“Graphic Design, Exhibiting, Curating”, ed. by Giorgio Camuffo and Maddalena Dalla Mura, proceedings of the conference (Faculty of Design and Art of the Free University of Bolzano, June 26), Bolzano: bu,press, 2013 (original) (raw)
Related papers
In recent decades, the context and apparatus of the exhibition have received renewed attention from different design disciplines and practices. This interest has been expressed not only in the study and recognition of the value of exhibitions and the politics of display from the past, but also in the current engagement in, experimentation with and reflection on the potential of exhibition-making and curatorial work as platforms for mediation, production and circulation. ...
Graphisme en France, 2018: Exhibiting Graphic Design, 2018
The publication Graphisme en France 2018 has been launched. Published by the Centre national des arts plastiques (Cnap), it addresses the question of curatorship and the exhibition of graphic design. Traditionally dedicated to posters or to particular Graphic Designers, the 1990’s saw the emergence, particularly in the context of graphic design festivals and biennials, of exhibitions proposed by curators who were themselves graphic designers. Since then, these curatorial practices have made their appearance in teaching programs and have also been the subject of research programs. The shifting of graphic design – a functional object which is intrinsically exhibited, being both multiple and intended for the widest possible audience – into the context of the museum or the gallery, raises a certain number of questions. These are the subjects dealt with in a number of previously unpublished articles, commissioned from historians and designers, which address, for the purposes of contributing to an ongoing thinking that is indicative of the current practices and research on an international level. With each one of the contributors, in recent years, pursuing specific research which simultaneously questions the status of objects, display mechanisms and questions of knowledge and transmission that arise from them. Through these contributions Graphisme en France has the intention of nourishing a thinking that is indicative of the current practices and research on a subject that requires a consolidation of references and resources in order to forge its own history. And so, researcher Clémence Imbert looks back over the history of exhibitions of graphic design, Italian researcher and teacher Maddalena Dalla Mura looks at the figure of the curator/graphic designer, based on exhibitions that have been organized all over the world. Lise Brosseau, who is currently preparing a thesis on the curatorial practices of graphic designers, analyzes their possible impact on the construction of a specific discourse. Finally, Jon Sueda, designer, teacher and exhibition curator shares his questions and thoughts, based on his own experience and his practice. The graphic design of this new edition was entrusted to Camille Bonnivard, a young graphic designer, graduate of the École européenne supérieure d’art de Bretagne of Rennes, where she contributed to a number of educational projects that experimented with the question of exhibiting graphic design. Her proposition plays with the graphic codes of the exhibition catalogue, of the poster, the caption and notions of scale. She has chosen to use Emilie Rigaud’s typeface David, along with Nantes by Luzi Gantenbein.
Graphic design for a permanent exhibition: exhibition design of the Museum Mimar Kemaleddin
Becoming a specialized discipline, exhibition design has many types including museum design. Working on an exhibition design for a museum, graphic designer has to select the right visual elements to contact with the visitors. In the case of Exhibition design for the Museum of Mimar Kemaleddin, a multidisciplinary process can be observed as an integrated approach. Not only working with various disciplines but also creating a design system for an exhibition is the main goal of the exhibition designer. Examining the design process of the Museum Mimar Kemaleddin is an example for comprehending the complexity of an exhibition design.
RESEARCHERS, CURATORS AND DESIGNERS: THE EXHIBITIONS AS THE SPACE FOR COLLABORATIONS
Culture Crossroads, 2023
The article looks at thematic exhibitions that explore certain cultural and historical processes and examines the specifics of the exhibition as a collaborative process between three actors: academic researchers, curators and designers. Such exhibitions, grounded in cultural aspects and built on academic research outcomes, differ from classic art displays in the sense that they lack artworks that “speak for themselves”. Moreover, the research often is based on the written word and original documents or artefacts that are visually uninteresting/non-appealing or monotonous. On this account, the exhibition’s story and visual form is put in the hands of the curator and designer. Does this vital role give designers and curators the authority to rework the research that underlies the narrative? Is the design applied as the exhibit itself ? To answer these questions and to explore artistic research in the context of exhibitions, this article discusses the exhibitions carried out at the National Library of Latvia. The article looks behind the exhibition production process to examine the collaboration methods employed by the creative teams consisting of researchers, curators and designers.
Exhibition design: hybrid space of advanced design innovation
2014
The exhibition design has always been -among other design disciplines -one of the most innovative field of experimentation both for languages and projects improvement. Moreover in the recent years the use of digital technologies, on one hand, and the further more active participation of the public -or, better to say, of the user -on the other hand, are making exhibition design a promising and rising laboratory of advanced innovation. This evolution is shaping itself around the co-participation and the increasing value of trivial things as fundamental presence of experience and proof deep-rooted both in the artistic experimentation and in the daily life. The public assumes consequently a dual role: viewer and witness of the revealed memory -the exhibition subjectsand subject himself of the show -due to the belonging to/of the objects and the story told in the scenical space. The paper presents a critical point of view on the mapped scenario of approaches and case studies in an increasing scale of design actions, starting from the more traditional projects to the most advanced in innovation and people involvement.
Exhibition Design and the Relationship With the Spectator
Lessons to Learn? Past Design Experiences and Contemporary Design Practices Proceedings of the ICDHS, 2020
The exhibition space of museums and art galleries has always been made up of a series of artefacts and mediation devices that are intended to better present artwork to the public. Artists, curators, architects, and designers, especially throughout the twentieth century, have proposed forms of art presentation that connected with the public and transcended the traditional canon. In this article, we intend to highlight the work of two emblematic figures of the twentieth century, El Lissitzky and Herbert Bayer, who contributed to the formation of the exhibition design discipline. We seek to review historical exhibition design projects to reflect on current practice. Bringing together common and distinct points between different periods helps to highlight the present cultural codes worked into the institutional environment of museums and art galleries.
EXHIBITION MAKING AS AESTHETIC ENQUIRY
Exhibitions As Research: Experimental Methods in Museums, 2020
If exhibitions are research what kind of scientifi c thinking do they make space for? And what are the eff ects of this kind of research?
Atatürk Üniversitesi, Güzel Sanatlar Enstitüsü Dergisi, 2021
The display has been used from the very beginning to display objects. Exhibition design is a combination of display and contemporary visual communication design. With the development of the exhibition concept and the increase in interdisciplinary cooperation, communication is established by including the space itself in the design. Today, the exhibited products are no longer exhibited, the exhibition itself has become a work of art and the exhibition design has begun to be designed consciously. This change causes you to question what art is and what design is. Within the scope of this research, a descriptive study was conducted to improve the interior design performance in the context of the space requirements of the exhibition space. As a method, in the first stage, an international literature review was conducted using the keyword "exhibition design". In the next step, based on the data obtained, it has been tried to reveal how experience and interaction in exhibition design can produce original results, with examples limited to photography studies and metal/glass works to evaluate works in various dimensions. Thanks to this research, comparisons were made to improve the design performance of the exhibition space, which designers can use as input in the design process. Reproduction of such works will greatly improve the artist's performance in exhibition design and ensure the up-to-date continuity of knowledge and experience sharing in future designs.
Exhibition as a Space of Agency
Kirsi Niinimäki & Mira Kallio-Tavin (eds.), Dialogues (Dialogues for Sustainable Design and Art Pedagogy. The AH-DEsign project.), 2013
Over the last 20 years, design discourse has fundamentally changed: the Bauhaus idea that design is primarily concerned with improving social relations has been updated and reformulated under post-Fordist conditions. Now, “social design” is concerned with social processes that intervene in society, finding solutions to conflicts and problems, and with the pursuit of bringing about a positive transformation. Within this new discourse on design, a key shift in the paradigm has taken place away from the product and towards the process or project. “Participation” is the term now used when speaking of making the users into the development of objects and everyday situations. Against this backdrop, there are a number of interfaces to educational and curatorial practices that have emerged. In addition, numerous links are being forged to new forms of practice-based knowledge production within the art field. The text discusses these intersections from a critical curatorial and educational perspective.