there are opportunities to work more with lighting in gallery spaces to create an atmosphere that connect more with exhibitions and objects. The study was limited to art-related exhibitions in Sweden. Due to the study was condu, Mycket forskning om atmosfärsupplevelse använder sig av fysikaliska mätningar. En vedertagen idé bland ljusdesigners är dock att fysikaliska värden och det upplevda ljuset inte alltid är detsamma, vilket gör att det blir relevant att arbeta mer med visuella observationer för att förstå och analysera rumslighet och ljusets påverkan. Syftet med studien var att undersöka hur rumslighet och atmosfär i musei- och konsthallsmiljöer kan kopplas till deras belysning och konst. Detta för att ge en ökad förståelse kring hur ljuset påverkar rumsligheten och hur det anknyter till rumsatmosfären, samt att kunna se hur atmosfären upplevs i anknytning till utställningsföremålen. Studien utfördes genom visuella observationer under platsbesök i respektive rum för varje museum och konsthall. Rummen analyserades genom metoderna PERCIFAL och Branzellmetoden, men även fysikaliska värden som belysningsstyrka, färgtemperatur, färgåtergivning och spektralfördelning dokumenterades. Slutligen skickades en digital enkät i två delar ut. Del 1 var kvantitativ och fokuserade på atmosfärsord och bedömdes på en 7-gradig skala, medan Del 2 var kvalitativ och fokuserade på kopplingen mellan utställningsföremålet och rummet. Här hade respondenterna möjligheten att svara i textform. Resultatet i studien visar att atmosfärsupplevelsen påverkas av samspelet mellan ljus och rum, och att det inte är en enskild parameter som avgör. Respondenterna ansåg att ett samspel mellan atmosfär och utställningsföremål kunde förhöja upplevelsen av konst och att ljus hade en tydlig påverkan för hur rummet och dess atmosfär uppfattades. Detta visar på att det finns möjligheter att arbeta mer med ljus i utställningslokaler för att skapa en atmosfär som samspelar mer med utställningar och utställningsföremål. Studien har begränsats till enbart konstutställningar på museer och konsthallar i Sverige. Utifrån att detta arbete genomfördes i denna specif

Contemporary practices articulate artistic creation around collective processes that have streets and cities as the privileged locus of instauration. This study seeks to reflect on the transformations that have impacted the art in the contemporary scene, from the understanding that the art museum is a refuge and the place of encounter with the artistic object. In our formulation, we argue that the artistic object is evidenced only as a memory or relic of the moment of installation of art in the creation of the artist, unlike what happens with the collective art that takes place in the streets and that is presented as a effective possibility of encounter with art in natura. We seek to anchor our reflections in the thinking of theorists and artists such as Harold Rosenberg, Allan Kaprow, Ferreira Gullar, Andreas Huyssen, among others., Las prácticas contemporáneas articulan la creación artística en torno a procesos colectivos que tienen las calles y las ciudades como locus privilegiado de instauración. Este estudio busca reflexionar sobre las transformaciones que han impactado el arte en el escenario contemporáneo, a partir de la comprensión de que el museo de arte es un refugio y el lugar de encuentro con el objeto artístico. En nuestra formulación, argumentamos que el objeto artístico se evidencia sólo como memoria o reliquia del momento de instauración del arte en la creación del artista, a diferencia de lo que sucede con el arte colectivo que se realiza en las calles y que se presenta como una posibilidad efectiva de encuentro con el arte in natura. Buscamos anclar nuestras reflexiones en el pensamiento de teóricos y artistas como Harold Rosenberg, Allan Kaprow, Ferreira Gullar, Andreas Huyssen, entre otros.

This essay investigates live-streamed guided tours made by Moderna Museet, so called sofa tours, streamed between February 2020­ and April 2021. The aim is to observe, describe and analyze the [Moderna Museet’s] sofa tours using a modality approach as well as relating the sofa tours to physical museum visits, using the concepts of media, mediation, remediation, immediacy and hypermediacy. The research questions concern ways of looking at art when participating in sofa tours and the differences compared to physically viewing art at the museum. In conclusion, the sofa tours made by Moderna Museet offers several alternatives to physical museum visits, not necessarily better or worse. Participants can actually modify their experience of participating in sofa tours and looking at art, for example by choosing to participate live or afterwards, with or without access to other participants comments, questions and reactions as well as choosing between using Facebook, Instagram, YouTube or the museum webpage to access the sofa tours. Comparing sofa tours to physical museum visits showed that both their principal function is to provide opportunities for people to view art together with other people, with or without the aid of a guide. However, most of the mediated space in the physical museum is unavailable to sofa tour participants. On the other hand, the sofa tour creates another set of unique mediations which do not exist in the physical museum space.

This essay investigates live-streamed guided tours made by Moderna Museet, so called sofa tours, streamed between February 2020­ and April 2021. The aim is to observe, describe and analyze the [Moderna Museet’s] sofa tours using a modality approach as well as relating the sofa tours to physical museum visits, using the concepts of media, mediation, remediation, immediacy and hypermediacy. The research questions concern ways of looking at art when participating in sofa tours and the differences compared to physically viewing art at the museum. In conclusion, the sofa tours made by Moderna Museet offers several alternatives to physical museum visits, not necessarily better or worse. Participants can actually modify their experience of participating in sofa tours and looking at art, for example by choosing to participate live or afterwards, with or without access to other participants comments, questions and reactions as well as choosing between using Facebook, Instagram, YouTube or the museum webpage to access the sofa tours. Comparing sofa tours to physical museum visits showed that both their principal function is to provide opportunities for people to view art together with other people, with or without the aid of a guide. However, most of the mediated space in the physical museum is unavailable to sofa tour participants. On the other hand, the sofa tour creates another set of unique mediations which do not exist in the physical museum space.

Contemporary practices articulate artistic creation around collective processes that have streets and cities as the privileged locus of instauration. This study seeks to reflect on the transformations that have impacted the art in the contemporary scene, from the understanding that the art museum is a refuge and the place of encounter with the artistic object. In our formulation, we argue that the artistic object is evidenced only as a memory or relic of the moment of installation of art in the creation of the artist, unlike what happens with the collective art that takes place in the streets and that is presented as a effective possibility of encounter with art in natura. We seek to anchor our reflections in the thinking of theorists and artists such as Harold Rosenberg, Allan Kaprow, Ferreira Gullar, Andreas Huyssen, among others., Las prácticas contemporáneas articulan la creación artística en torno a procesos colectivos que tienen las calles y las ciudades como locus privilegiado de instauración. Este estudio busca reflexionar sobre las transformaciones que han impactado el arte en el escenario contemporáneo, a partir de la comprensión de que el museo de arte es un refugio y el lugar de encuentro con el objeto artístico. En nuestra formulación, argumentamos que el objeto artístico se evidencia sólo como memoria o reliquia del momento de instauración del arte en la creación del artista, a diferencia de lo que sucede con el arte colectivo que se realiza en las calles y que se presenta como una posibilidad efectiva de encuentro con el arte in natura. Buscamos anclar nuestras reflexiones en el pensamiento de teóricos y artistas como Harold Rosenberg, Allan Kaprow, Ferreira Gullar, Andreas Huyssen, entre otros.

A lot of research on the experience of atmosphere uses physical measurements. However, a recognised idea among lighting designers is that these physical values and the experience of light is not always the same, which makes it relevant to work more with visual observations to understand and analyse spatiality and the effects of light. The purpose of the study was to investigate how spaciousness and atmosphere in museum and art gallery environments can be linked to their lighting and art. This is to provide an increased understanding of how light affects spatiality and how it relates to the room’s atmosphere, and to be able to see how the atmosphere is experienced in connection with the exhibits. The study was conducted through visual observations during site visits, for each evaluated room at each museum and art gallery. The rooms were analyzed using the PERCIFAL and Branzell methods, but the values of illuminance, color temperature, color rendering index, and spectral power distribution were also documented. Additionally, an online survey was sent out to collect further data concerning the experience of atmosphere. Part 1 was quantitative and focused on atmosphere words and was judged on a 7-point scale, while Part 2 was qualitative and focused on the connection between the exhibited object and the room. Here, the respondents responded in text form. The result of the study shows that the experience of atmosphere is affected by the interplay between light and spatiality, and that it is not one lone parameter that is decisive. The respondents thought that an interplay between atmosphere and the exhibited object could elevate the experience of art, and that light was a big part of how the room and its atmosphere was experienced. This shows that there are opportunities to work more with lighting in gallery spaces to create an atmosphere that connect more with exhibitions and objects. The study was limited to art-related exhibitions in Sweden. Due to the study was condu, Mycket forskning om atmosfärsupplevelse använder sig av fysikaliska mätningar. En vedertagen idé bland ljusdesigners är dock att fysikaliska värden och det upplevda ljuset inte alltid är detsamma, vilket gör att det blir relevant att arbeta mer med visuella observationer för att förstå och analysera rumslighet och ljusets påverkan. Syftet med studien var att undersöka hur rumslighet och atmosfär i musei- och konsthallsmiljöer kan kopplas till deras belysning och konst. Detta för att ge en ökad förståelse kring hur ljuset påverkar rumsligheten och hur det anknyter till rumsatmosfären, samt att kunna se hur atmosfären upplevs i anknytning till utställningsföremålen. Studien utfördes genom visuella observationer under platsbesök i respektive rum för varje museum och konsthall. Rummen analyserades genom metoderna PERCIFAL och Branzellmetoden, men även fysikaliska värden som belysningsstyrka, färgtemperatur, färgåtergivning och spektralfördelning dokumenterades. Slutligen skickades en digital enkät i två delar ut. Del 1 var kvantitativ och fokuserade på atmosfärsord och bedömdes på en 7-gradig skala, medan Del 2 var kvalitativ och fokuserade på kopplingen mellan utställningsföremålet och rummet. Här hade respondenterna möjligheten att svara i textform. Resultatet i studien visar att atmosfärsupplevelsen påverkas av samspelet mellan ljus och rum, och att det inte är en enskild parameter som avgör. Respondenterna ansåg att ett samspel mellan atmosfär och utställningsföremål kunde förhöja upplevelsen av konst och att ljus hade en tydlig påverkan för hur rummet och dess atmosfär uppfattades. Detta visar på att det finns möjligheter att arbeta mer med ljus i utställningslokaler för att skapa en atmosfär som samspelar mer med utställningar och utställningsföremål. Studien har begränsats till enbart konstutställningar på museer och konsthallar i Sverige. Utifrån att detta arbete genomfördes i denna specif

Exhibitions and collections of art museums mostly consists of visual art. When we talk about “contemporary art” museums, people immediately think about paintings, photographs and sculptures: visual arts. Monet’s, Van Gogh’s and Picasso’s paintings, photographs of William Klein, sculptures by Richard Serra or Woody Allen’s movie. All these artworks are experienced by observing them with your eyes. Visiting those visual artworks in museums, possibilities to reflect on the social and political situations of today, are offered. However, for a great number of people the world of experiencing visual artworks is not accessible. They do not know how paintings can provoke imagination. Non-visually handicapped people can visit any “visual” art museums, and experience artworks with all their senses. A visually handicapped person, has less museum possibilities to go to and experience contemporary art. Art museums should be more accessible for visually handicapped people but also for people with other disabilities such as hearing impairment or people living in a wheelchair. Synesthetic art is a form of art where more than one sense contributes to the experience of an art work. There are art genres using other senses than only the visual sense. Sound, smell, taste, we can include them. Take music as an example, music has just as many opportunities to provoke imagination as a visual artwork. A second problem we are facing today is gentrification. The process of upgrading neglected urban neighborhoods, in which the current, less wealthy residents and initial small entrepreneurs and pubs, have to move out of the way for the middle class and their catering industries and companies. Through the experience of synesthetic art, the new museum aims to stimulate and include current residents, offers appropriate daily-life activities, which are accessible for everyone, and where visually handicapped people are no longer excluded. A node of multiple scales (urban and social) will be crea, THE NEW MUSEUM | Art + the City Re-Wired, Architecture, Urbanism and Building Sciences | Public Building

The active museum of art: During this Graduation project I search for a new way of positioning an art museum in the 21st century in Rotterdam south Tarwewijk. An Art Museum changes the local environment of its surrounding area. It can have a positive influence by developing neighbourhood assets but it also can lead to gentrification and displacement. To increase these neighbourhood assets this graduation research search for an active museum that integrates art in the daily lives of people and local neighbourhood by focusing on theme of participation and interaction. Creating an inclusive public space for a dynamic collaboration between the art, artists the audience and the environment. Where the design concept results in building a connection between Rotterdam south and the rest of Rotterdam. Reflecting the city structure and history. Merging art disciplines, building as performance (active building), openness, transparency, porosity, strong centre point for encounter and free choice of routing.

This essay analyses two texts by Polish art historian Piotr Piotrowski (1952-2015) that articulate theoretical stances towards art museography, the one devoted to issues of trauma management, contemporaneity and identity, and the other presenting a methodological tactic to deflect the power of the art-historical museum piece in critical and democratic ways. Reflecting on how they deal with psychological as well as openly political issues, I interpret and assess their joint contribution to the broader interdisciplinary field of (critical) museography. The texts are “New Museums in New Europe” and “Making the National Museum Critical”. The first text discusses four new or newly re-furbished museums in a culture in Eastern Europe since 1989 characterized as “post-traumatic”. These museums are contextualized both in relation to the Western museum boom of the same years, and to the new museums’ recent history, where sometimes the very architecture and site of these institutions renders trauma tangible. The second text is a case-study based on experience and inside knowledge, from the short period when the author directed and together with Katarzyna Murawska-Muthesius oversaw the Warsaw National Museum of Art (2009-2010). Together they developed Piotrowski’s concept of “the critical museum” as a way of dealing with the challenges of running an old national art museum based on masterpieces while also striving to engage with pressing contemporary issues. I contend that the latter concept, in particular, is promising, given that it is possible to maintain a difference within the museum institution as a prerequisite for critical intervention.

This essay analyses two texts by Polish art historian Piotr Piotrowski (1952-2015) that articulate theoretical stances towards art museography, the one devoted to issues of trauma management, contemporaneity and identity, and the other presenting a methodological tactic to deflect the power of the art-historical museum piece in critical and democratic ways. Reflecting on how they deal with psychological as well as openly political issues, I interpret and assess their joint contribution to the broader interdisciplinary field of (critical) museography. The texts are “New Museums in New Europe” and “Making the National Museum Critical”. The first text discusses four new or newly re-furbished museums in a culture in Eastern Europe since 1989 characterized as “post-traumatic”. These museums are contextualized both in relation to the Western museum boom of the same years, and to the new museums’ recent history, where sometimes the very architecture and site of these institutions renders trauma tangible. The second text is a case-study based on experience and inside knowledge, from the short period when the author directed and together with Katarzyna Murawska-Muthesius oversaw the Warsaw National Museum of Art (2009-2010). Together they developed Piotrowski’s concept of “the critical museum” as a way of dealing with the challenges of running an old national art museum based on masterpieces while also striving to engage with pressing contemporary issues. I contend that the latter concept, in particular, is promising, given that it is possible to maintain a difference within the museum institution as a prerequisite for critical intervention.

This essay analyses two texts by Polish art historian Piotr Piotrowski (1952-2015) that articulate theoretical stances towards art museography, the one devoted to issues of trauma management, contemporaneity and identity, and the other presenting a methodological tactic to deflect the power of the art-historical museum piece in critical and democratic ways. Reflecting on how they deal with psychological as well as openly political issues, I interpret and assess their joint contribution to the broader interdisciplinary field of (critical) museography. The texts are “New Museums in New Europe” and “Making the National Museum Critical”. The first text discusses four new or newly re-furbished museums in a culture in Eastern Europe since 1989 characterized as “post-traumatic”. These museums are contextualized both in relation to the Western museum boom of the same years, and to the new museums’ recent history, where sometimes the very architecture and site of these institutions renders trauma tangible. The second text is a case-study based on experience and inside knowledge, from the short period when the author directed and together with Katarzyna Murawska-Muthesius oversaw the Warsaw National Museum of Art (2009-2010). Together they developed Piotrowski’s concept of “the critical museum” as a way of dealing with the challenges of running an old national art museum based on masterpieces while also striving to engage with pressing contemporary issues. I contend that the latter concept, in particular, is promising, given that it is possible to maintain a difference within the museum institution as a prerequisite for critical intervention.

This dissertation examines how the art museum’s societal function has been constructed in the Swedish public debate. The dissertation shows that the cultural section of the daily press is, and has been, a forum where actors exchange opinions about art museums, and where notions on the art museums’ functions are co-produced. The specific aim of the dissertation is to examine how museum ideals have been co-produced in the public debate on Moderna Museet (the Swedish Museum of Modern Art). The term museum ideal refers to exemplary notions about the function of the art museum, and also to ideas on how the art museum should fulfil this conceptualised function. The co-production of museum ideals is analysed in four case studies, which span from 1972 to 2013. The case studies sequentially examine the debates regarding Moderna Museet’s acquisition of the artworks in the New York Collection, the debate on the museum’s new building, the debate about the museum’s sponsorship collaboration with the multinational conglomerate corporation Sony, as well as the debates regarding the project The Second Museums of Our Wishes and the exhibition Hilma af Klint – A Pioneer of Abstraction. The dissertation concludes that four reoccurring museum ideals have been co-produced throughout the debates. The first ideal emphasises the importance of equal representation and democratic inclusion. The second ideal stresses Moderna Museet’s educational purpose. The third ideal underlines that the museum should engage in innovative and experimental activities and the fourth ideal accentuates the importance of international prestige and influence. However, the implications of the four museum ideals have not been fixed nor static. Rather, they have been adjusted to match their changing contexts. It appears that there has sometimes been a discrepancy between the museum ideals and Moderna Museet’s mission statements. However, this discrepancy only underlines the museum ideals’ status as ideals. Moderna

Vis-ability proposes alternative ways of engaging with art and to consider how design can deepen our understanding of vision and challenge our sight-driven experience of art. In 2020, a digital version of the Vis-ability exhibition from QUT Art Museum and QUT was exhibited as a part of Design for All: New Pathways for Capitals of Culture Digital Exhibition as a part of the Croatian EU Presidency, Rijeka, as the largest Croatian port, and became the centre of a significant and extensive culture and arts programme and the host city for the best and most interesting artists from the global, Croatian and European cultural scenes – in the same year when it is the European Capital of Culture.

This study aims to renovate the abandoned building of Compania Maritima in Cebu City, which is previously known as Shamrock Hotel. In the process of constructing the building, the researchers encountered problems, one of which is how the respondents assess the level of acceptability in terms of the suitability, feasibility, timelines, and presentation, which is known as the statement of the study. The study is necessary to give the readers and other future researchers knowledge and importance of the building. Further reading the content will give the readers or the future researchers important details such as how the miniature is constructed, the results, and the discussions. This study aims to renovate the abandoned building of Compania Maritima in Cebu City. Through the data gathered, the researchers found out the following. The two groups of respondents, which are the Civil Engineer students and Architecture students, assessed the level of acceptability by using the Likert scale. The obtained results in terms of suitability, feasibility, timeline, and presentation were 4.64 for Civil Engineer students and 4.61 for Architecture students, which were both interpreted as very highly acceptable. The study shows the correct materials can achieve the expectation such as toughness and quality of the project. It also shows the proper handling of funds, proper methods, and a correct floor plan can lead to the success of the project. These findings are also connected to system dynamics as a model-based theory in 2008 by Schwaninger and Grosser and the development of design structures in modern Japan by Isohata and Kida. This study has several flaws, including some methods, materials, and designs that can lead to another research.

The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences. The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of

This thesis presents a Cost Benefit Analysis of a potential relocation of Malmö Konstmuseum. The main purpose of this research is to inform decision makers and assist the political discussion around this subject. In this study, the net social benefits are estimated for both the new and current locations. On the benefit side, use value, non-use value and museum revenues are accounted for, while on the cost side, construction and operational costs are evaluated. The estimations of use and non-use values are based on previous academic research on the valuation of museums through Contingent Valuation and Travel Cost methods. The remaining estimations of costs and benefits are informed by the current data available for Swedish museums and recent museum creations and expansions. Based on this analysis, we recommend that from an economic standpoint the museum should remain in its current location. The results show that free admission maximizes the economic value of the art museum.

The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences. The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of

This dissertation examines how the art museum’s societal function has been constructed in the Swedish public debate. The dissertation shows that the cultural section of the daily press is, and has been, a forum where actors exchange opinions about art museums, and where notions on the art museums’ functions are co-produced. The specific aim of the dissertation is to examine how museum ideals have been co-produced in the public debate on Moderna Museet (the Swedish Museum of Modern Art). The term museum ideal refers to exemplary notions about the function of the art museum, and also to ideas on how the art museum should fulfil this conceptualised function. The co-production of museum ideals is analysed in four case studies, which span from 1972 to 2013. The case studies sequentially examine the debates regarding Moderna Museet’s acquisition of the artworks in the New York Collection, the debate on the museum’s new building, the debate about the museum’s sponsorship collaboration with the multinational conglomerate corporation Sony, as well as the debates regarding the project The Second Museums of Our Wishes and the exhibition Hilma af Klint – A Pioneer of Abstraction. The dissertation concludes that four reoccurring museum ideals have been co-produced throughout the debates. The first ideal emphasises the importance of equal representation and democratic inclusion. The second ideal stresses Moderna Museet’s educational purpose. The third ideal underlines that the museum should engage in innovative and experimental activities and the fourth ideal accentuates the importance of international prestige and influence. However, the implications of the four museum ideals have not been fixed nor static. Rather, they have been adjusted to match their changing contexts. It appears that there has sometimes been a discrepancy between the museum ideals and Moderna Museet’s mission statements. However, this discrepancy only underlines the museum ideals’ status as ideals. Moderna

Art has the ability to elicit reactions that are emotive, raw, and thought-provoking. Yet, the spaces we visit to nourish that exchange could actually be hindering our ability to experience these reactions. Art museums, since their creation, have been institutions of observation and preservation. The traditional museum experience of static viewing is still the foundation today. With new technologies and research,however, art museums could be designed to promote an evolved state of viewing and experiencing. They could leave behind the need for rigid examination of artworks in favour of a more experience-based educational and recreational journey. With the aim of creating an interior space that reconnects the human body and its senses to the art museum experience, this practicum project addresses the shift occurring in interior and exhibition design in art museums of the 21st century. Today, galleries, museums, and exhibitions are being designed to result in inclusive experiences for their participants regardless of class, age, or gender. Through an examination of the post-museum typology, multi-sensory space, and perception, this practicum project’s aim is to design an art museum that results in a stronger connection to the participant’s understanding of art and their personal sensory engagement with it.

This thesis presents a Cost Benefit Analysis of a potential relocation of Malmö Konstmuseum. The main purpose of this research is to inform decision makers and assist the political discussion around this subject. In this study, the net social benefits are estimated for both the new and current locations. On the benefit side, use value, non-use value and museum revenues are accounted for, while on the cost side, construction and operational costs are evaluated. The estimations of use and non-use values are based on previous academic research on the valuation of museums through Contingent Valuation and Travel Cost methods. The remaining estimations of costs and benefits are informed by the current data available for Swedish museums and recent museum creations and expansions. Based on this analysis, we recommend that from an economic standpoint the museum should remain in its current location. The results show that free admission maximizes the economic value of the art museum.

This study aims to renovate the abandoned building of Compania Maritima in Cebu City, which is previously known as Shamrock Hotel. In the process of constructing the building, the researchers encountered problems, one of which is how the respondents assess the level of acceptability in terms of the suitability, feasibility, timelines, and presentation, which is known as the statement of the study. The study is necessary to give the readers and other future researchers knowledge and importance of the building. Further reading the content will give the readers or the future researchers important details such as how the miniature is constructed, the results, and the discussions. This study aims to renovate the abandoned building of Compania Maritima in Cebu City. Through the data gathered, the researchers found out the following. The two groups of respondents, which are the Civil Engineer students and Architecture students, assessed the level of acceptability by using the Likert scale. The obtained results in terms of suitability, feasibility, timeline, and presentation were 4.64 for Civil Engineer students and 4.61 for Architecture students, which were both interpreted as very highly acceptable. The study shows the correct materials can achieve the expectation such as toughness and quality of the project. It also shows the proper handling of funds, proper methods, and a correct floor plan can lead to the success of the project. These findings are also connected to system dynamics as a model-based theory in 2008 by Schwaninger and Grosser and the development of design structures in modern Japan by Isohata and Kida. This study has several flaws, including some methods, materials, and designs that can lead to another research.

This dissertation examines how the art museum’s societal function has been constructed in the Swedish public debate. The dissertation shows that the cultural section of the daily press is, and has been, a forum where actors exchange opinions about art museums, and where notions on the art museums’ functions are co-produced. The specific aim of the dissertation is to examine how museum ideals have been co-produced in the public debate on Moderna Museet (the Swedish Museum of Modern Art). The term museum ideal refers to exemplary notions about the function of the art museum, and also to ideas on how the art museum should fulfil this conceptualised function. The co-production of museum ideals is analysed in four case studies, which span from 1972 to 2013. The case studies sequentially examine the debates regarding Moderna Museet’s acquisition of the artworks in the New York Collection, the debate on the museum’s new building, the debate about the museum’s sponsorship collaboration with the multinational conglomerate corporation Sony, as well as the debates regarding the project The Second Museums of Our Wishes and the exhibition Hilma af Klint – A Pioneer of Abstraction. The dissertation concludes that four reoccurring museum ideals have been co-produced throughout the debates. The first ideal emphasises the importance of equal representation and democratic inclusion. The second ideal stresses Moderna Museet’s educational purpose. The third ideal underlines that the museum should engage in innovative and experimental activities and the fourth ideal accentuates the importance of international prestige and influence. However, the implications of the four museum ideals have not been fixed nor static. Rather, they have been adjusted to match their changing contexts. It appears that there has sometimes been a discrepancy between the museum ideals and Moderna Museet’s mission statements. However, this discrepancy only underlines the museum ideals’ status as ideals. Moderna

This dissertation examines how the art museum’s societal function has been constructed in the Swedish public debate. The dissertation shows that the cultural section of the daily press is, and has been, a forum where actors exchange opinions about art museums, and where notions on the art museums’ functions are co-produced. The specific aim of the dissertation is to examine how museum ideals have been co-produced in the public debate on Moderna Museet (the Swedish Museum of Modern Art). The term museum ideal refers to exemplary notions about the function of the art museum, and also to ideas on how the art museum should fulfil this conceptualised function. The co-production of museum ideals is analysed in four case studies, which span from 1972 to 2013. The case studies sequentially examine the debates regarding Moderna Museet’s acquisition of the artworks in the New York Collection, the debate on the museum’s new building, the debate about the museum’s sponsorship collaboration with the multinational conglomerate corporation Sony, as well as the debates regarding the project The Second Museums of Our Wishes and the exhibition Hilma af Klint – A Pioneer of Abstraction. The dissertation concludes that four reoccurring museum ideals have been co-produced throughout the debates. The first ideal emphasises the importance of equal representation and democratic inclusion. The second ideal stresses Moderna Museet’s educational purpose. The third ideal underlines that the museum should engage in innovative and experimental activities and the fourth ideal accentuates the importance of international prestige and influence. However, the implications of the four museum ideals have not been fixed nor static. Rather, they have been adjusted to match their changing contexts. It appears that there has sometimes been a discrepancy between the museum ideals and Moderna Museet’s mission statements. However, this discrepancy only underlines the museum ideals’ status as ideals. Moderna

This dissertation examines how the art museum’s societal function has been constructed in the Swedish public debate. The dissertation shows that the cultural section of the daily press is, and has been, a forum where actors exchange opinions about art museums, and where notions on the art museums’ functions are co-produced. The specific aim of the dissertation is to examine how museum ideals have been co-produced in the public debate on Moderna Museet (the Swedish Museum of Modern Art). The term museum ideal refers to exemplary notions about the function of the art museum, and also to ideas on how the art museum should fulfil this conceptualised function. The co-production of museum ideals is analysed in four case studies, which span from 1972 to 2013. The case studies sequentially examine the debates regarding Moderna Museet’s acquisition of the artworks in the New York Collection, the debate on the museum’s new building, the debate about the museum’s sponsorship collaboration with the multinational conglomerate corporation Sony, as well as the debates regarding the project The Second Museums of Our Wishes and the exhibition Hilma af Klint – A Pioneer of Abstraction. The dissertation concludes that four reoccurring museum ideals have been co-produced throughout the debates. The first ideal emphasises the importance of equal representation and democratic inclusion. The second ideal stresses Moderna Museet’s educational purpose. The third ideal underlines that the museum should engage in innovative and experimental activities and the fourth ideal accentuates the importance of international prestige and influence. However, the implications of the four museum ideals have not been fixed nor static. Rather, they have been adjusted to match their changing contexts. It appears that there has sometimes been a discrepancy between the museum ideals and Moderna Museet’s mission statements. However, this discrepancy only underlines the museum ideals’ status as ideals. Moderna

Art has the ability to elicit reactions that are emotive, raw, and thought-provoking. Yet, the spaces we visit to nourish that exchange could actually be hindering our ability to experience these reactions. Art museums, since their creation, have been institutions of observation and preservation. The traditional museum experience of static viewing is still the foundation today. With new technologies and research,however, art museums could be designed to promote an evolved state of viewing and experiencing. They could leave behind the need for rigid examination of artworks in favour of a more experience-based educational and recreational journey. With the aim of creating an interior space that reconnects the human body and its senses to the art museum experience, this practicum project addresses the shift occurring in interior and exhibition design in art museums of the 21st century. Today, galleries, museums, and exhibitions are being designed to result in inclusive experiences for their participants regardless of class, age, or gender. Through an examination of the post-museum typology, multi-sensory space, and perception, this practicum project’s aim is to design an art museum that results in a stronger connection to the participant’s understanding of art and their personal sensory engagement with it.