A study on the characteristics of exhibition design in the annex of the Louvre Museum

2021 ◽  
Vol 36 ◽  
pp. 15-24
Author(s):  
Hyo-Sik Choi
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.


Author(s):  
Caroline Claisse ◽  
Daniela Petrelli ◽  
Luigina Ciolfi ◽  
Nick Dulake ◽  
Mark T. Marshall ◽  
...  

1902 ◽  
Vol 9 (11) ◽  
pp. 493-495
Author(s):  
T. G. Bonney

A block of basalt, bearing an ancient inscription in a Semitic language, was discovered in 1868 at Dhiban (the Dibon of Scripture) by the Rev. F. A. Klein, of the Jerusalem Mission Society. This block, which measured 3′ 10″ × 2′ 0″ × 1′ 2·5″, proved on examination to have been erected by Mesha, King of Moab about 890 b.c., and to refer to the war mentioned in 2 Kings iii. A series of blunders on the part of those anxious to obtain this interesting relic caused a quarrel about ownership between two Arab tribes, and one of them, to spite the other, broke it in pieces. These, however, were obtained by the French Consul in Palestine, and sent to Paris, where they were fitted together so far as possible, and the repaired stone is now in the Louvre Museum. The late Professor E. H. Palmer, on a visit to Dhiban in 1870, picked up a small fragment from those still lying on the spot, which he gave to me on his return to England. The constant pressure of other work has hitherto prevented me from examining the specimen, and I have only recently had a slice prepared. The largest face of the fragment measures about 3″ × 2·5″, but the thickest part hardly exceeds half an inch. The original smoothed surface of the stone, possibly including part of a letter, may be seen on one of the sloping sides.


October ◽  
2014 ◽  
Vol 150 ◽  
pp. 87-112
Author(s):  
Kevin Lotery

The story, as Richard Hamilton told it years later, begins with something of an insult. Upon viewing Hamilton's 1955 exhibition Man, Machine, and Motion, Victor Pasmore, the Constructivist sculptor and Hamilton's then-colleague at King's College in Newcast le, delivered a snide quasi-compliment, dismissing the iconographical content (and main attraction) of the project only to praise the mere apparatus of exhibiting—the bracket and framing system that Hamilton had invented to exhibit his imposing photographic enlargements of men and their technical prostheses. “It would have been very good,” Pasmore is purport-ed to have said, “if it hadn't been for all those photographs.”2 But clearly the exhibition intrigued Pasmore, who would approach Hamilton later in the hope of collaborating with the younger artist. Hamilton recalls: Remembering his comment on Man, Machine and Motion I proposed that we might make a show which would be its own justification: no theme, no subject, not a display of things or ideas—pure abstract exhibition.3


2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Andreas Etges ◽  
Irmgard Zündorf ◽  
Paweł Machcewicz

AbstractThe Polish museum landscape has turned into a battleground between politicians and historians. Much of that has focused on the highly praised Museum of the Second World War in Gdańsk which opened in March 2017. Its founding director Pawel Machcewicz was dismissed when the conservative-nationalist party “Law and Justice” came to power. The article and the interview with Machcewicz discuss that story, the founding and exhibition design of other Polish history museums as well as the politics of history in Poland and beyond.


Author(s):  
Pablo Gobira ◽  
Antônio Mozelli

This paper aims to report the experience and challenges of the research group Laboratory of Front Poetics (LabFront, CNPq/UEMG) in exhibiting an immersive virtual reality installation during events and festivals of digital arts in Brazil. In this article, questions are raised regarding traditional exhibition processes and those where digital technologies are used. Although our focus is on the Brazilian context, similar difficulties and problems in exhibition design can be seen in other places, such as Latin American and European countries. We will base the discussion on our experience of exhibiting Olhe para você (2016) [Look at yourself], an immersive virtual reality work developed by one of the teams of the research group LabFront.


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