scholarly journals Koloniale Klassifikationer: Kunstbegrebet til forhandling på Museer i Sydafrika

Kulturstudier ◽  
2021 ◽  
Vol 12 (1) ◽  
Author(s):  
Vibe Nielsen
Keyword(s):  
Contemporary Art ◽  
Cape Town ◽  
Art Gallery ◽  
Museum Of Contemporary Art

Siden apartheids fald i starten af 1990erne, har genstande tidligere klassificeret som etnografiske artefakter, i stigende grad fundet vej ind på kunstgallerierne i Sydafrika. Her behandles de som kunstværker, der fremhæves for deres æstetiske kvaliteter, fremfor de kulturhistoriske kontekster, de er skabt i. I denne artikel, der bygger på feltarbejde foretaget på museer og kunstgallerier i Cape Town og Johannesburg i perioden 2016-2018, undersøger jeg konsekvenserne ved denne ekspansion af klassifikatoriske grænser og fremhæver, hvordan en række sydafrikanske kuratorer afviser ekspansionens påståede valorisering: For dem er genstandenes indlemmelse i kategorien kunst ikke en valorisering, men snarere en måde hvorpå skaberne bag såkaldt traditionel afrikansk kunst fortsat eksotiseres. Men hvor er der plads til såkaldt traditionel kunst fra Afrika, hvis ikke på kunstmuseer som Johannesburg Art Gallery og Cape Towns nye Zeitz Museum of Contemporary Art Africa? Hvor er der plads til afrikansk kunst, der ikke er printet, malet eller fremstillet fortrinsvist med æstetisk konsumering for øje?

Cultures of Two Worlds: Štefka Cobelj’s Contribution to the Establishment of Museum Collections in Slovenia and Somalia

Collections ◽  
2020 ◽  
pp. 155019062097822
Author(s):  
Mira Petrovič
Keyword(s):  
Contemporary Art ◽  
Museum Collections ◽  
Art Gallery ◽  
National Importance ◽  
The Creation ◽  
Personal Collection

Slovenian Štefka Cobelj (1923–1989) saw her work of an art historian and ethnologist as a calling, and dedicated her life entirely to it. She specialized in Baroque and Yugoslavian and international contemporary art, but was most passionate about world ethnology. As the director of the Ptuj museum in Slovenia, and later a museum consultant in Mogadishu in Somalia, she was involved in the creation of ethnology collections of national importance. On her numerous travels for both business and pleasure, she compiled a large personal collection of cultural, historical, and ethnological items. This article describes her contribution to the creation of collections in Ptuj and Mogadishu, and her personal heritage, which was bequeathed to the following Slovenian institutions: Celje Regional Museum, Maribor Art Gallery, Maribor Regional Museum, Ivan Potrč Library Ptuj, and Ptuj-Ormož Regional Museum.

Applicability of traditional storage methods in Indonesia for today’s conservation practice

IFLA Journal ◽  
2021 ◽  
pp. 034003522110230
Author(s):  
Patricia Engel
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Best Practice ◽  
Tropical Country ◽  
Conservation Practice ◽  
Traditional Art ◽  
Puppet Theatre ◽  
Storage Methods ◽  
Conservation Projects ◽  
Museum Of Contemporary Art

This contribution aims to distil the experience from several conservation projects in Java, Indonesia, into a summary of methods in an attempt to arrive at some suggestions for best practice for the preservation of cultural heritage items in a tropical country. The related projects concerned a museum of contemporary art, traditional puppet theatre materials, a museum of traditional art and an archive.

New Museum of contemporary art

2010 ◽  
pp. 459-460
Author(s):  
D Me_trovi_ ◽  
T Landeka
Keyword(s):  
Contemporary Art ◽  
Museum Of Contemporary Art

scholarly journals Un nuevo centro de producción de cultura contemporánea: la Fondazione Prada en Milán, Italia

2019 ◽  
pp. 142-151
Author(s):  
Tommaso Cigarini
Keyword(s):  
Contemporary Art ◽  
Stimulus Space ◽  
Palabras Clave ◽  
Production Of Culture ◽  
Peripheral Area ◽  
The Creation ◽  
Museum Of Contemporary Art ◽  
Infrastructure Rehabilitation ◽  
Arte Contemporáneo

La Fondazione Prada de Milán, Italia, es un paradigma y un ejemplo del mecenazgo moderno. En este documento se analiza de qué forma un museo de arte contemporáneo puede generar cambios positivos en el barrio donde se localiza, más aún si ese vecindario se ubica en una zona periférica de la ciudad que ha pasado por un proceso de degradación urbana. Veremos el caso de un museo como elemento rehabilitador de infraestructura y un espacio de estímulo para la creación y producción de cultura. El museo le da una nueva vida a una edificación abandonada que anteriormente estaba destinada a la producción industrial. Los amplios espacios de manufactura, hoy en día abandonados, son ideales para instalar obras de arte contemporáneo.  Palabras clave: Fondazione Prada, Miuccia Prada, Rem Koolhaas, museografía moderna, cultura contemporánea, arte contemporáneo   AbstractThe Fondazione Prada in Milan, Italy, is a paradigm and an example of modern patronage. This document analyzes how a museum of contemporary art can generate positive changes in the neighborhood where it is located, especially if that neighborhood is located in a peripheral area of thecity that has gone through a process of urban degradation. We will consider the case of a museum as an infrastructure rehabilitation element and a stimulus space for the creation and production of culture. The museum gives a new life to an abandoned building that was previously destined forindustrial production. The large manufacturing spaces, now abandoned, are ideal for installing works of contemporary art. Keywords: Fondazione Prada, Miuccia Prada, Rem Koolhaas, modern museography, contemporaryculture, contemporary art

The Use of Augmented Reality in Contemporary Art

2021 ◽  
Vol 2021 (1) ◽  
pp. 20-29
Author(s):  
I. Malinina ◽  
Keyword(s):  
Augmented Reality ◽  
Contemporary Art ◽  
Film Industry ◽  
Learning Experience ◽  
Modern Society ◽  
Art Gallery ◽  
City Tourism ◽  
Augmented Reality Technology ◽  
Interactive Experience

The article analyzes the use of augmented reality (AR) in creative projects of contemporary art. Features of application of augmented reality technologies are investigated. The author reviews the possibilities and options for using augmented reality technology to support museums and galleries. This article will help contemporary artists to better understand these technologies, understand the role of AR in modern society and assess its prospects. Analysis of scientific research has shown that the use of augmented reality in art is increasingly of interest to artists and scientists. There are also articles dedicated to improving the learning experience of art gallery visitors using augmented reality. The present study reveals the chronology of research on this phenomenon. An analysis of the experience of Ukrainian, European and American artists and designers in the implementation of AR‑technologies in the field of culture has also been conducted, on the basis of which a system of thematic areas of augmented reality in contemporary art has been presented. There are five areas where augmented reality in the field of art is used. These are museums of history and art and exhibition halls, art city tourism, film industry, concerts and television. But it turns out that the number of these areas is not final. Eventually, AR will be used in other art venues. The materials of this article provide recommendations for the spread of augmented reality technologies in art. With the help of these technologies, the image of an innovative progressive museum and exhibition hall, open to new opportunities, can be created, which gives the opportunity to attract new visitors, generating a unique complex interactive experience. So far, augmented reality is used exclusively in art, but more and more artists and designers are beginning to move towards interactive implementations in their work. Many of these authorial experiments grow into unique creative projects and provide enormous advantages in the system of culture and art.

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