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Copyright of Journal of Academic Library & Information Science is the property of Anhui University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The exhibition Lee Alexander McQueen: Mind, Mythos, Muse (2022) reexamined the British fashion designer’s oeuvre by contextualizing select Alexander McQueen designs within art history. Juxtaposing permanent collection works that spanned media, eras, and cultures with McQueen’s fashions, curators explored the cyclical nature of inspiration against the backdrop of appropriation in art history. As evidenced in his powerful collections, McQueen’s artistic process ranged from thoughtful research and examination to Eurocentric revisions that were both critical of and at times complicit in the legacies of colonialism. This analysis of McQueen’s artistic intent and process initially sought to uncover new frameworks for understanding the designer; however, the thematic conversations between encyclopedic objects also yielded new and unexpected insights for the museum’s non-dress and textile art collections. Investigating McQueen’s fashion collections through a broader art-historical lens enabled significant and mutually beneficial dialogues between both dress and non-dress art historians. [ABSTRACT FROM AUTHOR]

In Brazil, the decolonial turn has prompted a discursive reconfiguration of art museums over the last decade, primarily through exhibitions driven by critical and reparative thinking. Consequently, alternative perspectives have emerged, aiming to propose exhibition narratives rooted in marginalized knowledge and imaginaries. Focusing on the Museu de Arte do Rio (Rio Museum of Art) as a privileged place of thought, this article delves into the curatorial methodologies employed for two exhibitions: Mulheres na Coleção MAR and Casa Carioca. These exhibitions have paved the way for another way of being a museum, holistically committed to its decolonization. While the sustainability of the changes brought about by these exhibitions may be questioned, it is recognized to acknowledge their role in collaborating to establish other interpretative frameworks for understanding local realities, defining as the primary beneficiaries of this process, not the museums themselves but the communities and individuals who grapple with the daily impacts of coloniality. [ABSTRACT FROM AUTHOR]

Travels were imperative for Fernando Távora. Drawing was the most esteemed tool for analysing and understanding what he had the opportunity to see whenever he “jumped borders”. During the month of September 2022, a substantial set of Távora’s journey drawings, archived today at the Marques da Silva Foundation, travelled from Porto to Italy. It was the subject and the objective of an exhibition, I viaggi di Fernando Távora (Cesena, from 23 September to 12 October), promoted by the Architecture Department of Bologna University in a cooperation with the Foundation. The opening event, as requested by the curators – Antonio Esposito, Francesco Saverio Fera, Giovanni Leoni and Giorgio Liverani – included a presentation speech dedicated to the Marques da Silva Foundation and its activities for the valorisation of Fernando Távora’s archive since 2011, when this Foundation took on the challenge of ensuring its conservation, study and diffusion. The speech pronounced on that occasion was an answer to both the request of the curators and the peculiarity of the circumstances: an exhibition focused on a very specific production by a single author and an event – the presentation and the exhibition opening – addressed to a heterogeneous public, composed of both architects and non-architects, having mostly a first contact with Fernando Távora’s work and with Marques da Silva Foundation itself. This contribution, although deprived of the voice and of the images it was originally complemented by, is the transcription of that communication. It also represents a state of an in-progress journey, to which new meanings and new comprehension of the relevance of this fundamental archive are continuously added in time.

In this research note, we ask: What would it look like if researchers thought of themselves as 'curators' when analysing and presenting their work? What might that role shift produce? Thinking of oneself as 'curator' rather than 'researcher' fundamentally shifts the way one thinks and does data analysis and representation. We share our experiences thinking through this lens and propose that thinking of 'researcher as curator' is one way to guide researchers through data analysis and representation in a manner that embraces the 'emotional turn' (Lemmings & Brooks, 2014). This 'role-framing' can provide some direction for those using Creative Analytic Practice (CAP; Parry & Johnson, 2007) or arts-based methodologies in their work. But, importantly, we posit that 'researcher as curator' can also be useful in qualitative work that does not necessarily employ either CAP or arts-based research, but seeks to engage the emotions of leisure research. [ABSTRACT FROM AUTHOR]

In recent years, libraries have been organizing various types of exhibitions for the purpose of marketing, promotion and attracting readers. However, in the field of library informatics, research on the subject of library exhibition is quite rare, with the few existing discussions merely focusing on marketing, public relations and increasing attendance. In the library field, there is still a lack of research on the real purpose of exhibitions—education. For the effect of digital interaction and multimedia display with increasing importance, the related discussions are even fewer. Taking digital interactive multimedia exhibition of rare books and archives jointly organized by National Palace Museum and National Library of Public Information as an example, the study designs a questionnaire based on the framework of “generic learning outcomes” (GLOs) with SPSS 29 as a statistical tool to explore the exhibition’s educational effect on readers who visit the exhibition and whether they have changed their views on libraries and raised their expectations after visiting. The conclusion puts forward some suggestions for future exhibitions organized by libraries in Taiwan. [ABSTRACT FROM AUTHOR]

This paper is an invitation and a map. It is also an exhibition, and it is a provocation. The reader is directly addressed and invited to be implicated in a "we" that is repeatedly mentioned throughout the essay. In doing so, we might imagine study as something that moves us, transports us, and finds us thinking alongside one another, above, or under some place we may never have thought we would end up. Many things are left unfigured. It was never the author's intent to figure them out, but instead, here, we might try something different, something out of grasp. [ABSTRACT FROM AUTHOR]

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Art is a powerful tool for conveying scientific discovery. Despite the perceived gap between art and science, as highlighted by CP Snow and others, examples of art communicating science can be found in the ancient world, the Renaissance and contemporary data visualization, demonstrating an enduring and historic connection. However, much of science relies on visual elements, excluding those with blindness, low vision and diverse needs, resulting in their low representation in STEM discourse. This paper introduces a novel science and art collaboration in the form of an exhibition program exploring the concepts of Immunology and Biomedicine to blind and vision‐impaired audiences, capitalizing on the lived experience of a legally blind artist. Employing multisensory design, art and co‐creation methodologies, it transcends traditional vision‐based science communication, showcasing the potential for multisensory art to bridge the gap at the intersection of science and inclusion. [ABSTRACT FROM AUTHOR]

Copyright of Rundbrief Fotografie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Near Architecture is the property of Journal of Near East Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The international mega exhibition Istanbul Biennial, which was first held in 1987, presents an unconventional exhibition model which has been structured with a choreography dominated by the curator's discourse. Within the framework of different concepts and themes determined by the selected curators, various venues specially determined by the curators were used in each exhibition to clearly reveal and characterize the artists' attitudes towards the subject. In this paper, the concepts and titles of the Istanbul Biennial held between 1987-2019 were scrutinized and the themes put forward by the curators for the exhibition were discussed in a certain categorization. This categorization is discussed under the three main headings: 'Global metropolis', 'political and cultural issues and borders', and 'ecology and human activities' and the exhibitions were discussed under these headings. Based on the analysis of these topics a question occurred: "Did the curators try to manipulate the concepts of the themes?" In addition, it has been discussed how much the Biennial titles and topics contribute to the idea of being a part of the global mainstream, which points to the initial founding goals of the Biennial.

Introduction. The museum provides society with the opportunity for special interaction with space and time for the purposes of acquiring knowledge and the most complete assimilation of codes existing in culture and society. Theoretical analysis. Society’s perception of space and time in the museum will be examined and analyzed from the perspective of myth, which makes it possible to identify archetypal ideas of humanity that developed in ancient times and have largely not lost their infl uence on modern culture and society. The methods of institutionalizing the activities of society, which originated in the past, passed from one era to another in a transformed form, while retaining some characteristic features and at the same time acquiring new ones that became necessary for existence in a diff erent sociocultural context. One of these characteristic features is the idea that space and time in a museum have profane and sacred dimensions. Conclusion. Space and time in the museum are a mirror not only of mythical motifs, but also of the dominant developments of the modern world. These fundamental principles concentrate all the most signifi cant features inherent in human communities for the purpose of their further transmission to society.

Museums depend on language to develop their museum discourse. Texts are necessary and cover a wide range of functions. Language can be presented in oral or written form, but in both cases, translation is essential to complete the communicative function of the museum. The translated word is intended for a foreign audience, and the translation must consider the subordination of the source text to the works on display, and its position in the hierarchy of the museum's other texts. In the museums of Madrid's art triangle, the written word, the spoken word, and the translated word are present; all three museums follow an appropriate strategy in terms of the translation of the texts that they produce. Through a detailed analysis of the audio guides offered in these museums of Madrid, chosen as an example of oral text, and the catalogues of temporary exhibitions, chosen as an example of written text, we conclude that orality or writing can influence certain translatology aspects, such as the choice of target language(s) or the authorship of translations.

As we further seek to "decolonize" museum images of Africa, the museum archives of African Collections—the correspondence, ledgers, diaries, photographs, and other documents of White explorers working in Africa—suture the colonial practices that produced ways of seeing Africa—and Blackness more broadly—back onto the objects that museums maintain and display today. As increasing scholarly attention seeks to rectify the anti‐Black colonial violence of the archive, this research aims to situate the pedestrian colonial ethnographic practices and spectacular African explorer mythmaking found in museum archives within the foundation of museum anthropology and the museum itself. It also looks to the possibilities of contemporary museum practice to reframe and repair colonial museum constructions of Africa. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Architectonics & Architecture / Építés - Építészettudomány is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the exploitation film "Girl on a Chain Gang" and its promotion during the civil rights movement. The author argues that the marketing of these films, which often depicted interracial relationships and violence, served as anti-feminist disinformation. The promotions misrepresented the civil rights movement and its female activists, sexualized and victimized women, and reinforced white heteropatriarchy. The author suggests that these films and their marketing can provide insights into the anti-feminist backlash against recent feminist and antiracist movements. [Extracted from the article]

Copyright of Anuario de la Sociedad Argentina de Historia de la Educación is the property of Argentinean Society of History of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The “Vajont disaster” of 9 October 1963, a paradigm of the catastrophe of human origin, is illustrated through the exceptional photos taken by Edoardo Semenza before and immediately after the event, presented in a new English exhibition. Edoardo Semenza was a geologist and one of the Italian leading landslide researchers. He put his distinctive mark on the understanding of the Alps, making original contributions to the geology, tectonics and geomorphology of the Dolomites. Semenza was the geologist who discovered that an ancient landslide mass was present on the southern side of the Vajont valley upstream from the reservoir under construction, before the first movements occurred on the slope. In the images shown in the thirteen roll-ups that make up the exhibition (Fig. 1), the intuitions, growing awareness, and sense of urgency of the man who first recognized the existence of the ancient landslide become evident. They reveal his “mente et malleo” (“with the mind and the hammer”) approach, which allowed him to develop a model of the slope and what today we call risk scenarios. His discovery was immediately taken into consideration by the designer and project managers of the dam, albeit only as a hypothesis to be verified with follow-up research and investigations. Unfortunately, his work, which lasted until 1961, did not prevent the disaster from taking place. The hundreds of photos of the landslide and of the valley taken by Semenza between 1959 and 1963, allow us to access both his intimate and personal, and professional dimensions. A part of these materials, taken from the volume and CD “The photos of the Vajont landslide” and from Edoardo Semenza’s book on the landslide, is shown in the roll-up banners, and constitutes a contribution to the discussion. Texts, images and captions are selected and adapted from these two publications. Through this exhibition and a renewed attention to Semenza’s work we hope to raise awareness on the fundamental role that the knowledge of geology holds for the respect and protection of the environment. The first version of the exhibition “La storia del Vaiont: la conoscenza della frana attraverso le foto di Edoardo Semenza” was organized by AIGA and the National Council of Geologists (CNG) on the occasion of the fiftieth anniversary of the landslide (Genevois & Prestininzi, 2013). It was hosted by over 30 university campuses, several high schools, research centers, and museums. Launched in Naples during the National Conference of Young Researchers in Engineering Geology in February 2013, it continued its journey throughout Italy. By the end of 2014, it had been visited by several thousand students. Surrounding it, the departments or museums that hosted it organized significant events of a educational/scientific nature. It contributed to the spread of geological culture in general. It also received extensive coverage in national and local media and newspapers. In 2023, a renewed graphical version of the exhibition, in English, was realized by the Italian Association of Engineering and Environmental Geology (AIGA - Associazione Italiana di Geologia Applicata e Ambientale) and presented to the public on the occasion of the 6th World Landslide Forum in Florence for the sixtieth anniversary of the Vajont disaster. The landslide is still today the subject of debate and scientific reflection, due to the extraordinary amount of data available, as well as to the corpus of memories, stories, and testimonies that affected communities preserve and continue to build. Semenza repeatedly stressed the need to collect field data to understand slope failure conditions as a basis of correct landslide modelling. He strongly believed both in the role of geology and geomorphology as fundamental support to any engineering project and in the importance of a good communication between the various specialists working on large projects. In these aspects, just like in his research work, he was a pioneer and a leader for the whole geological community. [ABSTRACT FROM AUTHOR]

From their beginnings in the mid-nineteenth century, the world’s fairs sought to generate a synthesized body of knowledge about the world by gathering an encyclopedic and didactic collection of objects from a wide array of fields: technology, machinery, handicrafts, the visual arts, performance, and ethnography – knowledge made visible and experienced through artifacts sourced from all over the world. This expanded visual experience can also be understood as one that interprets the gaze as a catalyst for a multi-sensory perception and categorization of material culture, of both two- and three-dimensional objects of vision. Thus, these exhibitions not only synthesized 'the world', but they also synthesized arts, handicrafts, architecture, and technology into an imagined Gesamtkunstwerk. The objects and works of art – handcrafted or machine-made – displayed at the world’s fairs were conceived as a mass spectacle as they were turned into the signifiers of a narrative – imagined and presented as coherent – of technological progress, colonial expansion, and artistic innovation. The colonized regions were to stand in contrast to this, with ethnographica and handicrafts presented as traditional, 'authentic'. Nevertheless, a complex network of "shared histories" and transnational interconnections became manifest at the world’s fairs.

Статья посвящена изучению проблемы утилизации устаревших электронных носителей в современном мире, с повторным применением в ландшафтной архитектуре. Для решения проблемы утилизации люди пошли творческим путём, они начали использовать отходы для создания новых продуктов и материалов своими руками, которые непосредственно использовались в быту и декоре. Электронные отходы содержат значительное количество ценных компонентов, включая: металлы, золото, платину, иридий и многие другие, которые можно использовать при производстве новых электронных устройств. Однако при выбрасывании сломанной или ненужной электроники на свалку содержащиеся в ней токсичные вещества, такие как свинец и ртуть, могут попадать в почву и воду, загрязняя их.

Düzenlendikleri ilk günden itibaren EXPO’lar, kentlerin tarihlerinde önemli izler bırakan etkinlikler olmuşlardır. İlk sergi olan 1851 Londra Dünya Sergisinden başlayarak dört farklı kategoride düzenlenen EXPO’ların çoğu miras niteliğinde vurgularla anılmaktadır. Hatırlanabilir olmalarının yanı sıra birer deneysel alan olan sergiler, mimarlığın da içinde bulunduğu pek çok alan için arayışın yeri olmuştur. Yeni buluşların tanıtıldığı, dönemine göre yenilikçi bir tavrın sergilendiği, günümüzde kentlerin ve ülkelerin sembolü haline gelen ikonik yapıların üretildiği sergiler, uluslararası arenada birer gösteri mekânı halini almışlardır. Edinilen deneyimle birçok kent, sonrasında başka büyük organizasyonlara da ev sahipliği yapma fırsatına sahip olmuşlardır. EXPO’ların belki de en somut mirası kente bıraktığı mimari eserlerdir. Bu çalışma 1851 Büyük Sergiden günümüze kadar düzenlenmiş EXPO etkinliklerinin kentlere ve uluslara sağladığı mimari katkıları ortaya koymaya çalışmıştır. Yapısal ve mimari yenilikler, konut çalışmaları ve ikonik yapılar olmak üzere üç başlıkta incelenen bu katkılar düzenlenmiş Sergiler üzerinden anlatılarak tartışmaya açılmıştır.

The preservation of cultural and artistic heritage, raising awareness of cultural values, elevating aesthetic and artistic values, expressing historical styles, reflecting social, cultural, and economic facets of daily life, and serving as information hubs with research opportunities are all reasons why fashion exhibitions and museums are so important. While clothing exhibitions originally took the form of ethnographic exhibitions featuring historical garments, they have now evolved into creative and dynamic exhibitions featuring the creations of modern fashion designers, installations, and sensory-appealing display spaces. In this context, the goal is to discuss the history of fashion museums, categorize and define fashion exhibitions, look at current fashion museums, and emphasize the significance of these institutions. This descriptive study reviewed clothing-fashion shows from the 2000s to the present; fashion exhibitions that incorporate on-site observations and conclusions to enrich and diversify them stylistically, contextually, and spatially are classified. By combining interesting exhibition themes, new museology, new technologies, and innovative space design, fashion exhibitions give visitors one-of-a-kind experiences.

There isn’t a single way to evoke the past nor a sole purpose in bringing it into the present. In his critique of the exhibition How to Design a Revolution: The Chilean Way to Design (Centro Cultural la Moneda, September 8th to January 28th, 2024), Gonzalo Carrasco reflects on the role of memory in curatorial work, emphasizing its ability to mobilize imaginaries for the future rooted in design and collective work.

The article presents an exhibition organized by the Istanbul Research Institute to commemorate the centenary since the Allied Occupation Forces left the city on the Bosporus. Titled “Meşgul Şehir: İşgal İstanbul’unda Siyaset ve Günlük Hayat 1918-1923” (Occupied City: Politics and Daily Life in Istanbul), the exhibition will be open from January 11, 2023, to December 26, 2023. The exhibited materials bring to light that historical moment through archival documents, most of them forgotten or unpublished, coming from several countries, some neighbors, others distant. The subsequent period is characterized by an unprecedented cultural vitality. Remarkably, a plethora of talented visual artists, many of whom came from other countries, including Russia, emerged during this time. After a century, the exhibition life's a heavy veil from the tumultuous history of the Ottoman Empire’s capital, revealing unique aspects of a traumatic yet transformative era for both ordinary inhabitants and the elites in the final days of the sultanate and the dawn of the republic.

Ever since the first pieces of Great Moravian jewellery were found in early medieval burial grounds, which began to be intensively and extensively explored mainly in Moravia after 1948, it was clear that these were not only elite goods related to the highest social class in Great Moravia of that time, but also exhibition objects that bear the hallmark of exclusivity. Their artistic beauty, the expensive material from which they were made, as well as the craftsmanship with which they were created, were and still are a sure guarantee for the exhibitor that they will interest the public in some way. The paper focuses mainly on large exhibition events, which from the 1960s presented Great Moravian jewellery not only to the Czech, but also to the foreign audience. At the same time, it briefly outlines the future, which is connected with presentation of these exceptional archaeological finds, and which is in the hands of the Moravian Museum in Brno.

Analysis of the archaeological exhibition organised by I.V. Savitsky State Museum of Arts of the Republic of Karakalpakstan, sheds light on the chronological framework of the archaeological heritage of the Southern Aral Sea Region. For the first time, the thematic exposition reveals the degree of available information on Ancient Khorezm monuments in terms of the ceramic production development and its relevance for studying the history of material culture. The exhibition acquires special significance in the context of the popularisation of historical science as a way to preserve the historical and cultural heritage in modern society. The display of the collections is a natural result of the work of several generations of the Khorezm archaeological and ethnographic expedition archaeologists, as well as the actual Karakalpak school of archeology. The exhibition of archaeological collections stirs interest in further research, promotes the popularisation of science, and stimulates the tourism industry development. It is a token of appreciation of sorts to the academic community, discoverers of the history of ancient and medieval culture, the creators of the Karakalpak school of archeology.

This article presents a concept for an imagined exhibition relating to the work of Su Shi (1037–1101), also known as Su Dongpo. A renowned poet and calligrapher from China's Song Dynasty, Su Shi stands out as one of the pivotal figures in traditional Chinese literature; credited with penning many of China's iconic poems that remain part of the educational curriculum in China today. The proposed project is situated within the historical sites of Hainan, an island where Su Shi was exiled near the end of his life. Taking a contemporary approach to heritage, the exhibition concept draws upon recent developments in artificial intelligence large language models, with the aim of enabling visitors to generate and explore 'lost' poems of Su Shi. [ABSTRACT FROM AUTHOR]

Beginning from the first day they were held on, EXPOs have been the events that have left important traces in the history of cities. Starting with the first exhibition, the 1851 London World Exhibition, most of the EXPOs, which are organized in four different categories, have been commemorated with the emphasis of heritage highlights. The exhibitions have been the places of research for many fields including architecture. The exhibitions, where the iconic structures that have been the symbols of the cities and the countries are produced, today have become the show venues in the international arena. Perhaps the most tangible legacy of EXPOs is the architectural works which they have contributed to the city. This study aims to reveal the architectural contributions of Expo events, organized from the 1851 Great Exhibition to the present, to the cities and the nations. For this purpose, architectural approaches prominent in Expo themes have been categorized periodically. The architectural effects of the events have been explained through the architectural approaches that stand out in Expo themes, the iconic buildings that have become the symbol of the city, the residential areas and pavilions brought to the city by Expo events. Findings show that the architecture of iconic buildings, pavilions and event areas, and the residential areas produced for events have brought structural and architectural innovations. [ABSTRACT FROM AUTHOR]

'Live minting' is an emerging trend in exhibition design which offers visitors the opportunity to mint an NFT memento in the exhibition. This paper examines three examples of this current trend in museums which include Play Record Mint (PRM), at Kunsthalle, Zurich, Life After Bob at Light Art Space (LAS) Foundation, Berlin, and Unsupervised at Museum of Modern Art (MoMA), New York. Using theories on the 'museum experience' drawn from scholars such as John Falk and Lynn Dierking (2011; 1992; 2008), this paper examines to what extent the NFTs in these examples contribute or challenge this idea. In doing so, this paper investigates the intersecting values associated with NFTs and argues that NFTs are a form of digital hybrid, a token that exists in a constant state of becoming a commodity, which has both potential benefits and implications for museum exhibition design. [ABSTRACT FROM AUTHOR]

On 10 October 2019 the exhibition What a Genderful World opened in the Tropenmuseum in Amsterdam. The central premise was that all people experience inhabiting a body that moves, lives and breathes in a gendered world. The article firstly examines the process of making this a 'gender' exhibition. In order to refrain from labelling, the exhibition team departed from the original assignment that aimed at an exhibition about 'women'. Asking questions of what makes a woman or a man or any other gender identity in relation to the museum's historically and geographically diverse collections, revealed the necessity to do justice to the multiple layers involved in a discussion about gender. Ideas around gender are shaped and expressed differently through time and space, but other intersectional aspects including race, religion, socio-economic class, age or sexual orientation may well be equally important. Hence, this section discusses the means by which this huge and complex topic is made accessible in the exhibition to a broad audience. Finally, the article takes the reader on a journey through the various areas of the exhibition framed around the following questions: (1) What do you think? (2) Does your body determine your gender? (3) How do you become a gender? (4) How ought you to behave? (5) Gender without borders? (6) Who has power here? (7) Playful with gender? In so doing, the article addresses the theoretical framework underlying the choice of certain interactives and the privileging of design elements. The article will conclude with a critical reflection on the museum's role in the societal debate around gender. [ABSTRACT FROM AUTHOR]

Hebraic written stones represent the primary surviving physical testimony to the Jewish past in Portugal, apart from a Medieval synagogue in the city of Tomar. As it is true for other religious objects, medieval Hebraic epigraphic stones have become a heritage asset, opening the way to specific recognition of the Jewish materiality of Portugal. Long after the forced conversion of Portuguese Jews to Catholicism or their exodus, a few epigraphic testimonials were collected, maintained, and displayed. A group of 20th century Jewish and non-Jewish amateur archaeologists and historians assembled manuscripts, books and stones and attempted to establish a museum in the medieval synagogue of Tomar. They dedicated themselves to the study and preservation of this written religious legacy and proposed to focus on the letter as the principal material heritage to represent the Portuguese Jewish past. Drawing on the concept of religious heritage complex, this article describes how letters, as material remains, lead to the cultural renewal of a religious minority's past. The study also sheds light on the cultural and religious consequences of this attention to letters on the heritage-making process itself. Through a combination of archival study, ethnographic fieldwork and comparison, the study sought to better understand the late destiny of the written remains of Judaism in Portugal. [ABSTRACT FROM AUTHOR]

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologia e Patrimônio is the property of Museologia e Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)