Art Exhibition Research Articles

Public History: Quantum Computing as Imagined Infrastructure.

This review essay examines an art exhibition that envisions the future infrastructure of quantum computing and the sociopolitical and aesthetic visions it might bring about. Visitors are encouraged to reflect on past concepts of computing and the transformative power of technology. The exhibit tackles the challenge that computer-based infrastructures-the infrastructure of infrastructures-poses for the historiography of computing. This review places the exhibit's perspective of quantum computing infrastructures within the broader context of computing and information history.

Imperatives Under Chinese Monochrome Art: Revisiting “Magiciens de la Terre”

“Les Magiciens de la Terre” has long been hailed as the first international contemporary art exhibition including both artists from Europe, Africa, Tibet, China, and other non-western places. Yang Jiechang, Gu Dexin, and Huang Yong Ping were the only three Chinese artists to participate in this exhibition. They made their debuts in front of unfamiliar overseas audiences, in which their art practices were rearranged, and Yang started his familiar series of “100 Layers of Ink.” My paper shifts the attention away from the single monochrome artwork of Yang’s 100 Layers of Ink at the Smart Museum, recenters it on the original context of the inception of this series at “Les Magiciens de la Terre,” and examines the general imperatives of those three artists’ first debuts — “distinct originality” and “being well-prepared.” The heightening emphasis on originality had already surfaced on the contemporary Chinese art scene and culminated in the curatorial plan of the exhibition’s curator, Jean-Hubert Martin. On the other hand, because of the importance of the debuts, “being well-prepared” underlined every aspect of their art-making for the exhibition, including enlarging scales, complicating the artistic concepts, and increasing working time. All those factors contributed to the sudden shifts in their art practices and shed new light on the imperatives under Yang’s monochrome art and his reflections on colors.

Legal analysis of the risks in art exhibition contracts from the perspective of international law

International art exhibitions can lead to disputes between multiple parties due to their transnational and complex nature, unlike domestic art exhibitions. The “Kiefer” Chinese painting exhibition triggered a series of controversies that should not be overlooked. Professionals in the art industry should reflect on these controversies to gain insights and promote the development of the field. This article focuses on the “Kiefer” incident to discuss the major risk points in the international art exhibition process. The article is divided into three parts. The first part concerns the selection and application of the law, where parties must carefully consider which laws and international rules to apply. The second part addresses the nature of the contract and liability, examining how the applicable law affects the legal nature of the contract and the obligations of the parties involved. The third part deals with unauthorized disposition and judicial seizure, focusing on issues of good faith acquisition when a party receiving artwork illegally disposes of it without the owner’s permission, as well as the problem of judicial seizure and immunity from judicial seizure of artworks (including cultural relics) involved in litigation.

A Journey Through Islamic Art Exhibition: Purification of Form, Ineradicable in Content

Throughout the years, the manifestations of Islamic art from east and west have been diverse in the formalistic aspects but united in its spiritual essence. The wide range of ornamental motifs, stylisation, placement, material, and context is constantly changing according to the current trend of the period, reflecting the historical, social-cultural and economic background it was produced. This ensues that change is inevitably bound to happen, where traditional approach in Islamic art might not be suitable to implement in the modern society due to the unavailability of precious materials and patronage as before. Despite the challenge, the “Islamic” identity in their artworks is still being discretely preserved in their expression despite implementing and combining new techniques, styles, forms, and materials with traditional approaches. This creates an asymmetrical balance that embraces change while maintaining the Islamic principle, philosophy, and spiritual allure in their artistic production where the artists design their art to be parallel and in context with modernity. However, the Islamic identity in contemporary artworks is difficult to identify and challenging to decipher as the visual expression differs significantly from traditional art forms that people are accustomed to, making it vaguely recognised and understood. This constant and dynamic flux of tolerance and acculturation is something that is being visually exhibited by the Islamic Arts Museum Malaysia (IAMM) in their special curation “A Journey Through Islamic Art” that showcases traditional and contemporary form of Islamic art in the same place. Although the curation is impressive, but the visual tension it creates invokes the mind to think deeply about what makes an Islamic art “Islamic” and what is the suitable approach to appropriately fathom and consider the art piece as a work of “Islamic art” as the physical form of calligraphy alone is not sufficient for it to be considered as “Islamic.”

Arts, culture and sports engagement and self-rated health: a cross-sectional population-based study in southern Sweden

BackgroundInternational research demonstrates an association between arts and culture activities and health and wellbeing. A similar association exists for sports event attendance and health. The aim of this study was to investigate associations between arts and culture engagement and attending sports events during the past year and self-rated health (SRH).MethodsA cross-sectional study. A public health survey with three reminders was sent to a stratified random sample of the adult 18–84 population in Scania in the southernmost part of Sweden in October-December 2019. The weighted response rate was 44%, and 40,087 total respondents were included in the present study. Analyses were performed in logistic regression models with multiple adjustments for age, education, country of birth, leisure-time physical activity (LTPA), smoking, alcohol consumption, and economic stress.ResultsThe prevalence of poor SRH was 32.8% among women and 27.6% among men. The prevalence of theatre/cinema attendance was 63.2% among women and 55.2% among men, arts exhibition/museum attendance was 41.0% among women and 36.0% among men, and for sports attendance it was 33.8% among women and 48.2% among men. All items included in the final models showed statistically significant associations with self-rated health in bivariate logistic regression models. In the multiple model, adjusted for all covariates including both men and women, the odds ratios (ORs) of poor SRH were statistically significant OR 1.21 (95% confidence interval: 1.14–1.29) for not visiting theatre/cinema during the past year, OR 1.11 (1.04–1.17) for not visiting arts exhibition and OR 1.31 (1.24–1.39) for not visiting a sports event.ConclusionsSignificant associations between arts and culture engagement and sports event attendance, and SRH were observed, although effect measures were comparatively low for arts and cultural engagement. The results may be useful for informing public health promotion and prevention strategies.

Bald krumme Linien: generative aesthetics and the Bensian legacy

ABSTRACT The importance of German philosopher Max Bense to the history of digital art is difficult to overstate. As the dominant theoretician during the pioneering phase of computer art, Bense’s prolific writings on information aesthetics – particularly his signature theory, ‘generative aesthetics’ – reached a global audience. However, Bense’s broad project has remained largely absent from surveys of Anglo-American aesthetics, and though information aesthetics garnered intense interest in the 1960s, it was eventually deemed a failure. By re-examining Bense’s landmark exhibition of computer-generated art at the University of Stuttgart, this essay finds clues to his conflicting legacy. Made memorable through a heated exchange and walk-out of audience members, the exhibit and accompanying lecture were covered by the magazine Der Spiegel in an article titled Bald krumme Linien [Soon crooked Lines]. If we examine the beliefs and practices of those named as attendees (including Heinz Trökes, Anton Stankowski, and Herbert W. Kapitzki), we find the dissent more nuanced than previously thought. Though the dispute revealed the limits of Bense’s reductionist and anti-subjective approach to aesthetics, the episode also catalysed Bense’s enduring influence and high standing within the digital arts.

The British Art Section of the 1906–1907 New Zealand International Exhibition: Its Complexities and Contributions to New Zealand’s Art History

The British Art Section of the 1906–7 New Zealand International Exhibition in Christchurch remains the largest exhibition of British art in New Zealand history. However, its cultural impact has been little explored in art history scholarship. This article addresses contrasting interpretations of the section by examining its origins, purchases and legacies, reconsidering and recontextualising previous analysis by art historians Linda Tyler and Warren Feeney. The success of the section neither devastated nor revitalised the work of local artists, but instead reinforced the continued importance of purchasing British art for New Zealand and the pivotal role it played in shaping this country’s nascent art collections.

Sosialisasi Pencegahan dan Penanganan Kekerasan Seksual di Perguruan Tinggi Melalui Pameran Karya Seni

This Community Service research This PKM (Community Service) activity aims to; Increased understanding of scholarship recipient students, scholarship recipient alumni, STMA Trisakti leaders, academic assistant lecturers for scholarship recipient students, alumni, and the surrounding community regarding activities to prevent and handle sexual violence in higher education through art exhibitions, and so it is hoped that this will increase the desire of students and alumni. , leaders of STMA Trisakti, academic assistant lecturers for scholarship recipient students and the surrounding community in activities to prevent and handle sexual violence. Using the Art Exhibition method. Participants who attended this PKM were 100 who came from scholarship recipients, both KIP, YBT, internship scholarships from STMA Trisakti, and in general from Trisakti Foundation Education units, such as the Trisakti Logistics Transportation Institute, STMK Trisakti, TSM Trisakti, IPT Trisakti, and Universities Trisakti.

История проведения художественной выставки «Урало-Кузбасс» (1935)

The author of the article for the first time in Russian and Ural art criticism refers to the history of the organization of the 1935 Ural-Kuzbass art exhibition. Using the historical and genetic method, the main stages and events on the way to the exhibition are considered. The article summarizes and analyses the scattered historical data about the exhibition which are stored in the Documentation Centre of Public Organizations of the Sverdlovsk region and were found in the Sverdlovsk press of the 1930s. The study is of interest for completing the history of the artistic life of one of the largest industrial regions of the USSR in the 1930s; it provides new information about the functioning of art and the relationship between the government and the intelligentsia during this period.

Miniaturists — Graduates of the Imperial Academy of Arts on the Modern Art Market

Graduates of the portrait miniature class at the Imperial Academy of Arts, which operated for more than half a century, were many first-class miniaturists whose names are now, unfortunately, known only to specialists. By now, most leading museums have published their collections of portrait miniatures, but historically, none of the researchers have considered the study of the art market (and the miniatures of academician artists appearing on it) as an opportunity, firstly, to identify new works of miniature art, and secondly, to find out whether an artist’s academic education or title influences contemporary pricing and the interest of buyers (which can be private collectors or museums) in his works.Nevertheless, it is the information on the functioning of the art market that provides data for more in-depth and comprehensive research. Thus, the sales index of a certain author much more clearly than numerous exhibitions can show its demand among art lovers. It should be noted that not all users of auction platforms are professional collectors. There are cases when personal exhibitions of artists did not contribute to the growth of interest in their work on the part of art collectors. There is also an opposite situation, when works by artists about whom only a rare researcher knows become a desiderata for many collectors. The present study expands the understanding of the place on the contemporary art market of Russian miniaturists associated with the Academy of Arts (its graduates and academicians), and makes it possible to fill in the gaps in the attribution and identification of the peculiarities of their works. It is concluded that there is no direct connection between the fact of studying at the Imperial Academy of Arts and the prices of their works, but the high artistic level of miniatures allows us to say that the title of academician was indeed given to the most worthy masters.

Report on Music Composition and Visual Art Exhibitions: Ongoing Research

Report on Music Composition and Visual Art Exhibitions: Ongoing Research

Multisensory Technologies for Inclusive Exhibition Spaces: Disability Access Meets Artistic and Curatorial Research

This article discusses applications of technology for sensory-disabled audiences in modern and contemporary art exhibitions. One case study of experimental artistic and curatorial research by The OtherAbilities art collective is discussed: a series of prototype tools for sensory translation from audible sound to vibration were developed to be embeddable in the architecture of spaces where art is presented. In the article, the case study is approached from a curatorial perspective. Based on bibliographical sources, the article starts with a brief historical reference to disability art activism and a presentation of contemporary accessibility solutions for sensory-disabled audiences in museums. The research for the case study was conducted during testing and feedback sessions on the prototypes using open-ended oral interviews, open-ended written comments, and ethnographic observation of visitors’ behavior during exhibitions. The testers were d/Deaf, hard of hearing and hearing. The results focus on the reception of the sensory translation of audible sound to vibration by test users of diverse hearing abilities and on the reception of the prototypes in the context of art and design exhibitions. The article closes with a reflection on how disability scholarship meets art curatorial theory in the example of the article’s case study.

Tactics for Troubling Taste: Barbara Jones and the Blackeyes and Lemonade Exhibition at Whitechapel Art Gallery, London, 1951

Curated by the artist Barbara Jones (1912–1978) for the Whitechapel Gallery in London in 1951, Blackeyes and Lemonade was an exhibition of popular art or, what Jones defined as, “the things people make for themselves, or that are manufactured in their taste.” The exhibits, which included a tiled fireplace in the shape of an Airedale dog, a giant anthropomorphic lemon, pub beer pulls, advertising posters, and industrially manufactured confectionary, posed a challenge to a codified and class-based conception of taste, fine art, and high culture that was prevalent in the post-war British museum. Through an analysis of the production and reception of Blackeyes and Lemonade, this paper charts the intellectual and practical battles Jones had to engage in to defend her selection and interpretation of objects, while simultaneously defining an unfamiliar branch of esthetic impulse and attempting to redirect what she called the “museum eye.” Finally, the paper explores the role of the temporary exhibition in re-opening discussions about taste, class, and gender in the museum.

Between Surrealism and Abstraction in Chile: The Decembristas in Print

Frequently hailed as the first exhibition of surrealist art in Latin America, the 1935 exhibition organized in Lima by the Peruvian poet and artist César Moro, with the help of the Chilean artist María Valencia, in fact featured work by a group of Chilean artists known as the “Decembristas.” The Chilean poet Vicente Huidobro wrote for the 1933 catalogue, which primarily promoted abstraction. Moro’s exhibition, the group’s third, was identified as surrealist through its provocative catalogue and by its presence in the “Surrealism around the World” spread in Minotaure. Both Huidobro and Moro spent time in Paris and are cited as introducing Surrealism to Latin America. Moro in part claimed these artists as surrealist as an affront to Huidobro, dedicating a page in the catalogue to denouncing him. In turn, Huidobro published a scathing rebuttal of Moro in his magazine Vital, pitting many of the Decembristas against Moro. This essay traces the Decembristas’ exhibition histories and their print corollaries—including two magazines started by the Decembristas themselves—to examine the tension between Surrealism and abstraction and how these discourses were mobilized by Moro and Huidobro toward their own ends.

Madness and Crime: Anguish Zone of Crazy Seven by Roberto Arlt

This analysis focuses on Augusto Remo Erdosain, who is the main character of Crazy Seven and The flamethrowers. The introduction offers an approach to the literary artifice of Roberto Arlt from the zone of anguish. Here, 3 main axes are mentioned to understand the significance of the novel: (a) Urban daily life, where a hybrid language, a bureaucratic shield, a capitalist morality and a peculiar aesthetic are integrated; (b) the petty-bourgeoisie, is identified through cowardice, pathos and hypocrisy; (c) Marginality, all the reflectors point to this narrative niche because that is where the vanguard of the novel lies. The paradox of continuous humiliation refers to the adverse conditions from which the characters intend to emerge victorious, but end up facing circumstances of greater collapse. The second part of the article characterizes crime as a trivialized procedure, since Erdosain concludes: to kill someone, rob a bank or detonate a bomb, it is enough to become a courageous beast. The third phase constitutes the most provocative proposal of Roberto Arlt: madness as a piece of artistic exhibition. Consequently, Roberto Arlt not only transcribed the sensations, emotions and singularities of a gloomy city, his work ended up setting the themes of urban narrative.

Analysis of the Role of Augmented Reality in Bringing Works of Art to Digital Spaces

Augmented Reality (AR) has become increasingly popular in the art world as a medium for bringing traditional works of art into the digital space. This research aims to analyze the role played by AR technology in the process of transforming works of art from the physical environment into the digital domain. This approach pays attention to the technical aspects, aesthetics and cultural impact of applying AR in digital art exhibitions. This research method involves literature analysis, case studies of various art exhibitions that use AR, and interviews with artists, curators, and exhibition visitors. Qualitative data was analyzed thematically to identify emerging patterns and trends in the use of AR in artistic contexts. The research results show that AR has great potential to enrich the visitor experience in digital art exhibitions by providing interactive and contextual layers that cannot be accessed through conventional mediums. Additionally, AR can also act as a tool to convey additional narratives, broaden the interpretation of works of art, and increase visitor participation in the creative process. The research also identified several technical and conceptual challenges associated with the use of AR in art, including issues of technological sustainability, accessibility, and artwork integrity. Nonetheless, overall, this research highlights the great potential of AR in bringing works of art into digital spaces and provides valuable insights for the future development of digital art exhibitions.

Showcasing Japan A Journey of Japanese Identity through Archaeology and Ancient Art Exhibitions in Italy

To what extent does the narrative of Japan’s prehistorical origins matter to Italy? In the second half of the twentieth century, Palazzo delle Esposizioni in Rome hosted two significant exhibitions dedicated to Japanese archaeology and ancient art: Tesori dell’Arte Giapponese in 1958 and Il Giappone prima dell’Occidente in 1995. Both displays provided Italian visitors with an unparalleled framework to engage with early artistic manifestations of the archipelago known today as Japan. Built on a critical analysis of the prehistoric and protohistoric artefacts from the Jōmon to Kofun periods selected for the Italian audience, this paper examines the active application of narrative discourse on Japan’s identity by the Japanese government in Italy. Still, it also sheds light on the presence of Japanese archaeology and art in Italian public and private collections throughout the twentieth century. The analysis delves into the textual and visual presentation of exhibits, examining both the venue and catalogues. These sources offer insights into potential instances of orientalism or self-orientalism, revealing a narrative closely tied to stereotypical views. The investigation unravels aspects of Japan’s past emphasised in diplomatic shows, evolving alongside ground-breaking archaeological discoveries in post-war Japan.

Multivocal Exhibition: Exploring Cultural Perspectives through User-Curated Art Exhibitions

Multivocal Exhibition: Exploring Cultural Perspectives through User-Curated Art Exhibitions

Transformation of Beauty in Digital Fine Arts Aesthetics: An Artpreneur Perspective

The evolving nature of beauty in digital fine arts aesthetics signifies profound shifts within contemporary social and cultural contexts. Technological advancements have enabled artists to explore new mediums, creating works that reflect and respond to current societal issues. This study examines the paradigm shift in digital fine arts, focusing on the interpretation and manifestation of beauty in digital creations. It explores the interplay between digital aesthetics and societal realities, providing insights into the transformation of beauty in the digital age. An interdisciplinary approach is utilized, incorporating textual analysis of relevant literature, participatory observation at art exhibitions and online platforms, and a comprehensive literature review. These methods trace the evolution of beauty in digital fine arts and analyze how artists incorporate visual, auditory, and interactive elements. The research demonstrates that technological progress has significantly impacted the creation and perception of beauty in fine arts. This transformation includes broader definitions of aesthetics, integrating multisensory experiences and community participation. Digital fine arts now serve as a dynamic medium that reflects diverse social, political, and cultural themes. The transformation of beauty in this field underscores the complex relationships among art, technology, and society. Digital artworks provide innovative aesthetic experiences and mirror contemporary social dynamics. Despite concerns regarding the authenticity and preservation of digital art, its role in expanding artistic expression and fostering innovation is undeniable

Green Corridors and Social Connectivity with a Sustainable Approach in the City of Cuzco in Peru

The present research aims to propose the design of a green corridor with a systemic/sustainable approach to function as an ecological lung for the city of Cuzco. A lack of planning has resulted in uncontrolled urban development, with a shortage of green areas, negatively affecting the quality of life. Green corridors stand out as solutions that encourage social interaction and improve public health. This approach recognizes the need for balanced resource management and institutional, economic and social organization. In the specific case of Cusco, the lack of social interaction highlights the importance of addressing these challenges to improve the quality of life for both residents and visitors. The methods developed were an extensive literature review, urban analysis and climate analysis, applying sustainability strategies supported by digital tools (Google Earth, Climate Consultant 6.0, Autocad, SketchUp and 3d Sun Path). As a result, this proposal presents green areas covering 69.96% of the total area, aimed at providing recreational spaces and connecting residents and visitors with nature. Additionally, biolakes were designed, accounting for 3.18% of the area, serving as ornamental elements and contributing to the environmental quality of the urban environment. The botanical zone, encompassing 18.14% of the project, was designed to accommodate a diverse range of plant species, providing an educational and aesthetic environment. The convention area, representing 9.7% of the total area, was designed to host events and community activities, promoting social and cultural interaction. Finally, 0.98% of the space was allocated to the cultural zone, where artistic exhibitions, cultural events, and related activities can be planned, enriching the cultural and social life of the community. These percentages reflect careful consideration of the needs and aspirations of the population, as well as a comprehensive approach to sustainable urban design and the creation of multifunctional spaces. In conclusion, through a green corridor, the aim is to counteract uncontrolled urban expansion and environmental degradation by generating a green lung in the city of Cuzco, naturally regulating the climate and contributing to air and water purification. The absence of green corridors and sustainable approaches to social connectivity in Cusco could reduce the quality of life of residents, affecting their physical and mental health. The lack of green and recreational spaces could increase segregation and alienation in the community, weakening social cohesion. Without green corridors, the city would also face environmental and biodiversity challenges, as well as a reduced ability to respond to extreme weather events. The lack of implementation of these strategies could compromise comprehensive development and quality of life in Cuzco.