Art Exhibition Research Articles

Spanish informalist art exhibitions in the Federal Republic of Germany, 1960

ABSTRACT This article explores the international reception of Spanish Informalism during the years of aperturismo, when this artistic trend was chosen to represent the Franco dictatorship at international art exhibitions and biennials. In contrast to the readings that study this phenomenon as a strategy of cultural diplomacy, the aim here is to pay attention to the local contexts where the Informalist avant-garde was exhibited, in order to analyse the ways in which the work of Spanish artists was re-signified when it came into contact with geographically situated curators, critics and audiences who had their own agency. Taking the example of the Federal Republic of Germany as a case study, this article examines a series of exhibitions that arose from private initiative in 1960, basing mostly on periodical and primary sources from the archives of the institutions that hosted the exhibitions.

More than the name

Purpose This paper aims to review the latest management developments across the globe and pinpoint practical implications from cutting-edge research and case studies. Design/methodology/approach This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context. Findings This paper identified that enhancing the brand experience through elements such as cafes and art exhibitions in flagship stores can impact consumer habits within the luxury fashion industry. Originality/value The briefing saves busy executives, strategists and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy-to-digest format.

Aberrant Creativity: AI Art Exhibition Catalyzing Conversations Among Artists, Educators, and Professionals

Aberrant Creativity: AI Art Exhibition Catalyzing Conversations Among Artists, Educators, and Professionals

„Eine Sprache ausstellen“

Abstract In their attempt to reposition Germany in an international context after World War II, actors from both the fine arts and the literary scene turned to the idea of art as a universal language. Two major projects that shaped the West German cultural sphere in the 1950 s and 1960s – the contemporary art exhibition documenta 2 and Hans Magnus Enzensberger’s anthology Museum der modernen Poesie – placed this idea at their conceptual core. The debates surrounding these projects show, however, that the notion of art as a universal language was as contested as it was compelling. In close readings of paratexts, including previously overlooked archival material, it becomes evident that very different conceptualizations of monolingualism and community are attached to the idea in each context. Evaluating these differences through the lens of translation studies, curatorial studies, and political theory enables a more nuanced discussion of the concept’s post-war renaissance and its ideological implications.

CREATION AND DEVELOPMENT OF THE FUND OF THE DIRECTORATE OF ART EXHIBITIONS OF UZBEKISTAN

The establishment of the Fund of the Directorate of Art Exhibitions of Uzbekistan was historically linked to the creation of the Academy of Arts of the USSR. In 1947, the All-Russian Academy of Arts was transformed into the Academy of Arts of the USSR in order to promote the development of fine arts in the USSR. The main tasks of the Academy were to ensure the sustainable growth and development of Soviet fine arts in all its forms, to actively support the development of artists' creativity, to work out issues of art theory and history, to develop Soviet fine arts, and to train and educate creative specialists (painters and graphic artists).

Unveiling the Interconnections Between Art, Politics, and Society in the Soviet System Through Art: A Case Study of the Exhibition “1972. Breaking Through the Wall”

Summary This article is dedicated to analysing the exhibition “1972. Breaking Through the Wall” from several perspectives: the curator, the viewers, and the exhibition architect tasked with creating an environment for the art exhibition in an unconventional setting. The article examines the curators’ choices, discusses the work of the exhibition architect within the context of heritage conservation requirements, and presents the results of a viewer survey. This exhibition raised the issue of the significance of alternative creativity, opposed to the official narrative, in a non-free society. It focused on Lithuanian art from the 1960s to the 1980s that countered the official Soviet cultural course. The exhibition’s prehistory includes the historical fact that in the spring of 1972, a young man self-immolated in Kaunas in protest against the lack of freedom. These events had direct and indirect reverberations in the arts, although they were not exhibited at the time due to fear of repression. This difficult experience has left its mark on Lithuanian culture and collective memory. The exhibition highlighted the role of various societal groups in opposing the ruling authorities and establishing personal and creative freedom as the highest value. The art display, composed of works from professionals (fine arts, theatre) and amateurs (rock and big beat musicians) from the 1960s to 1980s who resisted official Soviet art, clearly demonstrated how Kaunas – the capital of Lithuania from 1920 to 1940 – was influenced by the city’s prominent pre-war modernism (environment and lifestyle) and the Soviet ideology imposed on the entire country. The clash of two diametrically opposed ideological stances and artistic principles in Soviet Lithuania led to the emergence of an alternative culture. For the first time in the history of Lithuanian exhibitions, this exhibition showed how the social and the arts were affected by the pressure exerted by the official authorities. The visitor survey showed that the positive reactions to the exhibition were also due to socio-political events that have become embedded in the nation’s memory. The events stored in the collective memory of the nation correlated with specific creative artefacts and historical details, which the younger generation saw for the first time. Noteworthy was the symbiosis of emotional experiences among visitors of different ages, observing exhibits with both artistic and historical value. As indicated by the visitor survey, the exhibition facilitated the establishment of a closer connection between generations. The exhibition’s display in a cultural heritage site – the former post office building (by architect Feliksas Vizbaras, 1932) – was a complex task creatively resolved by contemporary architects.

The Influence of Curatorial Art on Visual Art

As time progressed and societal structures underwent transformation, there was a notable increase in interest in the memories encapsulated by objects. This resulted in a significant increase in the development and popularity of museums and art exhibitions, which in turn gave rise to a multitude of innovative spatial art forms, and the term “curation” was born. This research program examines the impact of the curatorial space on the visual presentation of artworks and its role in the visual arts as a whole. This is achieved using an analysis of several specific cases. Moreover, it demonstrates the evolution and advancement of the utilisation of curatorial space for the presentation of artworks. The concept of curatorial space is both flexible and complex, with implications for both the visual arts and their presentation. The utilisation of new media and technology in curatorial environments has been demonstrated to offer several advantages over physical curation. These include enhanced accessibility, flexibility, and the capacity to reach a broader audience. Consequently, curators and artists are presented with the chance to interact with audiences and cultivate innovative artistic practices and prospects in the domain of digital media and technology.

Novi Sad cultural stations as healthy buildings for wellbeing concept

Abstract Creating spaces for all citizens through the cultural stations project within the Novi Sad - European Capital of Culture 2022 has set an example of applying the concept of well-being which involves integrating various elements that support physical, mental, and social health. Cultural stations project in the city of Novi Sad is a concept supporting cultural programming, healthy food options, mental health support, accessibility and inclusivity, as well as community engagement. Social interaction in urban areas is vital for mental and emotional well-being, fostering a sense of belonging and community, diverse cultural programming that appeals to different groups, cultural activities such as art exhibitions, performances, workshops, and community events provide opportunities for creativity, learning, and social engagement, enhancing overall well-being. Access to cultural stations, spending time there has been linked to reduced stress, improved mood, and increased feelings of well-being within 7 neighborhoods of Novi Sad. This includes providing barrier-free access, accommodations for individuals with disabilities, and programming that is inclusive and welcoming to everyone. Participation of the local community in the design, programming, and management of cultural stations is also important. By integrating these principles into the design, programming, and management of cultural stations, Novi Sad creates vibrant, inclusive, and healthy spaces that contribute to the overall well-being of its residents and visitors. Cultural stations are located in different parts of the city in order to provide accessibility to all citizens. Their arrangement is in accordance with the recommendations of green construction and restoration, and the interior and surroundings foster respect for nature and nature-based solutions. Also, they are developing different content in line with culture, but also science, health and smart solutions as a tool for well-being.

Understanding China’s infrastructure activities in Africa through artistic practice and exhibition

The infrastructure-led development model initiated by China under the Belt and Road Initiative (BRI) has faced domestic and international challenges. By focusing on a national travelling art exhibition featuring Chinese railway construction in Africa in 2023, this paper examines the role that curatorial and exhibition practices can play in (re)shaping public geopolitical understandings of China-Africa relations. Exhibiting over 200 artworks collected from both China and Africa, this art programme not only forms a nuanced, personal and storied narrative of China’s overseas development work in Africa but also tactically responds to current internal and external criticism of the Chinese government’s global ambitions channelled through the BRI. This work extends the ongoing interest geographers have at the intersection of the visual arts and critical geopolitics.

The Relationship Between the Development of the Art Industry and the Turnover of Economic Cycles

Abstract: In recent years, the area has grown significantly, creating a trend in art appreciation. This boom has led to a surge in the popularity of museums such as the National Gallery. This project aims to find out more about the economic contribution of art exhibitions. Using advanced time series analysis models including the intervention analysis model and vector autoregressive model, we obtained the following conclusions. First, the positive impact of low levels of economic development and high levels of government expenditure on the arts industry is obvious. Second, the growth of the arts industry has a small impact on most economic indicators. Third, the final impact of GDP on the arts industry is still uncertain due to the complex pattern of the model, with the possibility of a positive correlation with ln (art prices) being observed in the early stages of small GDP growth, while a quadratic pattern may be observed when the GDP index grows above a certain level and art prices fall Conclusion. Further research is needed to investigate the complex relationship between inflation and art prices. Our academic contribution mainly focuses on the multiple-way causal relationships between the economy, art exhibition, tourism, and education, which reveals the underlying mechanism of how art exhibitions promote the economy.

‘Flow’: A Film About the Disclosure of Childhood Sexual Abuse

Trauma-informed care is growing in importance in health and social care, with disclosure as a vital first step. Yet evidence suggests that individual interactions with professionals may not facilitate trauma disclosure. ‘Flow’ aimed to address this. The film represents a high-quality, behaviour change resource that can be utilised in a wide range of circumstances. It was co-produced by representatives from the University of Sheffield, NHS England, the Department of Health and people with lived experience of childhood sexual abuse. The film follows the story of Amy, who is preparing for her art exhibition when a comment reignites traumatic childhood memories. She wants to approach her General Practitioner for help but is hindered both by family loyalty and barriers to disclosure within the NHS. ‘Flow’ has been used both in statutory services and non-governmental organisations, as well as being selected for inclusion in two film festivals. It represents an innovative way to communicate research results and foster change.

Virtual Reality-Based Alcohol Prevention: The Results of a Cross-Sectional Study with Visitors of an Art Exhibition

Virtual reality (VR) can help to prevent alcohol consumption by simulating peer pressure. While existing VR applications for adolescents are primarily tested in schools, expanding them to museums and art galleries offers setting-specific benefits and could enhance their reach. An interactive VR simulation was presented in an art exhibition on substance use reflection. This study aimed to (1) describe visitor experiences with the simulation and (2) analyse differences according to gender and age. Visitors (n = 293) explored Virtual LimitLab for about 15 min before completing a survey on user experience and perceived learning experiences, which also included open questions on its positive and negative aspects. The quantitative user experience and perceived learning experience items were rated positively, except for knowledge increase. Young visitors (≤18 years of age) perceived Virtual LimitLab as more interesting (p = 0.043) and exciting (p = 0.047) than older ones. Female visitors rated the reflective response (p = 0.016) and sensitisation to social pressure (p = 0.024) higher than males. The qualitative evaluation showed that visitors appreciated the simulation’s realism, authenticity and adaptability. VR-based public health interventions in the arts setting need further research to study their preventive potential.

Dramatic Scenes and Monstrous Animals: On the First Exhibition of Chinese Art in the USSR

This article reconstructs the story of the “Chinese Painting Exhibition” in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the first time, presented Chinese art to the Soviet audience. Before arriving in the USSR, the show toured Europe, where it was extremely popular and considered the first successful attempt to present Chinese art in the West. In contrast, the exhibition’s perception in the Soviet Union was rather contradictory. The reasons for that could be found in the ongoing Soviet artistic discourse and preconceived vision of Chinese art. Based on archival materials, this study reveals the process of the exhibition’s organization and focuses on the image of China and Chinese art constructed by its curators. Additionally, this article examines the reception of the show by both professional and mass Soviet audiences in conjunction with the Soviet ideology towards fine art, foreign art exhibitions of the 1930s, and existing narratives on China, which shaped the optic of Soviet visitors.

“Tears turning to diamonds:” creating empathic understanding toward women living with HIV through contemplative viewing of a virtual art exhibition

We explored changes in HIV knowledge and attitudes among audiences of an exhibition about women living with HIV (Information removed to maintain peer-review integrity). Six tours were facilitated with three groups: women living with HIV, health and social care providers, and the general public. Thirty participants were guided through a meditative breathing exercise prior to viewing five artworks from the exhibition through the contemplative process of “deep looking.” Participants were prompted to write and draw in response to their feelings and thoughts about each artwork. Four themes were identified: the first described how tours worked to elicit emotional responses; the second described the power of art to convey lived experiences and provoke new understandings; the third indicated a transformation in knowledge and attitudes; and the fourth highlighted many participants’ desires to effect change and reduce stigma. Creative and contemplative practices can make valuable contributions to public health by fostering empathic understanding toward marginalized groups.

Exploring innovative approaches to fundraising for palliative care

Palliative care is a holistic approach aimed at improving the quality of life for those facing life-limiting illnesses and their families. Palliative care services often face financial constraints that restrict their ability to reach all those in need. There are difficulties accessing traditional funding mechanisms; therefore, innovative fundraising strategies are required to sustain and expand palliative care initiatives. In this paper, diverse fundraising approaches for palliative care are described, based on group discussions and collective brainstorming sessions by clinicians undergoing a Fellowship in Palliative Care. Fundraising approaches that were deemed innovative, yet feasible to apply in each locality, were shortlisted and described, with their strengths and challenges outlined in detail. These approaches include art and photography exhibitions, “piggy-bank” projects, community-based fundraising, charity shops, lottery and lucky draws, shuttle bus services, grants from international organizations and collaborative networks, the use of tap-on technology, festive events, and restaurant partnerships. It is hoped that through these innovative approaches, collaborative efforts, strategic planning, and resource mobilization, it would be possible to generate funds to develop and provide palliative care services for those in need to fulfill a fundamental human right.

Kim Bok-jin - the founder of national sculpture in Korea during the Japanese colonial period

This study analyzes the biography and work of Kim Bok-jin (pseudonym: Chongwan), the first Korean to graduate from the sculpture department of Tokyo University of the Arts in Japan during the Japanese colonial period (in 1925) and the first sculptor to introduce Western realist techniques to Korea. The study will also examine the national motifs in the works of Kim Bok-jin against the backdrop of a difficult historical period, and analyze a number of his little-known works through the prism of Korean studies. The main content of the study is the sculptures of Kim Bok-jin “standing woman”, “statue of Maitreya Buddha” “Baek Hwa”, “Youth (Boy)”, “Old man”. He is a significant figure in Korean sculpture: from 1925 until his death in 1940, Kim Bok-jin regularly exhibited his works at the Joseon Art Exhibition, and in addition to his artistic activities, he also ran the Art Research Institute, nurturing young artists. He also engaged in journalism, criticism, and political activity as a member of the Joseon Communist Party. The purpose of this study is to rethink the work of Kim Bok-jin, the founder of Korean sculpture, who was posthumously awarded the Order of Merit of the National Foundation in 1993.

‘The Cultural Mediator between the North and the South, the East and the West’: The 1930 Official Exhibition of Austrian Art in Warsaw

This article explores the official exhibition of Austrian art held in May 1930 at The Society for the Encouragement of the Fine Arts in Warsaw. Showcasing 474 artworks by 100 artists, the exhibition spanned the years 1918–1930, a period marked by Austria’s efforts to overcome post-war political isolation. The article examines the exhibition’s rhetoric and its critical reception in Warsaw within the broader context of Polish–Austrian diplomatic relations, influenced by Austria’s challenging political and economic situation and the priorities of the Second Polish Republic. The introductory essay in the exhibition catalogue, authored by Hans Tietze, emphasized Vienna’s seminal role as a cultural center at the crossroads of European artistic trends. This approach aligned with the cultural diplomacy of Johannes Schober’s government, which aimed to underscore a rhetoric of openness to the cultures of other nations, particularly the successors of the Habsburg Empire. This contrasted with the later identity policy of the Bundesstaat Österreich, which elevated Tyrol as emblematic of the core German–Austrian identity constructed in the new state. The analysis reveals that the exhibition represented the peak of Polish–Austrian cultural relations during the interwar years, suggesting the potential for broader engagement. However, this potential was short-lived, ultimately thwarted by the Anschluss of Austria to Germany in 1938.

Effectiveness of VR Technology in the Design of the Bali Megarupa V Virtual Exhibition

Virtual exhibitions offer a promising avenue for art appreciation in the digital age. However, limited research explores how these online spaces can foster emotional connections with art, a crucial aspect of the art experience. This study investigates the potential of immersive virtual reality (VR) to enhance engagement and emotional impact in virtual art exhibitions. Employing a multi-method approach combining literature review, user testing, and prototype development, the research identifies and evaluates design elements contributing to increased user engagement. This research employed a multi-method approach to understand how users engage with virtual art exhibitions. The study identified and evaluated the impact of specific design elements on user engagement by combining a literature review, user testing with a VR prototype, and subsequent analysis. The study focuses on critical elements like interactivity, personalization, storytelling, and multi-sensory experiences. User testing with 55 participants revealed the effectiveness of immersive design in fostering exploration, contemplation, and a sense of presence in the virtual space. This immersive design is the strategic integration of elements like interactivity, personalization, and storytelling within the VR environment. The research underscores the significance of immersive design, defined as the strategic integration of design elements to cultivate an emotional connection within a VR environment. This encompasses aspects like interactivity, personalization, and the incorporation of storytelling within the experience. Finally, the study offers practical recommendations for curators and designers to create virtual art experiences that resonate more deeply with audiences.

Tizian a Josefina. Českost, světovost a modernost Josefa Mánesa

The portrait of a young woman named Josefina is a paraphrase of a famous model in the work of Josef Mánes – Titian’s Toilette of a Young Woman from the collections of the Prague Castle Picture Gallery. In this context, it is possible to consider what models Mánes himself professed and why and how his work was influenced by the constant ideological-theoretical effort to define Czechness, but at the same time the worldliness of domestic painting. In this paper I deal with the development of the idea of such models (medieval and baroque) and the contemporary idea of their Czechness. In Mánes’ case, I focus on the connection between the idea of Czechness and the folk elements defined in 1848 thanks to Ludvík Rittersberg, but also with the valued examples of the anti-academic approach to colour as a key means of painting. Another tendency can be observed in the appreciation of Baroque artists and is also reflected in the selection of works for the very first major public exhibition of domestic art held in Kutná Hora in 1867. The aim of the paper is therefore to reflect on how the idea of defining Czechness and the worldliness of domestic painting changed in the third quarter of the 19th century and what role the work of Josef Mánes played in this. The second level is to ask which of these phenomena stood out as the current painting theme of his time and which of the idea of the Czechness, worldliness and modernity of Mánes’s work is a projection of later interpretations.

Traktoristky a Jedlíci ptáků

At the end of 1947, a small book was published, taking stock of the controversial reception of the exhibition of national artists of the Soviet Union, which in May of that year introduced Soviet socialist realism to Czechoslovakia for the first time. Zbyněk Sekal, a young student of the Academy of Arts and Crafts in Prague, also purchased the book. From a school trip to Paris in September 1947, he brought back Jean Dubuffet’s rare lithograph Mangeurs d’oiseaux [Bird Eaters] from 1944. The sheet was created as part of the album Matiere et Mémoire ou Les Lithographies a l’école [Matter and Memory or Lithographers at School] with text by Francis Ponge, and was published by Fernand Mourlot in January 1945. The album has been hailed as a turning point in Jean Dubuffet’s work, both because he was working on it to familiarize himself with the technique of lithography and because of the fundamentally new concept of the figure. Zbyněk Sekal then created a drawing and exceptional painting The Supper – loosely based on Dubuffet, cheerfully and confidently poking fun at Dubuffet’s Bird Eaters. My text will seek to answer the question, how does Sekal’s Czech paraphrase, a promising individual free artistic act, differ from Dubuffet’s program?