Art Exhibition Research Articles

Managing copyright in the digital art industry: A cross-border licensing model for China and the EU

This paper explores the legal complexities surrounding copyright protection in the digital art industry, focusing on cross-border licensing agreements between China and the European Union (EU). The rise of online art platforms has enabled broader dissemination of artworks but has also raised concerns about unauthorized use. By analyzing intellectual property laws and case in both regions, this research proposes a licensing model tailored to the unique requirements of digital art exhibitions. The model emphasizes balancing artists’ rights with platform operations and offers a structured framework for online art licensing agreements. Through a comparative analysis of legal frameworks, the study highlights differences in enforcement strategies and provides practical guidelines for art licensing agreements in cross- jurisdictional contexts. This research contributes to intellectual property discussions and offers a tool for both artists and digital platforms to navigate legal challenges in the digital era.

Terra Foundation for American Art Exhibition Grants

Terra Foundation for American Art Exhibition Grants

Integration of Artificial Intelligence in Art Preservation and Exhibition Spaces

Integration of Artificial Intelligence in Art Preservation and Exhibition Spaces

A*tistic females’ network

The article presents the activities within the artistic project initiated in Lublin, Poland, taken by a group of autistic women and girls identifying themselves as a*tistic females. They navigated their experiences on the spectrum through artistic creation and by adopting the tools of contemporary visual art. This self-advocacy group used art for many purposes. They aimed to educate about the female experience of autism and break down stereotypes, among others. At the same time, they built a network of females looking for positive aspects of the autistic experience. The publicly presented outcomes of work in this network – collective exhibitions, along with the accompanying educational programme – were designed with inclusivity in mind and aimed at making everyone feel welcome and part of the discussion. The project has already led to two collective art exhibitions in different Polish cities and seeks to be continued and extended.

Exploring the digital art exhibition experience with immersive music therapy creation as a performance form

Exploring the digital art exhibition experience with immersive music therapy creation as a performance form

Enclosures of Wind: Practice-Led Methods for Visualization of Elemental Media

This article engages with the aesthetics of air as it becomes spatialized, managed, and rescaled across different material configurations in the context of an art exhibition. The text builds an argument concerning wind, air currents, and cultural techniques of visualization and circulation through a live curatorial and artistic example of Abelardo Gil-Fournier’s exhibition The Raft: Three Acts for an Exposure to the Elements at the Fundación Cerezales Antonino y Cinia (FCAYC) in León, Spain, in 2023–24. The spatial setting of the exhibition and its relation to the surrounding valley are investigated through imaging, modeling, and acoustic resonance that frame questions of air, atmosphere, and wind through the processual methodology employed. The article thus does not focus on final artworks so much as on the process of constructing an exhibition where issues of curatorial practice, architectural considerations, and practice-led research feature together with an undercurrent of arguments drawing on recent media theory as well as the history of media and science. In focusing on the framing of air and wind, the article asks: How do material limitations and conditions of curatorial practice address multiscalar planetary space? The article is structured around the broader theoretical point that responds to the core questions of this special issue and the three acts that structure the exhibition as an investigation of material methods of movement of bodies and air, spatial enclosures and their outsides.

Unveiling the Transformational Role of Digital Technologies in Attracting Audience Attention in Art Exhibition Space

Rapid technological evolution and revolution have contributed dynamic transformation of art exhibition spaces globally. The dominant explanation of the adoption and implementation of digital technologies in art exhibition space is underdeveloped, particularly in identifying how specific digital technologies have enhanced the attraction of audience attention. Previous research primarily explores types of technologies used in art exhibition spaces and has been unable to explain how digital technologies have been used to attract audience attention at the art exhibition space. The present study has used qualitative research methodology to bring an in-depth understanding concerning the transformative role of digital technologies in enhancing audience attention and attraction. The findings of the study show that digital technology such as immersive technology significantly plays a vital role in attracting an audience by allowing visitors to participate and interact actively with the art displays.

Revolutionizing art exhibitions: Photogrammetry's role in virtual reality experiences

The COVID-19 pandemic significantly impacted many aspects of human life, including the way we work, travel, and even our art-viewing habits. In the past, art exhibitions were the primary channel through which art lovers could view, experience, and purchase artwork. However, the pandemic brought the art industry to a sudden halt as people are unable to visit physical exhibitions. Even after the pandemic has passed, what will happen if a similar outbreak occurs? Recent advances in photogrammetry, 3D scanning, and virtual reality technology enable the creation of an immersive and realistic digital environment. The integration of the two technologies could be a revolutionary approach to art presentation. In this mixed-method study, the researchers used a photogrammetry scanning technique to scan sculptures of His Majesty King Bhumibol Adulyadej and turn them into a virtual reality exhibition. We invited three experts in art, design, and technology to share their perspectives on the exhibition. We asked forty-five participants to evaluate the exhibition's ease of use, level of immersion, and satisfaction. The study reveals expert and participant feedback on a virtual reality exhibition. The visual art expert praised the virtual reality experience for offering new opportunities and remarkable immersion, though it lacked tactile elements compared to physical galleries. The design expert lauded the intuitive navigation and impressive spatial design, which enhanced immersion. The technology expert noted that while a photogrammetry-based virtual reality experience offers unprecedented immersion, the quality varies based on hardware and technical factors. Participants found the virtual reality exhibition largely positive, with 86.7% rating it as easy or very easy to use. More than 91% felt the exhibition was immersive, and 100% were satisfied, with 62.2% expressing extreme satisfaction. These results highlight the strong potential of virtual reality exhibitions.

Contextualizing Redacted City Name

This excerpt from the case context section of an autoethnographic, critical action research project about a contemporary art exhibition in redacted city and state name details relevant Indigenous, settler-colonial, and cultural histories, defining the “place” in which the case study is located. By contextualizing the research within both settler-colonial relations and local exhibitionary history, this investigation aims to generate and sustain connections with ongoing community conversations about the legacies of colonialism and Indigenous futures.

Reassessing International Art Exhibitions in Finland

Cold War politics accelerated artistic exchange and the transnational circulation of art. Within state-run cultural diplomacy, hundreds of art exhibitions traveled to Finland opening a rich and varied perspective on international art. Only a few of them have though made their way into the canon of exhibitions and consequently, into the Finnish history of art. Using a few Cold War art exhibitions as an example, the article challenges the established Finnish art historical canon of significant exhibitions. It demonstrates that many interesting exhibitions have been ignored or marginalized without a good reason due to prejudices or because they have been considered awkward, for instance, for political reasons. The formation of the art canon and exhibition histories are interrelated. Thus, the article suggests that Finnish art history of the second half of the 1900s would look different if more attention had been paid to a greater variety of art exhibitions. It argues that a more profound and detailed knowledge of exhibition histories would provide new perspectives into the transnational circulation of artistic influences and the impact of international art on Finnish art, artists, and the art scene.

Art in public utility buildings – an example of a collection in an international juridical institution

The article tries to highlight the phenomenon of integrating art collections into public buildings, focusing on the example of an international juridical institution exhibiting art from different countries. The motivation for collecting art in such spaces is often to improve the aesthetics of the building, to promote diverse perspectives and reflections through art. The creation of this unique collection in the late 1960s was a pioneering initiative undertaken 50 years ago by the European Court of Justice based in Luxembourg and has since been adopted by other international European institutions. The exhibition of art in public buildings can be considered from the perspective of social capital or the dimension of the sociology of art. The motives are not always obvious and the social influences remain unspecified, there is also an aspect of the historical context of the selection of artists and their works and diplomacy through art.

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

Recently, cultural institutions have seen a rise in citizen curation projects, where people actively engage in curating and interpreting cultural artifacts. Citizen curation involves using collective knowledge and shared interests to create rich narratives around heritage items. This approach values the diverse perspectives individuals bring to preserving and representing culture. In this work, we investigate the potential of citizen curation applied to the subjective and culturally bound topic of symbolism. To do so, we present a pilot study on the development and user testing of the multivocal exhibition application. This application allows users to curate their art exhibitions by picking one theme and three cultural contexts that spark their interest. The app then selects artworks and symbolic data from HyperReal (cultural symbolism knowledge graph), Wikidata, and the National Museum of World Cultures (NMVW) to create a 3D environment featuring three artworks that symbolically convey the chosen theme from the perspective of the selected cultural contexts. The purpose of this app is to foster an open dialogue about the uniqueness and similarities of cultures, and promote inclusivity and cultural awareness, by showing how artifacts and what they depict can be interpreted in different cultural contexts, according to their symbology. Multivocal exhibition was tested by 12 users divided into 6 groups. The evaluation is based on the interaction between the users and the application, the analysis of the dialogues that were prompted utilizing the app, and an interview after trying two scenarios. Our results show how serendipity and surprise emerge as central themes in the cross-cultural experiences of the users. These elements play an indispensable role in cultivating engagement through symbolism, enriching users’ comprehension of diverse cultures, and heightening overall engagement. Moreover, the cognitive gap intentionally created by the app—triggering questions about why specific symbols convey particular meanings within certain contexts—proves to be a potent stimulus for user curiosity and engagement. We report additional findings, lessons learned and future work at the end of the article.

Vestidos vermelhos esvoaçam na América do Norte – Uma análise discursiva da exibição artística The REDress Project

Starting from the consideration of the murders and missing of Anglo-Saxon indigenous women, this research aims to analyze the production of meanings in the artistic exhibition called The REDress Project, by the Canadian artist Jaime Black. This exhibition is part of a broader context and is linked to the international movement MMIW, Murdered and Missing Indigenous Women, which seeks to shed light on the link between trafficking, sexual harassment and violence and indigenous women victims of enforced disappearance and murder. To do this, it relies on Materialist Discourse Analysis, which works in the middle between Language, History and the Unconscious. The analysis showed that, in addition to functioning as a form of mourning and claim, the exhibition works as a place for establishing a memory that disputes meaning with the media and legal apparatuses that, historically, have tried to silence the event and erase the memories of these women.

The whole world gathered in one place. Pliny’s vision of Rome as a museum

The Elder Pliny and Josephus are the main sources of information about the Temple of Peace erected by the Emperor Vespasian in AD 75. The temple buildings and the large square in front of them contained one of the most important art exhibitions in Imperial Rome. Nero’s art collection from the Domus Aurea and the spoils from the Jewish War were put on display here. Recent excavations give us some idea of the physical setting of the art works. On the basis of the written sources, this article discusses the tradition and the political background and considerations that lead to the erection of this magnificent monument to Peace and analyzes the function and the symbolism of some of the art works put on display in the area of the Temple. In his reaction to reign of Nero and Nero’s abuse of art Vespasian is seen by Pliny as an innovator through the fact that Vespasian looks back to the tradition of his early predecessor Augustus.

Installation art challenges traditional concepts of art and exhibition space—taking "Infinity Mirror Room" as an example

Yayoi Kusama's exhibition Infinity Mirror Rooms as the main case study, the paper starts from the two aspects of artistic creation and spatial expression to analyse how installation art challenges the traditional concept of art exhibition space, and then explores the transformation of audience participation and dissemination under this influence. It also combines with other exhibitions of installation art to further explore the expression and spatial significance of installation art.

Research on the Colored Treatment for the Restoration of Blue and White Porcelain in Art Exhibitions

Blue-and-white porcelain, as a gem of Chinese ceramic artistry, carries profound cultural and historical significance. In art exhibitions, the restoration of blue-and-white porcelain not only demands technical precision but also artistic sensibility. The coloring process, being a crucial element of restoration, directly influences the aesthetic quality and historical authenticity of the repair. This paper, through an analysis of the typical types of damage, restoration principles, and steps involved in blue-and-white porcelain, explores key techniques such as color analysis, material selection, and coloring processes. By integrating specific case studies, it thoroughly examines the methods and skills of coloring treatment in the restoration of blue-and-white porcelain, aiming to provide scientific guidance for the restoration of such pieces in art exhibitions.

South Africa at the Tate: Searching for a National School and a National Identity

On 20 September 1948 the Exhibition of Contemporary South African Paintings, Drawings and Sculpture opened at the Tate Gallery in London. It was organised by the newly formed national arts body, the South African Association of Arts, generously sponsored by the newly elected apartheid government, and hailed to be the first representative exhibition of South African art ever to be held abroad. Beyond its size and position at the Tate, it might, in retrospect, easily be relegated to the status of just a provincial collection of mildly avant-garde work reflecting the European influence and tutelage that most of the artists received. However, a considered study will show that it was a watershed moment for the politics of national art and representation, and for getting South African artists onto an international stage. By considering its local context, the selection process and the local and international responses to this exhibition, this article will provide an assessment of the concerted efforts made by an underdeveloped, colonial art world to promote and export a ‘national’ South African school abroad. It will highlight the exhibition’s critical position in the early development of a local South African art world in four aspects: first, the Tate exhibition evidenced the South African art world’s debut on the international art stage; second, it signified a local shift from privileging European art to preferring South African art; third, it hinted at the advancement in the South African art world toward modernism from academic art; and fourth, but not least, it raised issues of a national art to a national consciousness. Ultimately, the exhibition engendered a prominent public discourse about national art, national identity and representativeness that reached a general audience beyond the art world.

The Influence of Interpretational Background Music on Visitor Experience: An Eye-Tracking Study on a Virtual Art Exhibition

With the advancement of digital technology, virtual museum exhibitions are rapidly growing, in which background music (BGM) is increasingly being used. However, it is not clear whether and how such BGM affects the visitor experience. This study designed a between-subjects factor experiment with three levels (stimulative music [ST], sedative music [SE], and no music [NO]) in a virtual art exhibition. A combination of eye-tracking, questionnaires, and interviews were used to measure the viewing experience of 96 participants. The results showed that the BGM could not only alleviate the visitors’ fatigue by directing their attention to the exhibition itself, but also different BGM could activate different schemas, selectively guiding the viewers’ visual attention to the areas consistent with their schemas, and then enabling them to make the schema-consistent judgments. These exploratory findings are expected to demonstrate the application potential of BGM in future exhibition design.

Child Art and Modern Art: Frances Derham’s Children’s Art Exhibitions in the 1930s

Child Art and Modern Art: Frances Derham’s Children’s Art Exhibitions in the 1930s

The New as the Surround System of Interiority in Contemporary Art Exhibitions: Modernism and Contemporaneity in the Works of Elmgreen & Dragset

By and large, contemporary art witnessed a shift towards installation art, nailing a genuine habitat stressing the possibilities of interactivity and immersivity of the works. My article aims to examine the modern legacy of this “new” of contemporaneity, by analyzing the works of the Scandinavian duo Elmgreen & Dragset: their pool-like vertical structures and silicone mannequins establish a temporal loop between traditional effigies of sculpture and a contemporary consideration of the virtual dimension inside the palpable realm of the exhibition. My intention is to prove that instead of interactivity with and immersivity in the outside world, the purpose of such works is to create for the viewer a surround system of interiority, where interiority is one ingredient that contemporaneity borrows from modernism.