Architecture of the Exhibition: The Evolution of Exhibition Space in Relation to the Art Market (original) (raw)
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Reformulating the Architecture of Exhibitions
Curatography, 2023
And so, I was trying to ask the question again, ask it anew, as if it had not been asked before, because the language of the historian was not telling me what I needed to know…-HORTENSE SPILLERS The more possibilities are suggested, the more possibilities exist, the more possibilities are taken in by the imagination, the more the imagination's possibilities are defined, the more the possibility of more possibilities can be recognised. The possibilities of more possibilities lead to the imagination itself, immediately and to me.-Madeline Gins If you have curatorial experiences, you might be familiar with the moment when something happens in the realm of an exhibition-the moment the exhibition transcends to become more than just the sum of individual art works in a specific space or site. Exhibiting is alchemy. Alchemy of all sorts of consciousness and entities-invisible histories, memories and projections into the future that curators, artists, technicians, installers and the beholders bring in; matters, objects, both animate and inanimate; knowledge, space and environment etc.-which dissolve their boundaries and synchronise to become inseparable and indistinguishable as individual beings. In this sense, the exhibition itself is not simply exteriorised memory or experience, or a collection of art works and their contextualisation, but also a specific attentional form, into which social, psychic, collective, and technological instances of un/consciousness are capacitated and merged.
Mediating spaces: some considerations on the spaces of largescale art exhibitions
Large-scale temporary art exhibitions such as biennials present special characteristics which in turn illuminate broader questions of art practice, curatorship and cultural management, as well as cultural and social affect. This article considers the third Berlin biennale for contemporary art, focusing its initial discussion on questions of exhibition space including ‘hub’ forms that attempt to break from conventional ‘art-viewing’ practices. The article further considers the relationship of specific exhibition sites with prior social, cultural and economic histories to the reception of art, inquiring what is at stake in the semiological management of ‘sites of representation’, with particular focus on three Berlin locations. Contrasting ‘neo-liberal’ approaches to large exhibitions structured as commodities in major sites such as the Palais de Tokyo in Paris or London’s Tate Modern, with less consumerist and more participative approaches, the analysis considers alternatives to current practice on the part of cultural managers and curators, and debates what is at stake for cultural politics in developing modes of art practice and exhibition.
EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE.pdf
EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE: TRANSFORMATION OF WAREHOUSE 5 OF ISTANBUL, 2018
It’s believed in the modern ages that the existence of architecture date back to first human who needs to take shelter and creation of architecture belongs to a natural human instinct. Although architecture is born from natural human needs, architectural intellection which is shaped by aesthetic thoughts is formed for a long time in the history. Architectural productions which are shaped with various physical environments and communities are probably the most tangible productions that represent the community in the physical environments over the context. From the ancient history to present, architecture represents social classes, economic and cultural structures, rulerships and beliefs. Before the modern ages, architectural production’s representation is formed by architectural needs with the context. With the modern ages, its changed into representation of architectural production itself and its architect beyond the context. One of these architectural productions are museums which are exhibition spaces. It’s known that modern museums are started to build in 18th century. In the 19th century, museums are designed and differentiated by the common approach “specific spaces for specific objects”. In 20th century, exhibition spaces have become exhibition object itself beyond the “only” exhibition space. Istanbul Painting and Sculpture Museum which is still under construction, could seen as one of these cases. In the frame of the study, transformation of representation of architecture over the exhibition spaces is researched and compared with the similar historical spaces’ transformations. With the relations between representation and the city is researched with literature views on global cases. Istanbul Painting and Sculpture Museum which is the case of the study is examined with site observations and photographs. The aim of the study is to scrutinise and understand that exhibition spaces’ representation of itself and transformation beyond-context with making comparisons between similar global cases.
IDU SPAD'20 International Spatial Planning and Design Symposium PROCEEDINGS BOOK, 2020
This paper stems from a question, which is “Why the exhibition spaces are whitewashed?”. Triggered by this question, this paper aims to initiate a discussion on the historical and spatial transformations of exhibition spaces by presenting a review on exhibition design throughout the architectural history of art museums. With this aim, this paper traces how and why the exhibition spaces’ white walls had emerged and where they have reached today. The journey of this paper starts from the cabinet of curiosities, which are accepted as ancestors of museums. Then, it arrives to the first exhibition spaces in the 18 century. By following their transformation to the first public art museums in the 19th century, this paper reaches the modern white cubes in the 20th century. Finally, it ends with today’s exhibition spaces and the changes in their spatial experience under the restrictive climate of the Covid 19 pandemic.
History and Theory of Exhibition Design
2014
This course explores a range of museological and popular cultural exhibition practices through case studies including fine arts, ethnography, (natural) history, science and technology, national, memorial and children's museums. Throughout the semester we will focus on investigating how contemporary (primarily American) museums and heritage sites have evolved from princely collections, curiosity cabinets, circuses and amusement parks. The overarching theme of the course is to trace the development of modern museological practice in relation to economic, social, technological, scientific, cultural and political changes and how these transformations affected various "cultures of display." Studying the metamorphosis of museums necessarily entails discussion of empowered public audiences, invention and discovery, education as a means to train citizens in morality and the importance of solidifying national, regional, local as well as class and ethno-cultural identities. The growth of commerce and trade in the aftermath of the first and second industrial evolutions in conjunction with widespread European colonialism resulted in new models and venues for the exhibition of new technologies, art, architecture, anthropology, history as well as living and dead human and animal remains. During the course of the semester, we will look at objects, buildings, people, animals and landscapes to think about how their contexts of display have told three-dimensional stories over the course of several centuries, drawing mainly on examples in the United States. We will examine issues such as the relationship of collections and landscapes to identity; the intersection of commerce and culture; and the influence that evolving educational and entertainment practices have had upon museological institutions. We will consider the role of museums and exhibitions in preserving a view of the past and developing an image of progress; and we will discuss how they change in response to the various contexts in which and for which they exist. The basic objectives of this course are: • To become familiar with the origins of the modern museum, from early collecting activities to the development of the museum in the 19th and 20th centuries and into the postmodern present • To explore the relationships between museums and evolutionary theory, ethnology/ethnography, anthropological theories of cultural relativism, archaeology, natural history • To investigate the cultural and political contexts of building ethnographic collections and displays; as well as the relationship between museums and imperialist/colonialist plunder • Analyzing the emergence of the museum as a focus of anthropological and theoretical inquiry and as a subject of ethnography itself • Examining the contemporary role(s) of museums, notably as the museum has become part of the culture industry (e.g., blockbuster exhibitions); political reassessments of museums' "use" and marketing in
Our presentation will treat a particular class of "spaces of exhibition." Briefly stated, these spaces were temporary exhibitions; art, architecture, urbanism, or design were their content; they were installed in museums in North America; their designers were architects, and they date to the period after 1976. We chose the topic because architects over the past twenty-year period have made important contributions to the history of display and interpretation, and also to the creation of new cognitive and experiential realms in the museum. In these exhibitions, architects collaborated in the project of historical representation, generating evocative spaces that mediate between objects and beholders, and between reality and abstraction. We will show many images, because the exhibitions were ephemeral and, unfortunately, rarely published as built works.
Manifesto: Towards a Historical Critique of Exhibitions
2015
Introduction Literary critics write book reviews about new novels. Art critics review works of art and the exhibitions they are presented in. Exhibition critiques, however, seem to be much less developed. 1 In most popular reviews, most attention is usually paid to the shape, architecture and function of the building, rather than to the actual contents of the exhibition (a notable example being the reviews on the new Dutch Military Museum 2 ). In other instances, reviews are echoes of the press releases of the organising institutions, or evaluations of the accompanying marketing message. If they do go beyond that, they tend rely on specific disciplines such as art history. One might expect academic reviews to provide some much needed in-depth criticism. However, museums and exhibitions rarely receive substantial coverage in academic journals. Although we do find theoretical reflection on museum exhibitions, especially in the case of ethnographic museums and exhibitions, it often sto...
Exhibtion Space, Display of Art, and Dilemma of Postmodernism.docx
There are two ways to conceptualize the art museum architecture: moral judgments, and "a genuinely dialectical attempt to think our present of time in History." 1 The first approach leads toward the question that if the museum design should prioritize display of art or civic responsibilities. The second approach views the architecture as part of visual culture of postmodernism, the cultural dominant of the logic of late capitalism. 2 In the case study of two recent additions to the Paris exhibition scene, Pavillon Circulaire and Foundation Louis Vuitton, the author follows these approaches through the lens of two scholars, Andrew McCellan, and Frederic Jameson. The paper begins with an analysis of both architectural designs and visitor experiences of two exhibition buildings. The first discussion shows that the dichotomous theory of McCellan failed to explain the display of art in the Pavillon and the Foundation, where the boundary of curatorial and civic roles blurred. It is only through the lens of Jameson that one could understand the design intentions and limits of two exhibition spaces. What the architecture of Pavillon Circulaire and Fondation Louis Vuitton try to resolve, whether accomplished or not, is the dilemma of Postmodernism as cultural dominant, the dilemma between the abstract belief of Paris culture heritage, and the existential daily life. 3
The City as a Free Art Gallery. The Relationship Between the Exhibit and the Exhibition Space
Space&FORM, 2021
The city is an artwork in itself, as its urban and architectural structure creates unique spaces that offer emotions and experiences on various scales. Details and sculptures are used to build the city’s nature and recognisability. The paper presents an approach to the city as an exhibition, where the relationship between the environment and the displayed object is created. What is the contemporary role of these works of art, such as sculpture, in urban space? Do they only fill the space or commemorate historical facts, or were they consciously arranged in relationship with their surroundings to create unique values?