Maserclass ‘Visual Identity’ by Evelien Bracke - part 2
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About aspects of artistic presentations.
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Maserclass ‘Visual Identity’ by Evelien Bracke - part 2
- 1. Aspects of Presentation 2 Meaning, context, new museology, critical exhibition-making Aldo Bakker - ‘Emmy + Gijs + Aldo’ Aldo Bakker - ‘Museum Van Loon’
- 2. • ‘Presentation’ from the perspectives of material culture studies and linguistics Aspects of presentation Material culture studies Linguistics+ context and meaning New Museology Susan Pearce, 1990 Peter Vergo, 1989 Art History Visual culture studies
- 3. A theoretical framework: The New Museology • New Museology - Recent discipline, in the Anglo-Saxon world - Keywork : The New Museology, Peter Vergo, 1989 - Exhibiting = contextual (cf. linguistics) - The meaning of an object is inextricably linked to its context ‘Objects don’t have a single, fixed meaning; meaning is essentially created by different sorts of contexts’
- 4. ‘Every presentation of an object, far from being neutral, is in fact part of a dialectical process’ A complex web of relationships / meanings; the object is itself multi-layered with different meanings: • Historical, social, personal context of the object: multi-layered object • Context curator / museum as an institute (cult. / soc. / pol. context, pers. context) (subtext implicitly present in the presentation) ‘Curators, whether they think about it or not, really create how you are to view and think about objects’ • Spatial context (near / far) • Context viewer (cult. / soc. / pol. context, pers. context)
- 5. 1. Historical, social, personal context of the object Vb. Garde-robes, Musée de la mode et du textile, Paris, 2000 Personal, intime history
- 6. Vb. L’Intime, Le collectionneur derrière la porte, La Maison Rouge, Parijs, 2004
- 8. 2. Context curator / museum Vb. ART/artifact, Center for African Art, N.Y., 1988 ART/artifact, Center For African Art, New York, 1988 ‘Susan Vogel effectively demonstrated the impact of the style of presentation on the interpretation of the objects’. ‘To question what you are seeing and how the very frame of the exhibition affects it’.
- 9. Vb. The White Cube spatial context for presenting contemporary jewellery cf. Marjan Unger: jewellery in exhibition needs to regain its context, to emphasise its many intrinsic values
- 10. Vb. Dinie Besems, Epifyt, Amsterdam, 2002 Epifyt, 2002, Oude Kerk, Amsterdam
- 11. Epifyt, 2002, Oude Kerk, Amsterdam
- 12. Fred Wilson, Metalwork 1793-1880, 1992 Vb. Fred Wilson; Mining the Museum, Baltimore, 1992 ‘What they put on view says a lot about the museum, but what they don’t put on view says even more’
- 13. Vb. Barbara Kruger, Picturing Greatness, MOMA, N.Y., 1988
- 14. 3. Spatial context Vb. Axel Vervoordt, INFINITUM, Venice, 2009 Axel Vervoordt, Academia Qui est-tu?, Paris, 2008
- 15. Vb. Aldo Bakker, Villa Noailles, Hyères, 2010
- 16. 4. Context viewer Iris Eichenberg, 1997 Jack Cunningham, Memory Kit, 2004 Vb. Maker, Wearer, Viewer, Marzee, 2005
- 17. Vb. Blog.mode: addressing fashion, Metropolitan Museum of Art, NY, 2008
- 18. 5. Critical exhibition-making “The best displays are often those which are most evidently self-conscious, heightening the spectator’s awareness of the means of representation, involving the spectator in the process of display” (Peter Vergo) Vb. Judith Clark, Malign Muses, When Fashion Turns Back, MoMu Antwerp, 2004-2005
- 20. Vb. Emmy + Gijs + Aldo, Zuiderzeemuseum, Enkhuizen, 2010-2011