Exhibition as a Space of Agency (original) (raw)
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‘Introduction: Exhibition, Design, Participation’
Introduction to the book co-edited by Elena Crippa and Lucy Steeds, 'Exhibition, Design, Participation: "an Exhibit" 1957 and Related Projects' (London: Afterall, 2016). Book abstract: The radical project 'an Exhibit' emerged from a decade of testing the formats and possibilities of exhibition-making. A collaboration between two artists, Richard Hamilton and Victor Pasmore, and critic Lawrence Alloway, the show was simultaneously an investigation into abstract environmental design and a participatory experiment that would fundamentally transform the role of the viewer. Comprehensive documentation of the show appears alongside archival interviews and reprints, featuring the three voices of the protagonists behind 'an Exhibit' and also David Sylvester. The detailed analysis of Elena Crippa is complemented by further new contributions by Martin Beck, Owen Hatherley and Lucy Steeds — jointly addressing the diverse influences of 'an Exhibit', from contemporary art practice to urban design and social housing. Exhibition, Design,
EXHIBITION MAKING AS AESTHETIC ENQUIRY
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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?
The Politics of Change, Craft and the Bauhaus Reborn: New Relationships in Design Education
2009 DEFSA Conference Proceedings, 2009
"South African education systems straddle the developed/developing world schism, an old-school-style Eurocentric view has long tussled with an Africanist dialectic. Educators struggle with access and upliftment issues whilst implementing outcomes-based learning programmes and simultaneously maintaining academic standards. At Nelson Mandela Metropolitan University (NMMU), conscious of the need to build future capacity, innovation in teaching and learning is paramount and the issues identified above are constantly under debate. Experimentation is an ongoing aspect of teaching methodology. This innovation is especially necessary in teaching the design disciplines. The secondary school system makes little or no provision for the visual arts and even less for design. Students enter university with essentially no contextual reference point for design. So begins the complex process of creating literate, informed, socially conscious designers. This paper will contextualise the situation facing design education in South Africa by citing examples where attempts are underway to bridge the gaps between the disciplines of Fashion Design, Graphic Design, Textile Design and Photography; by arguing the case for Trans-disciplinary Design as a possible solution to building design capacity in South Africa; and lastly to emphasise the importance, in a developing economy of the artisanal, the notion of crafting, and the sense of pride and achievement that results from mastery of hand skills as the keystone to the creative process – the place where design and art meet. It attempts to present and clarify the context faced by many design educators in South Africa and highlights some of the innovative practice educators have to apply to encourage learning, grow African content and broaden design sensibility. "
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.
2020
A change in any medium brings about a change in our life. This change does not only affect the way we use the said medium but also affects the way we feel, understand, and perceive the world through that medium. As we are adopting and adapting new, mostly democratising, digital technologies, new aesthetics seep into every aspect of our life. It is thus necessary to understand the dimension of aesthetic education with respect to new media technologies and its effects on the society. And, to be able to understand these new cognitions and definitions a tangible source is required: exhibitions. An exhibition is a product of curatorial knowledge, research, and technical labour which communicates and educates ideas, concepts and worldly themes to its intended audience. This thesis reflects upon the importance of exhibitions as a necessary communication and an educative tool especially in a highly mediatised world for media aesthetic education. It reviews exhibitions, their design and content and their evolution and relevancy to the community as well as takes note of ground-breaking exhibitions over the years and their subsequent effects on exhibitions and arts. With the support of an apartment and online exhibition, ALT//OurImaginedRealities and its analysis as a case study, this thesis further examines the capacity of exhibitions as a medium of learning as well as the scope of utility of apartment or similar exhibitions in transforming shared spaces into spaces of interaction, communication, and making them the foundations of an art conscious community in the near future. Keywords: new media, media arts, aesthetic education, media aesthetic education, experience, exhibitions, alternative exhibitions, apartment exhibitions, online exhibitions
Design and Culture Transformation of the Aesthetic: Art as Participatory Design
This paper argues that the most significant, contemporary synthesis of art and design is occurring at the level of participatory projects, and not in the more customary fields of collusion (product design, for example). These projects are durational, experiential, and dialogic, and therefore I argue that traditional aesthetics based on the contemplation of objects and the analysis of representations does not adequately account for what amounts to an aesthetics of co-creation. To examine this transformation this paper surveys participatory art and design projects in a number of different fields and also some of the key critical literature around the aesthetics of collaboration and dialog. Finally it argues that art in the form of participatory design offers a political alternative to both the avant-garde tactic of adversarial "shock" and the notion of presenting a voice or an opinion in a neutral public sphere; rather it can be seen to modify -design -that sphere itself.