Australian biennale and art exhibition space boom, 1995–2010

2009 ◽  
Author(s):  
Reuben Keehan
Keyword(s):  
Art Exhibition ◽  
Exhibition Space

Inaugurating the “White Passage”: Art ‘76

2021 ◽  
pp. 1-20
Author(s):  
Hera
Keyword(s):  
Large Scale ◽  
Modern Art ◽  
Historical Study ◽  
National Museum ◽  
Art Exhibition ◽  
Art Gallery ◽  
Exhibition Space ◽  
The 1960S

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

scholarly journals Værktøjskasse til atmosfæriske kunstrum. Atmosfære-fænomenets potentiale i ny udstillingspraksis

1970 ◽  
pp. 82-99
Author(s):  
Line Brædder
Keyword(s):  
Art Museum ◽  
Art Museums ◽  
Art Exhibition ◽  
Visual Mode ◽  
The Past ◽  
Exhibition Space ◽  
The Relationship ◽  
Individual Objects

This paper argues that intense atmospheres hold potentials in the art exhibition space, even though implementation at art museums seems challenging in different ways. Therefore, the paper aims at contributing to an operative analytical terminology and exhibit cases useful for art exhibition practices that want to focus on atmospheric experiences. To showcase how atmospheres are formed and affect us, this paper uses theory mainly founded in phenomenology and explores the relationship between atmosphere, exhibition spaces of the past, and phenomena as aura, affect, and presence effects. These are considered elements in a “toolbox”, arguing that multisensory elements, engaging the visitor as co-creator, and focusing on the exhibition as a unit instead of a space for individual objects can be effective when working with atmospheric exhibitions. The results of the examinations of this paper also points to the potentials of welcoming dissolutions, uncanny disturbances, metonymies, anecdotes, non-logical gut-feeling and a baroque visual mode of expression in order to highlight the elements that are effective in the art museum.

Presence in Absence

2011 ◽  
Vol 56 (2) ◽  
pp. 79-100
Author(s):  
Rachel Esner
Keyword(s):  
19Th Century ◽  
Social Structures ◽  
Artistic Creativity ◽  
Oder Eine ◽  
Exhibition Space ◽  
Working Space ◽  
Romantic Era ◽  
Sozialer Raum ◽  
The 19Th Century ◽  
Artistic Self

Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches  Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her  artistic self-conception and identity within the changing artistic-social structures of the period.

Reenacting Migration, Past and Present

Transfers ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 127-130
Author(s):  
Mariana C. Françozo
Keyword(s):  
Maritime History ◽  
Christopher Columbus ◽  
Exhibition Space ◽  
European Capital Of Culture ◽  
Air Space ◽  
History Of ◽  
The City

Located at the old harbor of the city of Genoa, the modern Galata Museo del Mare was inaugurated as part of the commemoration of Genoa as the 2004 European Capital of Culture. Only twelve years later, the museum proudly welcomes 200,000 visitors annually into its twenty-eight galleries, organized in an impressive exhibition space of 10,000 square meters, showcasing 4,300 objects. While the aim of the museum is to tell the maritime history of Genoa—ranging from Christopher Columbus to an open-air space showcasing the story of the Genoese shipyard—it is the exhibition on migration to and from Italy that will truly impress the visitor.

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