Search

Indigenous Australian artist Tracey Moffatt's 3-minute short Vigil, part of her My Horizon show at the 2017 Art Biennale in Venice, captures the increasing fear, hysteria and obsession regarding the borders of Australian national identity in the new millennium. Moffatt's interest in Asian asylum seekers and refugees ties her critique of immigrant control into Indigenous exclusion, both of which define what is known as Fortress Australia. Taking the Australian particulars as its lead, this paper looks at the xenophobic rhetoric and practice that characterize so-called Fortress Europe, which rejects immigration and clamps down on its native minorities' claims for sovereignty. It narrows the analysis down to Fortress Spain, whose policies of exclusion affect immigrants as well as Peninsular ethnic minorities, such as Catalonia. In using Moffatt's video as a lead, this paper calls on art and literature as powerful means to unpack and rewrite identity from the margins of the nation. [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]

Sample this: a hypothetical menu book of fish recipes from both sides of the Bengal border; a barbed wire running through the Ichhamati, showing the river's indifference to political borders; a sandstone and fabric pillar standing as a metaphoric monument of unity between religions, commemorating Gandhi's peace march in Noakhali in 1946; an accordion book opening out, unfolding narratives immortalised in Ritwik Ghatak's films. These are some of the artworks that were showcased at The Legacy of Loss: Perspectives on the Partition of Bengal, an Art Exhibition that the Kolkata Partition Museum Trust (KPMT) organised in collaboration with the Kolkata Centre for Creativity (KCC), to commemorate the 74th anniversary of India's Partition. The Exhibition ran from 17 to 29 August 2021 at KCC, and was supported by Tata Steel and the Emami Foundation. Conceptualised and conceived by the late art historian, Dr. Rajasri Mukhopadhyay, and curated by KCC, this was an unique Exhibition on the Bengal Partition by five contemporary artists – Paula Sengupta, Vinayak Bhattacharya, Debasish Mukherjee, Amritah Sen and Dilip Mitra – each with a distinct style and perspective on the theme. As Rajasri Mukhopadhyay put it, Partition provided 'the psychological topography for this Exhibition. The pictorial narratives ... [found here] are embedded in the geographical sites of ancestry, the physical border, the trajectories of nostalgia in refugee colonies, and stories of inherited memories.' This paper will delve into the uniqueness of this Exhibition and argue for the importance of the Arts in preserving cultural memory, something that KPMT strongly believes in. [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 'An Era in Jinling' Heritage Digital Art Exhibition, which focuses on the interactive virtual reality game environment created by the audience's experience, is an immersive digital art exhibition composed of the audience, the hardware system of the digital exhibition environment and the virtual digital environment presented. As a game-interactive immersive digital art exhibition in a heritage exhibition, it invites the audience to take a personal digital role in the exhibition and use the game-interactive method to enjoy an immersive digital exhibition. This paper aims to engage audiences through the 'audience-centric' exhibition of digital art, allowing them to use their senses to enjoy immersive exhibitions of digital art. This paper also demonstrates how digital art exhibitions of history can provide new insights to the general public in the preservation and exploration of cultural heritage. [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]

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]

During the Early Modern period, European explorers, merchants, and missionaries crossed the oceans across Asia, from the Malabar Coast in India to the Far East. It was a period of unprecedented artistic and cultural transfers between Europe, Africa, Asia, and the Americas, resulting in a dynamic and intense transmission of knowledge, beliefs, and the circulation of material culture. During the age of discoveries, the consciousness of multipolar political powers, and the development of scientific knowledge, art became instrumental to the formation of mutual perceptions and the representation of the 'other', both to the East and West. This paper aims to examine the processes of instrumentalization of art and artistic representation in the expression of political and spiritual utopias and the use of art to display the establishment of a new political and religious order and certainly to eloquently convince others to adopt new beliefs, accept new authorities, and conform to new cultural values. It also discusses how art and religious material culture became a mechanism to project political power, the triumph of the Church and personal devotion. [ABSTRACT FROM AUTHOR]

Since the 1970s, thinking about the social dimensions of artmaking has been dominated by two lines of inquiry: firstly, regarding artists' decisions to make one kind of work versus another, and secondly, concerning the curators, critics, collectors, and viewers who together determine art's meaning and value. Works of Institutional Critique following in this lineage argue that artworks are permeated by the social relations that predominate in their immediate context. Works' meaning and value emerge, immanently, in relation to this ground. Yet thinking about the social dimensions of artmaking has failed to account for the way that contemporary art's representational conditions impact artistic production. In this paper, I fill a gap in art discourse surrounding the stakes of artistic production amid what Kobena Mercer calls "inclusionism." Work by the duo Jay Chung and Q Takeki Maeda, I argue, reveals that––within contemporary art's prevailing representational paradigm––of similar importance to the position one takes, is one's position as subject. A series of exhibitions produced by Chung and Maeda between 2009 and 2021 prove that one of the primary meanings of Institutional Critique within the field of contemporary art production is the possibility of refusing the reduction of a work to its maker's subject position. Chung and Maeda's work can be seen as articulating insight into the objective conditions of contemporary artistic production, distribution, and reception––specifically regarding the gallerists who invited the duo to exhibit––and thereby pointing beyond contemporary art's representational double bind. [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]

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]

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]

Artists have long been interested in the archival process. Their work examining and critiquing archives and archival concepts has attracted considerable scholarly attention; however, little attention has been paid to the perspectives of archivists, focusing instead on those of artists themselves, as well as critical theorists. This article focuses on how archivists consider and harness archives in their practice, examining their use of archives in exhibitions within museum and gallery settings (and, briefly, within libraries). Drawing on interviews with archivists and designers, this paper explores the display of archives through four key themes: contextualising (and, in turn, shaping) the exhibition of artworks; providing insights into the creative processes of artists and writers; enabling institutions to reflect on their collecting and curating practices; and using archives as objects for display in themselves. The discussion demonstrates a range of different perspectives that reveals the transformative possibilities of archives and their exhibition. [ABSTRACT FROM AUTHOR]

AbstractOne of the best ways for archives to maintain operations and support learning and scholarly research is to actively raise awareness of the treasures they preserve and make accessible to all. By collaborating with other GLAM (galleries, libraries, archives, and museums) institutions to exhibit visually compelling materials, archives and special collections can expand services and benefits to their communities and institutions, locally and nationally. This article describes how Southern Illinois University Carbondale exhibited ground-breaking art in the Caresse Crosby Papers to amplify the contributions of African American and other diverse artists to the development of modern art. [ABSTRACT FROM AUTHOR]

Kramer holding a gem and mineral art poster (with entanglement elements); other poster products on table and hanging at the right. Kramer employs many media when creating, but her mineral-related art is dominantly composed using a mix of watercolor and colored pencil. Kramer augmented her artistic skills with private watercolor lessons during her high school years but has had no formal art training since then, choosing instead to develop via books, an occasional class, and other artists and teachers. [Extracted from the article]

This section features the portrait paintings created by the author, artist Eugene Palmer, for his 2018 art exhibition "Didn't It Rain," that was presented at the James Hockey Gallery of the University of the Creative Arts in Farnham, England. Topics discussed include the capability of painting to address issues concerning cultural identity, the representation of the Black subjects of his paintings, and the narrative that said paintings intend to convey to the audience.

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]

"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]

Reproduced with permission Tama Higuchi has a mastery of watercolors and a love of minerals, both very evident in her paintings. Now, watercolor is all I use when creating my mineral art." Higuchi is also skilled at digital art and has been doing it for some time. Furthermore, painting minerals has only deepened my love for collecting because it has allowed me to combine two of my favorite hobbies, minerals and painting, into one. [Extracted from the article]

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 reviews the art exhibition "Lynda Benglis," curated by Molly Donovan and featured works by sculptor Lynda Benglis, presented at the National Gallery of Art in Washington, D.C. from June 18, 2021 to January 2, 2022.

This paper examines the preservation and curatorial approaches explored for the exhibitionSilent Explosion: Ivor Davies and Destruction in Artat Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Interwoven: A Resting Place for Collective Grief" at the Boulder, Colorado including the purpose of exhibition being done by writing the emotions, feelings, and thoughts on paper then placing it into the hand weaven casket.

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]

The paper studies how local contexts contribute to the emergence of markets. In particular, it explains how potential entrepreneurs are motivated to become active in establishing new markets. Empirically, the focus is on contemporary art markets in two emerging countries: India and Russia. The paper draws upon qualitative interviews with 65 contemporary art dealers conducted in New Delhi, Mumbai, Moscow and Saint Petersburg. We show how different socio-cultural contexts function as activation mechanisms: in India, family backgrounds predominantly structure the decision-making processes, among others through the economic, social and cultural capital which these families provide. In Russia, by contrast, such family background is non-existent. Instead, the socio-economic turmoil of 1990s and 2000s as well as the strong involvement of the state function as activation mechanisms. We suggest that these different activation mechanisms contribute to explaining the diverging market performance in both countries. [ABSTRACT FROM PUBLISHER]

This paper presents a framework for the design of interpretive media in art museums. These have been developed based on a review of the literature and the study of current practices of interpretation design in art exhibitions. The study supports the urge to promote design for experiences that resonate with the visitor and that increase diversity in the art museum. Practitioners who design interpretation strategies integrated into art exhibitions often omit visitors' voices from the process, resulting in practices which do not reflect visitors' contexts and needs. This practice-based research project aims to be used and adapted by art institutions in the design of interpretation strategies for their exhibitions, in collaboration with visitors. [ABSTRACT FROM AUTHOR]

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]

The student exhibition is a format and a genre which is both under-theorized and under-historicized. It is not properly contextualized or explored within the field(s) of contemporary art, curation or fine art pedagogy. This paper maps, analyses and discusses the student exhibition in terms of the format, the potential, and the institutional agencies, with reference to the relevant pedagogic literature as seen in relation to the wider field of contemporary art practice, exhibition practice, and curatorial praxis. For this article, the central example of the student exhibition is the degree show. This event is not just the 'showcase' for individual students or cohorts, it is the public face of the institution. This is notable because it positions the student exhibition in general and the degree show in particular as a nexus between the vision and reputation of the institution and the individual student's artistic production and future career. [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]

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 analyses the art policies deployed by old Spanish nobility in the second half of the nineteenth century, and in particular those who became involved in organising what were then known as retrospective art exhibitions. The old nobility, whose families held titles that dated back to the sixteenth and seventeenth centuries and belonged to the category of Grandes (Grandees) of Spain, joined together in the Diputación de la Grandeza de España – a private association created in opposition to the new nobility. It was a consultative institution attached to the Crown and created in 1815 under the honorary presidency of the King. This paper argues that the distinction sought by this regrouping of the old nobility does not imply lack of engagement in the new artistic model based on the notion of fine arts, in which they were responsible for a number of rather telling nuances. As well as sharing with the bourgeoisie the general idea that the arts were in need of protection, the nobility cultivated the image that patronage of the arts was linked to tradition, and this had consequences for the evaluation of history, the musealisation of their private collections and the public reception of old art. [ABSTRACT FROM AUTHOR]

Integrating the East African region through culture has probably not been given much thought or made much of a priority in East Africa and Africa as a whole. Though integration of the East African nations began during the colonial era and passed through challenges in different phases, a space for culture, or visual art in particular, has not been much realised in this case. This paper is based on experience gained from the art tour undertaken by the East Africa Art Biennale Association (EASTAFAB) team to stage art exhibitions in the capitals of the East African states, purposely to further regional integration through culture. The whole idea was to support the vision and mission of the East African community of creating a borderless society of East African people by integrating the East African nations. The EASTAFAB wanted, by using culture, to make a meaningful contact between artists and the people of East Africa and beyond. This study argues that culture has a space conducive to regional integration and uses the EASTAFAB project as a platform for this argument. East African policymakers and art students in higher academic institutions, especially in the East African region, are expected to benefit from this paper. [ABSTRACT FROM AUTHOR]

This paper examines the exhibition of everyday war-related objects as 'real things' in museums. Specifically, it focuses on the bombed car that the artist Jeremy Deller used for his project It is What it Is: Conversations about Iraq – exhibited in various art museums in the US, then as a travelling show, and finally in the Imperial War Museum in London and Manchester. It also discusses the Alfred Rosenberg Diary, a permanent exhibit at the US Holocaust Memorial Museum in Washington, which can also be seen online. The paper identifies four different, interrelated, spheres of engagement within which to examine these objects: an excessive mediation of trauma, the museum as an ideologically charged space, the visitor's relation to the object, and the virtual online apparatus. These form a wider interpretive framework that allows us to better understand the war-related objects' political potential to offer an embodied, transformative experience in the museum. [ABSTRACT FROM AUTHOR]

This paper describes the evaluation of the lighting policy that the National Museum of Ethnology in Leiden, Netherlands, developed for the display of its nineteenth-century Japanese woodblock prints. Colour measurements during one year on exhibition showed changes that exceeded the limit of one ‘just noticeable change’ in 50 years specified in the policy. In a series of experiments, members of a test panel were all able to perceive the magnitude of colour difference measured in the prints during exhibition when presented with patches of colour side by side, but only half the panel could distinguish the same change when it was seen in the context of a multicoloured image. The change measured in the prints was judged by the panel to represent an average ‘loss of value’ of 9%, and deemed to be acceptable over a period of 160 years. The outcome suggests exposure of the prints should be further limited for the benefit of future access. [ABSTRACT FROM AUTHOR]

The article focuses on the 8th International Conference of the Social Context of Death, Dying and Disposal (DDD8) organized by the Centre for Death and Society (CDAS) and the Institute of Contemporary Interdisciplinary Arts (ICIA) of University of Bath in Bath, England. It also offers information on the two exhibitions to be held during the event, which include "Clothes for Death," featuring the photographs of Margareta Kern and "Resort" featuring the charcoal drawings of Judith Tucker as well as the film "For One More Hour With You" made by Alina Marazzi. It also provides abstracts of presentations and papers related to death, dying and bereavement which will be discussed in the 2007 conference.

The Complexity Science Hub Vienna is hosting an autophagy-based art exhibition that shows the artwork by Ayelen Valko and Dorotea Fracchiolla, two artists who are also scientists engaged in autophagy research. This exhibition, called "Autophagic landscapes: on the paradox of survival through self-degradation"—which will be open to the general public from January to May 2023—proposes a visual journey from entire organisms toward the interior of a single cell. The core ideas represented in the exhibited artworks are the molecular mechanisms and vesicular dynamics of autophagy-two phenomena that have been feeding the imagination of the two artists, inspiring the creation of art that depicts intriguing subcellular landscapes. Although the microscale bears very valuable aesthetic features, it is not a common subject in art. Correcting this is the main aim of this exhibition and of the two artists. [ABSTRACT FROM AUTHOR]

Traditional art exhibitions are typically limited to artworks being viewed on the walls of galleries and museums. While walking around galleries, viewers often view artworks spontaneously within a matter of a few seconds or minutes. The act of viewing artworks can take many forms; one might quickly glance at the works, or stare at them, or intensely view the works as a whole group and/or in part. The frequent assumption is that the artist is communicating their vision from one direction. This paper explores how augmented reality art (AR) has affected viewing behaviours and norms, and the ways in which viewers experience traditional paintings, as well as new media arts. Based on Cecilia Suhr's invitational solo exhibition, Flame, at the Nameseoul University IANG Gallery in Seoul, Korea, in May 2017, the goal of this paper is threefold: 1) to unpack the conceptual framework of the Flame series by loosely drawing on Deleuze's notion of "becoming"; 2) to explore audiences' viewing behaviours of AR art in relation to the inherent characteristics and ontology of the AR medium; and 3) to problematise how the AR medium affects the hegemonic tension between artist and audience in the dichotomisation of active/passive audiences. [ABSTRACT FROM AUTHOR]

Theoretical and practical implications of incorporating Quick Response (QR) codes in a traveling international art exhibition are addressed in this paper. Blending the physical and virtual dimensions, the exhibition undergirded a pilot study of the integration of technology into traditional museum settings in both China and the United States. The conceptual and methodical framework highlighted in this study included the participatory museum, informal education, and an array of evaluation research methods and techniques. Data collected for analysis comprised a set using Google Analytics, questionnaires completed by exhibition visitors, and other in-depth qualitative findings collected from participating artists from both cultures. This paper shows that the technological aspects of display can lead directly to participatory learning with the potential for new directions and avenues of inquiry. [ABSTRACT FROM AUTHOR]

In this paper, we consider the material and visual implications of coloniality – the darker side of modernity, and structure of management that underpins and supports modernity's rhetoric of promises – within the circum-Caribbean through a reflection on curating the exhibition Decolonising Refinement: Contemporary Pursuits in the Art of Edouard Duval-Carrié. By juxtaposing the recent work of Haitian-born American painter and sculptor Edouard Duval-Carrié (1954b) and a selection of historical artefacts from the Southeastern US we bring to light the recursive patterns of colonialism and exploitation in which the Gulf region has been culturally, economically, and politically entangled. Our collaborative exhibition deconstructs the notion of refinement both in the aesthetic sense and also as processes by which a resource becomes a product. For Duval-Carrié, the Caribbean is not merely a case study for these broader global dynamics, but rather the crucible from which the modern, industrial age emerges. We thus approach this exhibition as an experiment in decolonising the museum – itself a tool of coloniality – by creating dynamic visual and material relationships in the gallery that deny the viewer the convenient binaries of past/present, art/artefact, and US/Caribbean, and thus forge new possibilities for a kind of decolonial museality that reflects upon its own medial limitations. [ABSTRACT FROM AUTHOR]

The article discusses the use of art as a communication and diplomatic tool in the 1960s and the collection of art patron and collector Abigail Weed Grey (1902-1983). Other topics include the international exhibition of modern arts program "Communication Through Art" organized by Grey to feature artists from South and West Asia, and Grey's collection of Indian arts.

In this paper, I use the food-based performances of contemporary Korean-American, Berlin-based artist Kate-Hers Rhee to examine the knottiness of immigration and identity politics in contemporary Berlin. Rhee's works offer taste (and smell) as a means of engaging otherness, using Korean food as a site of social exchange. I focus on Rhee's 2011 project, Dr. Rhee's Kimtschi Shop, a performance installation masquerading as a pop-up store within a Berlin bar. Rhee's choice of kimchi as both material object and metaphor for the apprehension (even disgust) many feel about a changing Europe is apt: kimchi is pungent, rich with chilis, garlic and ginger. As such, its pervasive smell can become shorthand for images of contagion and uncleanliness surrounding immigration, as Martin Manalansan notes from his fieldwork in Queens, New York. The 60 jars of homemade kimchi weren't for sale: visitors to the "store" had to produce something of equal value to kimchi in order to barter. And what exactly is the value of kimchi? According to UNESCO, kimjang, the making of kimchi, is part of the "intangible cultural heritage of humanity." And so participants swapped homemade German rye bread, a copy of Wagner's Parsifal, and blue jeans, filling out a lengthy, bureaucratic form detailing their own cultural heritage and defending the cultural status of their objects. This confusing, alienating, potentially humiliating experience of formal registration echoes the experiences of "foreigners" (Außländer, a word still in common use) living in Berlin. Indeed, some Germans balked at the given form, especially at describing their race and ethnicity. On a level, this is understandable: on German forms, there is no "race or ethnicity" box. To do away with categories of racial difference, in postwar ideology, was to do away with racism. Thus, Rhee's anecdotes of lived racism and performances alike demonstrate the necessity of creating new language about race in Berlin. As David Theo Goldberg writes, "The European experience is a case study in the frustrations, delininations, and injustices of political racelessness" (2006, 335). Nowhere is this more visible than in Berlin. This paper, then, situates Rhee's work bringing kimchi to Germans as using taste—the taste of kimchi—to intervene in political discussions about a postracial Berlin, as Germany stands at the brink of major demographic change. [ABSTRACT FROM AUTHOR]

Most biennials, an increasingly popular and visible form of city-based art exhibition, attempt to balance the demands and interests of the international art world with the identity and situation of the particular location. Using global artists, curators, and funding, as well as catering to a hypothetically global audience, makes it challenging to truly engage the local or speak to issues pertaining to the city. In this paper, I discuss the local interpretation of this important global art pattern. It focuses on the external and ex-patriot funding and organisation as well as the Moroccan, Rabat-based curator, considering the emphasis on place in the artistic projects, both in satellite works in international locations and the many installations dealing with the idea of borders. Finally, the paper explores the negative reaction of the Moroccan Ministry of Culture and the repercussions of sites used in Marrakesh, particularly the touristic hub of the Palais Bahia. This paper demonstrates how the exhibition focused on local interests while using the highly publicised international form of the biennale. [ABSTRACT FROM PUBLISHER]