Art Exhibition Research Articles

Adaptations in early 20th-century modern Chinese architecture: The pursuit of a “new architectural style” in Art Deco

Since the late 19th century, foreign influences have shaped modern Chinese architecture, prompting early 20th-century Chinese architects to blend Western modernism with local traditions. This article focuses on the adaptations and transformations in modern Chinese architecture during this period, exploring how the concept of the “modern” was embraced by both Western and Chinese architects. At the time, modern architecture in China faced a wide array of critiques, including concerns about excessive cost and impractical designs. In the early 1920s, Western architects began experimenting in Chinese cities such as Tianjin, Hankou, and Hong Kong, introducing various new design forms and attempting – often in vain – to convince their Chinese clients to integrate local characteristics into the architecture. Meanwhile, other architects entered a stage of exploration, debating distinctions between restoring traditional Chinese architecture and adapting Chinese features for modern purposes. According to Dong Dayou (1899 – 1973), a prominent first-generation modern architect, they were seeking a new style of architecture. Finally, this article addresses how Chinese architects responded to modern international expositions, particularly the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern Decorative and Industrial Arts) in Paris, highlighting Liu Jipiao (1900 – 1992), another first-generation Chinese architect, and his experiments with Art Deco.

From Tradition to the Future: Exploring Artistic Presentation in Contemporary Interactive Exhibitions

Abstract: With the rise of digital technology and new media, art exhibitions have shifted from static displays to interactive experiences that enhance audience participation and immersion. Interactive exhibitions break the formality and distance of traditional displays, bringing art closer to everyday life. This paper explores the emergence of interactive exhibitions in contemporary art, focusing on how exhibition design and participation mechanisms improve audience engagement. Through field research on Cao Fei: Tidal Flux, this article examines how elements like chairs and sound transform viewers from passive observers to active participants. These designs bridge the gap between art and audience found in traditional exhibitions, integrating art into daily life and promoting art education. By comparing the conventional "white cube" model, such as Andy Warhol exhibitionswith interactive exhibitions, this paper highlights how traditional models often limit audience interaction. In contrast, interactive designs like long benches and open soundscapes in Tidal Flux create an accessible and natural dialogue among visitors.

ПРАКТИКА ФОРМУВАННЯ ЕСТЕТИЧНОЇ КУЛЬТУРИ ТА ЕСТЕТИЧНОЇ КОМПЕТЕНТНОСТІ СТУДЕНТІВ

Today, the processes of forming aesthetic culture and aesthetic competence are becoming increasingly relevant for future specialists in higher education institutions due to the fact that the individual integrative qualities contribute to the comprehensive development of a personality, in particular its spiritual values, which are the basis for a harmonious lifestyle in society. The purpose of the article. Summarizing the research of predecessors in the correlation of the practice of forming aesthetic culture and aesthetic competence of students in higher education institutions in terms of outlining the dominant forms, teaching methods, and pedagogical technologies. The study used a set of the following methods, such as analysis, systematization, generalization of scientific sources, and comparison. Results of the study. The following scientific achievements were analyzed and summarized: A. Karam, H. Sotska, L. Hlazunova, L. Kyrychenko, M. Biletska, M. Necheporenko, S. Dudiaha, Sintin Liu, T. Pidvarko, Y. Shevchenko and Y. Sopina. The formation of aesthetic culture and aesthetic students’ competence involves the aestheticization of the educational environment and requires the use of a set educational components and specific courses, educational and production practices, extracurricular activities, forms, methods of teaching, and pedagogical technologies. Conclusions. Among the forms of training are the following: lecture; seminar and practical classes; practices; conferences; conduct curatorial hours; consultations; subject olympiads; clubs; museum and artist workshops visits; organization and conduct art exhibitions, arts events, round-table discussions; theatrical activity; local lore exploratory expeditions; groups of interest; master classes; reading days; oral journal; distant travels; press conferences; competitions; exhibitions of creative works; aesthetic atelier; scientific association sessions. Teaching methods include: modeling of moral and aesthetic situations; conversational interaction; gaming; creative assignment solutions; crush trouble; dispute; discussion; training; individual and collective discourse; self-reflection and self-esteem methods; microteaching and portfolios. There are dominant pedagogical technologies: problem-based and project-based learning, training, game simulation, and case-technology. Key words: aesthetic culture, aesthetic competence, education, students, forms, methods, pedagogical technologies.

Stylistic evolution and innovation of contemporary sculpture at the 14th National Art Exhibition of China

This article analyzes the significant features and internal logic of the development of contemporary Chinese sculpture in terms of stylistic evolution and innovation, on the example of sculptural works presented at the 14th National Art Exhibition of China. The analysis of the exhibited pieces allows us to discuss the pluralistic development of contemporary Chinese sculpture, and how it adapts to contemporary needs and reinvents its tradition through themes, traditional or innovative materials, and artistic expression. As research has shown, modern sculpture persistently extends its frontiers, not only reflecting varied transformations and elements of society and culture but also achieving significant breakthroughs in artistic language and methods of expression. Contemporary sculpture nowadays thus acquires new meanings and vitality, which is essential for its sustainable and consistent development.

Exploring determinants of visitor’s e-WOM in the virtual art exhibition with an extended American Customer Satisfaction Index Model

Purpose By applying the American Customer Satisfaction Index (ACSI) model to virtual art exhibitions, this research aims to reveal insights into the factors impacting visitor satisfaction and electronic word-of-mouth (e-WOM). Furthermore, the investigation of exhibition promotion seeks to understand how external factors contribute to the overall visitor experience in virtual art exhibitions. Design/methodology/approach With advancements in virtual communication technology and the transformative impact of the COVID-19 pandemic in recent years, there has been a notable surge in the popularity of virtual art exhibitions based on the Internet. This study uses the ACSI model to examine visitor satisfaction and e-WOM in virtual art exhibitions. Additionally, it explores the influence of exhibition promotion on the ACSI model. Findings Key findings revealed that 1) both promotion efforts and e-WOM exhibited significant relationships with the ACSI model, and 2) most of the relationships within the ACSI model were consistent with previous research outcomes. Originality/value This study extends the ACSI model’s application to virtual art exhibitions, enhancing its relevance. Additionally, it addresses the knowledge gap concerning the direct impact of promotion on audience expectations and its relationship with the ACSI model in virtual art exhibitions. Furthermore, the research explores the influence of customer satisfaction on electronic word-of-mouth in exhibitions, offering valuable insights for exhibition evaluation systems. The study serves as a guide, providing data and models for researchers investigating virtual art exhibitions.

Digital Media Intervenes in an Immersive Exhibition in Interactive ScenesMode of Perception and Interaction in the New Era

Abstract: This paper will discuss how the combination of digital media and immersive art exhibition can bring new interaction and participation experience to the audience under the reform of art media, as well as the significance of this combination in artistic expression, exhibition design and audience perception.Using a case study of teamLab in Japan. This paper evaluates the immersive exhibition of digital media intervention from four aspects: transformation, integration, cases, and reflection. It is found that while the emergence of digital media technology provides a new way of display and creative means for art exhibitions, there is also a certain contradiction between artistry and technicality in such exhibitions. It is necessary to balance the relationship between art and technology in order to achieve mutual promotion and common development of the two.

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.