Art Exhibition Space Research Articles

도심유휴산업공간의 재생디자인특성연구

This article first defines idle industrial facilities, summarizing their characteristics as temporal, accessible, flexible, and malleable. It then elaborates on the concept of the cultural and creative industries, highlighting their features as cultural diversity, uniqueness, creativity, and concentration. Subsequently, the paper categorizes spaces redesigned for regeneration, classifying them as art exhibition spaces, commercial spaces, public spaces, and social and resting spaces. Based on this framework, the study explores the design features of cultural and creative industries in regenerating idle industrial spaces in city centers, identifying four key traits: symbolic, multipurpose, specialized, and participatory. The analysis includes case studies of transformation projects like the 798 Art Zone and Seongsu-dong, concluding with targeted recommendations such as enhancing original industrial historical elements, adding interactive designs to provide a deeper immersive experience, and improving the industrial environment with increased subsidies. The aim is to foster the transformation of more idle industrial spaces into vibrant redevelopment projects through the power of cultural and creative industries.

From the White Cube to the Black Box and back: Lighting design for new media art exhibitions

Instead of being exhibited in a room full of light, digital or new media art is often shown in dark spaces. While this may initially be explained by technical constraints – works using video projectors work best in dark spaces – subdued lighting is now establishing itself as a new norm for the display of such works. By analyzing contemporary exhibitions and creating numerous links with the exhibition of other objects and art forms, the article questions the aesthetic and perceptive qualities of these forms of lighting. It then goes on to show that artists and curators are now challenging this norm by reintroducing light into new media art exhibition spaces.

Design Method of Art Innovation Space Based on Computer Image Data Acquisition

With the development of science and technology, it brings more possibilities for artistic space design method innovation. The development of computer image data acquisition technology has realized the continuous extension of artistic space design and creation. Based on the computer image data collection technology, this paper realizes the innovative design of real and virtual environment in the exhibition of art space, centering on the interactive integration of the three elements of “human-objects-space.” Through the experimental design, from the space, color data collection, display space moving line, and space function design scheme were the four aspects of exploration and analysis. Compared with traditional design methods, the following conclusions are drawn: first, in spatial data acquisition, the average error of area measurement is less than 3.63%, and the measurement accuracy can reach more than 91%. Second, the average accuracy of color detection of various materials in space can be maintained at 90%. Third, the spatial movement line designed in this paper is simple and clear, with appropriate length, so that visitors can achieve the best visiting effect with the smallest distance. Fourth, the overall design scheme is reasonable, the space is transparent and bright, and the tour route is clear. It can complete the functional zoning design of the art exhibition space in a short time, saving a lot of manpower and time.

Practice-based Research and Creative Arts Practice:

This research uses a creative arts practice emerging from the processes of drawing and installation to create and explore the relationships between the artist and the outdoor spaces of the British Peak District. A mobile working kit made from paper, fabric and wood is used to make temporary installations outdoors in response to wind, weather and topography. The mobile working kit modules are then returned to the studio and later installed in art exhibition spaces, their display indexing the connection between self, other and the outdoors. The multitude of processes in outdoor environments and their relationships to landscape and its inhabitants’ actions is used as a methodological template to frame change. Based on the dichotomy of mobility and inscription, artmaking actions and the research process are described through the conceptual lenses of ‘gesture’, ‘practice’ and an expanded understanding of drawing. Following this, a taxonomy is suggested that categorises the embodiment of artmaking events from the tensions between their experienced particularities and the artist’s perceived material practice frameworks.

Materiality and perception in the architecture of art exhibition spaces. From the white cube to a complex sensory experience

Materiality and perception in the architecture of art exhibition spaces. From the white cube to a complex sensory experience

Micro-mobilities in curated spaces: agency, autonomy and dwelling in visitor experiences of augmented reality in arts and heritage

ABSTRACT Mobile technologies are transforming the ways in which we experience arts and heritage sites, and galleries and museums are facing increased pressure to provide stimulating, alternative technology-based solutions for enriching visitor experiences. Focusing on the opportunities afforded by augmented reality (AR), this paper critiques the role this technology plays in providing visitors the opportunity to experience art and exhibitions through a series of dynamic, small-scale micro-mobilities. We propose that AR creates curated spaces of mobility in galleries and museums and in doing so, visitors become empowered through spaces of agency, autonomy and dwelling as they negotiate these spaces and encounter art through technology-mediated forms of wayfinding, interpretation and personal curation. Through negotiated agencies of human and non-human, visitors become emancipated, active agents in a process of co-production. Such positioning is further critiqued as the paper investigates the opportunities afforded by augmented reality to create alternative spaces of connection and interpretation through conceptualisations of dwelling and we suggest technology holds the potential to facilitate an enriched, deeper and more personal connection to that experienced in art gallery and exhibition spaces.

시뮬라크르를 반영한 뉴미디어아트 전시 공간 표현 특성 연구

시뮬라크르를 반영한 뉴미디어아트 전시 공간 표현 특성 연구

관람자 경험 중심의 인터랙티브 미디어아트에서의 공간적 지원 연구

The digital-based way of communication and rapid development in various digital content, especially in interactive media art exhibition spaces, are facing a new phase with unprecedented speed and scale. Therefore, this study uses exhibition space to experience the interaction between interactive media art and viewers. When interactive media is applied to a space, we will look at the expressive characteristics of space according to the interactive relationship between space and work, space and viewer, and analyze the spatial support applied through the media, especially for the ultimate goal of interaction design, to create the viewer's experience. Research methods and content first grasp the concept of terms used on the basis of theoretical background. Second, it identifies the viewer, interactive media art, and spatial cognitive elements in the interactive media art exhibition space through the analysis of prior research, and derives the assessment items. Third, select an example of an interactive media art exhibition space and conduct an on-site survey to investigate the process from viewer to interaction, and provide spatial support. Fourth, the changes in viewer experience, behavior and psychology were derived, and the spatial expression characteristics in this process were derived. The result of this study is that at the level of work support, the viewer perceives space as a medium for a variety of senses, and the space induces the viewer a formative and psychological experience and consequently makes behavioral and psychological choices. At the interaction level, you experience and identify firsthand the empirical factors that space provides through the expressive elements. At the interactive media art level, space provides viewers with a platform that can elicit satisfaction through experience with positive reactions and long-term memories

Porous circuits: Tsai Ming-liang, Zhao Liang, and Wang Bing at the Venice International Film Festival and the interplay between the festival and the art exhibition circuits

From the perspective of film festival studies and on the basis of my first-hand experience at the Venice Film Festival, this article sheds some light on how the works of Tsai Ming-liang, Zhao Liang, and Wang Bing elucidate the interplay between the art exhibition and film festival circuits. These artist-filmmakers have contributed to and taken advantage of the porosity between the two circuits. Taking the Venice Film Festival as a vantage point of observation, this article discusses how their works have been able to move in and out the festival circuit to reach art exhibition spaces. Against a changing production and exhibition back-drop, they have fruitfully expanded their activities, reached a broader audience and expanded their production and exhibition network. What are the advantages and limitations of such porous systems? What is to be found that facilitates the dissemination of certain works across the two circuits? How do reputation and international prestige – here read as an expansion of Bourdieu’s “cultural capital” – translate into more production and exhibition opportunities? This organic discussion by taking into account the changes in the political economy of film production and exhibition in relation to certain aesthetic features, investigates the contrasting ways in which the festival and art circuits provide their own specific framing, produce different modes of meaning-making and result in quite different audience receptions. Furthermore, some observations on the works of the three artist-filmmakers suggest that festivals have progressively included these “festival and gallery films” in their regular programmes despite the challenges they present. This reinforces the idea of a virtuous circuit of increasing crossovers through which, artist-filmmakers capitalize on the reputation and prestige earned in one of the two circuits and invest it in the other. At the same time, film festivals have to take up new challenges, programming works with unconventional features that can be slower paced and of longer duration compared to what a festival audience is used to.

Rethinking the center-periphery model: Dimensions and temporalities of macro-structure in a global field of cultural production

A central question in the culture and globalization debate has been how global transformations affect center-periphery hierarchies among countries in realms of cultural production. However, hitherto scholarship has tended to approach the center-periphery distinction in unitary terms. This article extends Bourdieu’s model of a dual economy in cultural fields to develop a framework of different types and dimensions of country hierarchies. Taking the contemporary visual arts as a case, it demonstrates that linking the dual economy model with the conceptualization of center-periphery hierarchies offers a more fine-grained lens to examine some of their dynamics. Comparing the evolution of hierarchies among countries in the global auction market and global art exhibition space, the article reveals how center-periphery configurations at the commercial and specific cultural pole of an emerging global field diverge. They follow systematically different patterns and temporalities: whereas the auction market exhibits rapid changes—particularly with the rise of China—, culturally based asymmetries in the global exhibition space are marked by slower transformations along generational cycles of longue durée. Although the findings are unique to contemporary art, they indicate that extending Bourdieu’s theory may offer tools to go beyond monolithic center-periphery models in cross-border cultural production. It allows to account for the multidimensionality of macrolevel hierarchies as well as their varying logics of change.

Reorganisation of the Art Scenes and exhibition spaces in Busan during the Korean War

Reorganisation of the Art Scenes and exhibition spaces in Busan during the Korean War

Features of the design of exposition spaces in art centers

The article deals with the features of the representation of contemporary art in the exposition spaces of art centers. The work reveals the features of modern art and their influence on the organization of the exhibition space. Historical development of approaches to the organization of space for exhibiting works of contemporary art from approaches related to technological conditions and a historically authentic environment to exhibition spaces that acquire the features of an independent work of art is given. Determined new conceptual approaches to the formation of exhibition space, which is based on the idea of fusion of art and space stsenarnosti exhibition space, curator of exhibitions and influence the interaction between artists, art and audience. This will allow the most effective demonstration of works of contemporary art in art centers.

A Study on the Characteristics of Realizing Performance Art Exhibition Space for Intangible Cultural Heritage

A Study on the Characteristics of Realizing Performance Art Exhibition Space for Intangible Cultural Heritage

Protein structure paintings

When artist Steve Miller met Nobel Laureate Rod MacKinnon at Brookhaven National Laboratory in New York, MacKinnon was investigating protein structures: specifically, how potassium ions move across cell membranes. Miller became fascinated with the visual tools MacKinnon used to grapple with the problem: 3D computer models of proteins, graphical equations and diagrams in the scientist’s notebook, and even the architecture of X-ray crystallography equipment. These are all reminders of the role visual tools play in the act of discovery, understanding, and investigation. Steve Miller, Blackboard Jungle, 2005; dispersion and silkscreen enamel on canvas, 36 × 34 inches. Image courtesy of the artist and the Cultural Programs of the National Academy of Sciences. Artists have always gravitated toward the ideas and technology of their time as source material. As a result, the artist’s work serves as a form of documentation and preservation of those ideas, while asking the viewer to consider a different perspective, perhaps personal or cultural in nature. The exhibition Crossing the Line, previously on view at the National Academy of Sciences and curated by Marvin Heiferman, is a result of translating imagery of the scientist from the laboratory to an art exhibition space. The curator’s selection of paintings draws parallels between MacKinnon’s examinations of ions moving across the barrier of cell membranes and Miller’s own exploration of moving imagery from the context of one discipline to another. By doing so, the juxtaposition invites the viewer to consider the aesthetic quality of the tools of science. Far from the didactic or illustrative purposes often associated with exhibiting scientific imagery, Miller asks us to consider the creative thought processes of the scientist in parallel with that of the artist. How does the human mind traverse the terrain of ideas to solve problems, and what is the role that visual tools play in that process? Artists, of course, have a different set of problems they are attempting to answer, which are often more aesthetic in nature. Many of the paintings in the exhibit are large in scale, engulfing the viewer’s peripheral vision, thus creating an almost immersive environment. Imagine notebooks transformed into six-foot canvases. Layers of silk-screened images, photographs, and textured paint create areas of visual exploration that encourage a different perspective of the work of both scientist and artist, reminding us that each scientist’s work is, at its core, creative and inventive in nature.

A Study on Type Classification and Case study of Extended contemporary art exhibition space to outside of urban space

A Study on Type Classification and Case study of Extended contemporary art exhibition space to outside of urban space

Light restoration proposal for the Ein Harod Museum of Art

This research explores a proposal for natural light restoration design for exhibition spaces in the Ein Harod Museum of Art. The original design and method of introducing daylight are described and their mechanisms depicted. The reasons for recent modifications, mostly due to conservation demands, and their impact on light quality are discussed. Owing to the Museum's unique design achievement and the worldwide influence on late twentieth century museum architecture, the research emphasizes the necessity for a light restoration project. The applied approach of introducing light also invites rethinking the current paradigm of using natural light in art exhibition spaces. Restoration objectives are determined and a design based on laser cut panels (LCPs) technology is proposed. Sets of experiments are presented: devising a LCP gable roof form geometry; analysing LCP daylight performance; and examining the original design. Finally, the performance of the proposed design is studied and is shown to be adequate for current conservation demands. Both quantitative and qualitative experimental methods were used: radiance light simulations, scale model measurements using photography, high-dynamic-range imaging photography (luminance levels) and HOBO data loggers. The findings propose integrating a louver system together with an LCP roof structure, a combination that restores daylight performance and preserves the quality and spirit of the original design.

浅谈在信息技术环境下初中美术课堂教学的新探索

美术课程具有人文性质，在信息技术环境下的美术课堂教学，通过丰富传统的纸质成长档案并增加电子图片档案，拓宽了美术的展示空间。融合信息技术及各学科知识，集众家之长。初中美术课堂应注重培养学生的主体意识和激励学生的创新精神，鼓励学生自主探究，不断超越自我。美术教学不应只停留在课堂中，应探索科学渗透地方文化，配合全方位的美育，巧用平台，延伸美术课堂，让生活充满美。 Art classes with human nature, in the information technology environment art classroom, enrich the traditional paper files and increase the growth of electronic image files to broaden art exhibition space with integration of information technology and the academic knowledge by setting subjects benefits. The art teaching in junior middle school should cultivate students’ subject consciousness, encourage students’ innovative spirit, inspire them to explore, and constantly go beyond themselves. Art teaching should not only stay in the classroom, but need to explore the scientific penetration of local culture with a full range of aesthetic, use platform skillfully to extend the art classroom and make life full of beauty.

Espacios expositivos virtuales: Proyecto UMUSEO, una nueva opción para la difusión artística.

<p>The technology revolution has, in recent years, meant something of a transformation in the way we perceive art and, at the same time, in our way of understanding art exhibition spaces. New works demand updated spaces and different approaches to their care and exhibition. American museums were the first to respond to these changes and begin to put resources behind the necessary objectives. Throughout the 1980s a revolutionary process unfolded which focused on changing attitudes<br />and opening up to a growing and increasingly diverse audience.<br />This process soon spread to the rest of the world and gradually museums and exhibition spaces started to become part of an overall impulse of opening-up and conceptual change that, judging by the outcomes, was precisely what society was waiting and asking for. Rather than change their collections, museums changed their interpretation of them, the way in which they were brought to their publics, their approach to external communications and the role of visitors.<br />New information technologies (particularly the most recent) offer museums the chance to respond to society’s requirements. Hence access to museums takes on a whole new dimension. As well as the traditional uses of the Internet, art online offers two new possibilities: interactivity and the removal of physical barriers. Museums online are open to anybody and everybody, at any time of day, offering easy access and the scope for users to relate directly with a virtual exhibition space. The emergence of the Internet has transcended the barriers of space and time, enabling real-time communication with people from all continents, meaning that messages can be conveyed with limitless reach.<br />The University of Murcia´s Virtual Museum project – UMUSEO – makes an innovative contribution to the possibilities offered by new technologies in the realm of artistic production and its dissemination. This is a research project designed to be a Centre for a range of art-forms operating exclusively online and specialising in exhibitions relating to the artistic heritage of the University of Murcia.<br />In the 1960s and 70s questions started to be asked about the role of museums and their future, giving rise to the idea that museums had become passive exhibition centres. Today they are continually evolving, becoming centres of active experimentation in which public participation takes on a special relevance.</p>

New Museum for New Forms of Art - Focused on "Museum without Walls", and the relationship between art and architecture -

To design and construct a museum of art involves the interest of artists, architects, curatorship, management, and local government. More than this direct relationship, museum obliges the public a mission of delivering genuine public experience through art and architecture. However, most of Modern and contemporary architecture has not delivered genuine public experience of integrated art and architecture. Conceptual message of art and perceptual architectural exhibition space has not been integrated easily. Picture frame canvas initiated this schism and institutionalized museum management hampered the creativity of artists. This schism was overcome through artists’ questioning of museum culture and creative works that embrace work and its environment. In contemporary culture, installation art and media art necessitates a new museum format which needs not only exhibition, but laboratory and interface space with viewers. This paper will regroup the existing museum according to its use and strategy, and reinterpret progressive museums that fosters young artists, and more than this, will introduce successfully established museums for new forms of art, which are equipped with versatile exhibition spaces, innovative interface between works and viewers, and own laboratory that can produce works of art. These examples will envision a creative method of art and architecture production that can achieve genuine public experience.

AREA RESOURCE OF HISTORICAL URBAN AREA ACTUALIZED BY ART EVENT

The aim of this study is to clarify the characteristics of art exhibition space that is performed on a historical urban area. We analyze features of locations and spaces that art works are situated and visitors' behavior that art works influence. The conclusions are as follows: 1) Old row houses, shophouses and alleys are paid attentions because they become exhibition space. 2) Narrow alleys have potential of exhibition space. Lattices and plants can be a background of art works which are hung on a wall. Small spaces such as garage and vacant space can be used as exhibition space. 3) Art works cause various behavior that are not seen on a daily life.