Displaying, creating and mobilizing value in a museum exhibition

2021 ◽  
pp. 138-151
Author(s):  
Anita Herle
Keyword(s):  
Museum Exhibition

USE OF CULTURAL LANDSCAPES AS A PART OF OPEN-AIR MUSEUMS

2020 ◽  
Vol 2020 (2) ◽  
pp. 181-187
Author(s):  
Brych M ◽  
Keyword(s):  
Cultural Landscape ◽  
Cultural Landscapes ◽  
Holistic Perception ◽  
Museum Exhibition

In Ukraine, there is no holistic perception of historical and cultural environments of monumental ensembles and complexes as an object of protection and use today. Their preservation will be effective only when the understanding of the object of protection is extended to the boundaries of the cultural landscape, including all its valuable elements. The best way to implement this concept is to include cultural landscapes in the open-air museum exhibition as its integral, active, and living element.

scholarly journals Kom Nærmere - Lugten i Galleriet

2014 ◽  
Author(s):  
Anette Stenslund
Keyword(s):  
Martin Heidegger ◽  
Phenomenological Approach ◽  
Human Existence ◽  
Foundational Ontology ◽  
Abstract Level ◽  
Museum Exhibition

Baseret på erfaringer hentet fra den allerførste museumsudstilling nogensinde dedikeret udelukkende til duft, problematiserer jeg i artiklen det abstrakte objek- tiverende niveau, dufte ofte håndteres på. Jeg viser, at objektiverende tilgange til duft fordrer en eksistentiel distance, og i et forsøg på at komme nærmere lugt- erfaringers ontologiske fundament introducerer jeg en alternativ tilgang udviklet med inspiration hentet hos Martin Heidegger. På baggrund af min ambition om at udvikle en fænomenologisk sensitiv tilgang til håndtering af det ontologiske spørgs- mål om, hvad lugt er, supplerer jeg allerede eksisterende lugtundersøgelser, og jeg foretager væsentlige justeringer af begrebet tilstedeværelse, som findes i værker af Hans Ulrich Gumbrecht. Ved at fremhæve den menneskelige eksistens som en del af olfaktoriske fænomener afdækker denne fænomenologiske undersøgelse lugtens grundlæggende ontologi. Lugt er altid „noget til nogen“. Lugtoplevelser er således universelt partikulære og kan alene objektiveres regionalt.Søgeord: Olfaktorisk æstetik, tilstedeværelse, nærværelse, Martin Heidegger. Based on experiences drawn from the very first museum exhibition ever dedicated solely to scent, this paper problematizes the abstract level of dealing with odour in terms of objectivity, which is defined at a distance from the experience of human existence. In an effort to move beyond objectified understandings of smell and get up close to the question of smell experiences I draw on the philosophy of Martin Heidegger. Striving to develop a phenomenological approach to smell that could complement already existing smell investigations, I also carry out essential adjustments of the concept of “presence” found in works by Hans Ulrich Gumbrecht. In emphasizing human existence as being part of the olfactory phenomena this phenomenological examination reveals the foundational ontology of odour. Smell is always “something to someone”; universally smell experiences are particular, and only regionally they can be objectified.Keywords: olfactory aesthetics, presence, Anwesenheit, Martin Heidegger 

scholarly journals Discussion on Exhibition and Decorative De-sign of Museum

2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Haijun Wang
Keyword(s):  
Point Of View ◽  
Construction Work ◽  
Continuous Development ◽  
Basic Part ◽  
Daily Work ◽  
Decorative Design ◽  
China’S Economy ◽  
Museum Exhibition

The work of museum exhibition and decorative design isa part of the important daily work of the museum, but also a relatively basic part. With the continuous development of China's economy, the museum has been promotedto devel-op, which enriches our lives and culture. However, with the development of society, the museum exhibition and decora-tion design has encountered a lot of problems with respect to actual construction. In general, attention to the museum exhibition and decorative design needs improving, including theoretical and practical aspects of construction. In order to further promote the construction of the museum, we need to optimize the relevant construction work of the muse-um. Next, I will combine my own practical activities to have a discussion from the point of view of the museum exhibi-tion and decorative design, hoping to have certain reference significance for relevant personnel.

scholarly journals THE ROMA COLLECTION KNOWN AS THE AMARO MUSEUM

Muzealnictwo ◽  
2017 ◽  
Vol 58 (1) ◽  
pp. 0-0
Author(s):  
Natalia Gancarz
Keyword(s):  
Ethnic Group ◽  
Second World War ◽  
World War ◽  
History Of ◽  
Regular Event ◽  
Second World ◽  
Museum Exhibition

The first significant exhibition devoted to Roma/ Gypsy history and culture was organised in the Regional Museum in Tarnów in 1979. After its success, collections connected with the history of this ethnic group were initiated. The Ethnographic Museum in Tarnów (the branch of the Regional Museum) opened a permanent exhibition entitled “Gypsies. History and culture” as the first permanent museum exhibition devoted to Roma matters in 1990. The Gypsy collections of the museum amount to almost 1000 exhibits; moreover, it gathers professional photographic, cinematographic and phonographic documentation and archives, and it runs a specialised library. Based on this permanent Roma exhibition and collections, the museum in Tarnów organises numerous cultural and educational projects, as well as those that promote Roma culture and history. The International Roma Caravan Memorial is a regular event which has been organised since 1996. It is a project which consists in a kind of a reconstruction of a Gypsy wandering caravan, during which the participants visit places connected with Roma martyrdom during the Second World War in Małopolska. In addition, the museum publishes a scientific annual entitled “Studia Romologica”.

scholarly journals Man ser inte utställningen för bara föremål

1970 ◽  
pp. 29
Author(s):  
Tandi Agrell
Keyword(s):  
Practical Design ◽  
Communicative Process ◽  
Museum Exhibitions ◽  
Design Perspective ◽  
Museum Exhibition

Most visitors to a museum exhibition expect the presence of authentic artefacts. With their materiality and history, these artefacts are considered to be specific to the exhibition medium. The author goes beyond this to assert that the use of authentic artefacts makes it more difficult to bring about the communication that the exhibition is trying to achieve. Despite the attempt to use it as a means of communication, the authentic artifacts in the exhibition are actually a hindrance in the communicative process. By relating artefact-focused museum exhibitions to contemporary neo-realistic art installations, the author illustrates the role of the artefacts in the museum exhibition. The article points out how problematic the authentic artefacts are from a practical design perspective, and how the demand for authentic artefacts in the exhibition is actually a convention that limits what the exhibition can achieve as a means of communication. 

Sign in / Sign up

Export Citation Format

Share Document