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Wyświetlanie 1-10 z 181
Tytuł:
Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948)
Autorzy:
Doroszuk, Hanna
Tematy:
Exhibition of Modern Art
Recovered Territories Exhibition
history of exhibitions
curatorial strategies
surrealism
surrealist exhibitions
environmental design
postwar art
propaganda exhibitions
Polish exhibitions
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Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Powiązania:
https://bibliotekanauki.pl/articles/1788561.pdf  Link otwiera się w nowym oknie
Opis:
The Exhibition of Modern Art (Wystawa Sztuki Nowoczesnej) organized in 1948 in the Palace of Art (Pałac Sztuki) in Cracow was one of the most prominent art events in Poland during the last century. It is considered one of the unprecedented moments in shaping the modernity. The exhibition was thought to be designed as a whole venture, integrating the modern art demonstration with the will to make it accessible to all the social groups. The desire of the authors was to endear the authorities, since the Stalinist repressions were approaching, and present the modern art as accessible to the society and needed in the “new socialist order”. Simultaneously, the primal context for the exhibition, underlined by its authors as well as the critics in subsequent years, were the surrealist exhibitions in Paris. This new avant-garde mode of displaying, so attractive for the Polish artists, put in the foreground not the traditional reception of art, implied by the traditional museology, but mostly focused on the spectator’s experience and used all possible kinds of tools to enhance it. These two approaches were usually presented as antagonistic and impossible to reconcile. The article attempts to analyze the tools which the display’s authors used to merge the avant-garde display with didacticism. While looking at the Recovered Territories Exhibition which took place a couple of months earlier, one might notice that the Exhibition of Modern Art was not the first display that accommodated the avant-garde solutions to the didactic and propagandistic venture.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård
Autorzy:
Hernández Navarro, Miguel Ángel
Tematy:
timespace
anachronism
autobiography
exhibitions
intimacy
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Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:
https://bibliotekanauki.pl/articles/641667.pdf  Link otwiera się w nowym oknie
Opis:
Quoting Flaubert through time, Mieke Bal and Michelle Williams Gamaker’s Madame B brings Madame Bovary’s reflections on love and emotions to the present day, in a productive anachronism. Their work produces an intertemporal space where the past is relevant for the present, and the present enables us to understand the past. Intimacy and routine are central in their exploration of Flaubert’s contemporaneity. Those issues are precisely one of the keys in Karl Ove Knausgård’s project of literary autobiography, where he expands narration foreclosing the ellipsis and giving visibility to small things and emotions; a project with some resonances with Munch’s crude-obscene uses of intimacy. This essay explores how both proposals, Bal and Williams Gamaker in film, and Knausgård in literature, can serve us to connect present and past sensibilities and, more than that, demonstrate resistances to the hegemonic discourses of temporality.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pozaeuropejskie dziedzictwo kulturowe w europejskim muzeum - strategie (re)prezentacji
Non-European culture heritage in a European museum - strategies of (re)presentation
Autorzy:
Maniak, Katarzyna
Opis:
One can distinguish various ways of speaking about the Other in the history of ethnography museums. The initial exotizing and objectifying attitude is being replaced by new strategies, which were developed in response to among others postcolonial studies and the new museology movement criticizing the nineteenth-century model of the institution. The new forms of exhibition presentations can be describe in term of reflective turn, which is fulfilled by emphasizing the colonial roots of mutual relations. There are also strategies touching upon the idea of a museum as a contact zone (James Clifford) or the idea of agon (popularized by Chantal Mouffe), in exhibitions following that train of thought unambiguous representation is replaced by creative meeting of different entities having wqual rights. The last mentioned strategy uses tools of art in presenting non-European heritage. I am interested in ways of presenting non-European collections in European museums, as well as convictions and visions behind them which are projected on the heritage of a community often deprived of voice.
Dostawca treści:
Repozytorium Uniwersytetu Jagiellońskiego
Artykuł
Tytuł:
From Textile to Plastic: Architecture, Exhibition Design, and Abstraction (1930–1955)
Autorzy:
Ottenhausen, Clemens
Tematy:
design
exhibitions
architecture
abstraction
textiles
modernism
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Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Powiązania:
https://bibliotekanauki.pl/articles/2135557.pdf  Link otwiera się w nowym oknie
Opis:
This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Exhibiting the Great Patriotic War in Soviet capitals: Moscow, Kyiv, Minsk
Великая Отечественная Война на выставках в советских столицах: Москва, Киев, Минск
Autorzy:
Free, Anya
Tematy:
Second World War
museums
exhibitions
propaganda
partisans
Pokaż więcej
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Powiązania:
https://bibliotekanauki.pl/articles/52677320.pdf  Link otwiera się w nowym oknie
Opis:
During World War II, Soviet museums constituted an important part of the war propaganda machine and were used by the Soviet state to mobilize its population and to create a public historical narrative about the war. Staff at Soviet museums began organizing war-related patriotic exhibitions from the very first days of the German invasion in June 1941. This article focuses on two types of war-themed exhibitions and museums that were prominent in the Soviet urban spaces during the war and immediately after: trophy exhibitions and exhibitions and museums that focused on constructing historical narratives about the war. Among the main topics of the latter exhibitions were partisan resistance, German atrocities, and the central role of the Communist Party and Stalin personally. While the creators of these war museums adhered to the ideological frameworks and museum content plans developed by Moscow’s professional ideologists, I demonstrate that local museum workers were able, to some extent, to deviate from centrally prescribed narratives and to engage their own agency and creativity, and that the extent of this deviation was largely defined by regional specifics and by individual efforts and local circumstances. The impact of regional differences in the narration of the war is especially evident in the comparison of the representation of the Holocaust in museums in Kyiv and Minsk. Finally, I demonstrate that local circumstances were a major factor in the fate of each museum after the end of the war.
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-10 z 181

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