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Master's Thesis from the year 2013 in the subject Art -
Miscellaneous, grade: Distinction, Kingston University London
(Kingston University London, in Partnership with the Design Museum,
London, U.K.), course: MA Curating Contemporary Design, language:
English, abstract: Abstract - In the frontier of the exhibition
scene, a significant phenomenon is observed that a contemporary
artistic staging practice, called scenography, has grew out from
the theatre context and keeps expanding its influence in the
exhibition context in recent time. Scenography has been acting as a
transformative force to reform the traditional exhibitionary
complex, and consequently, this has led to an unprecedented
intersection where scenography meets contemporary curating, which
further informs a radical ideological shift. This paper aims to
exploit a new land of discussion to look into this intersection
between scenographic practice and contemporary curating, its
mergence and the subsequent revolution it has caused. By seeing
museums and exhibition spaces as metaphorical stages, it
fundamentally reconfigures the infrastructure of curating
practices, in terms of a shift in authorship, architectural
embodiment of ideas, field of experience, layered narrative,
dramaturgy and the hybrid expressions of new media. Three case
studies will demonstrate scenography's wide-ranged capacities and
various methodologies in dealing with contemporary issues. Cases
include: BMW Museum (Reopened in 2008), Cultures of the World
(Opened in 2010) and Leonardo's Last Supper: A Vision by Peter
Greenaway (2008, 2010). Respectively, they prove scenography's
overarching influence of acting as a brandscape, as a site of
cultural mediation and as interference and discourse. The whole
discussion cuts through major discourses in the field, both
responding to the increasing awareness of the notion of staging
experiences in the rise of experience economy, and the expanding
notion of curating, in parallel.
Essay from the year 2013 in the subject Art - Installation /
Action/Performance Art / Modern Art, grade: Distinction, Kingston
University London (Kingston University London, in Partnership with
the Design Museum, London, U.K.), course: MA Curating Contemporary
Design, language: English, comment: " T]his is a well research and
well structured essay that demonstrates a sound knowledge of some
of the key critical debates in both museum studies and cultural
studies." Maria Costantino, abstract: Between high and low culture,
there was once a deep and wide gulf. The clear division was never a
natural phenomenon, but rather a result of a cultural act.
Throughout the history, the conflict in-between had taken a long
way to resolve and the whole subject matter had caused marathon
debates among modern cultural critics. Museums, as institutions
once with absolute powers in its operation, had been forced to face
a worldwide revolution. There were much more mixed emotions towards
mass culture - questioning, inquiries, struggles, seduction and
temptation at the same time - which constituted a push-and-pull
situation. What were museums for? Was it a time for museums to
reconsider their role and democratize themselves? What kind of
resistance and temptation had museums encountered? To what extent
would curators act as pioneers to eliminate the gap in-between
taste diversity in art and design? These questions are worthwhile
to take a look into. This essay aims to unveil the ways curators
liberated themselves from a singular-voiced museum practice, which
resulted in revolutions of curatorial models that incorporated
multiple voices. Cases include: High and Low: Modern Art and
Popular Culture (1990-91, MOMA), The People's Show (1990, Walsall
Museum and Art Gallery) and Postmodernism: Style and Subversion
1970-1990 (2011, V&A).
Essay from the year 2013 in the subject Art - Installation /
Action/Performance Art / Modern Art, grade: Distinction, Kingston
University London (Kingston University London, in Partnership with
the Design Museum, London, U.K.), course: MA Curating Contemporary
Design, language: English, comment: "A well researched and well
written essay. Your essay sets out to answer a number of pertinent
and pressing questions for curating and the museum. From here, you
offer a well-balanced critical argument for the shifting paradigm
of contemporary curating. Your choice of references and case
studies are very strong and work together to support the central
argument of your essay. ...]Once again, you have demonstrated an
awareness of the key debates in contemporary design curating and an
ability to tackle challenging curatorial concepts - well done " -
Donna Loveday, abstract: Curating contemporary exhibitions is now
more than a profession of connoisseurship, but rather a creative
and artistic venture. Due to a paradigm shift in the heart of
interpretive ideology, exhibition-making is going more experimental
even in museum context. One might observe that there is a changing
status in museum objects, and a progressive transformation in the
exhibitionary language - shifting from descriptive to fictional,
poetic and novelistic. Artworks are also functioning as text
initiating dialogues, while exhibition designs are no longer merely
fabrications, but becoming artistic interventions that could
re-contextualize the experience of space. Unprecedentedly, curators
nowadays could embrace huge potentials in creating imaginative
narratives for the present time, and thus, to further produce
innovative museum experiences. This essay aims to examine the
changing attitudes and assumptions in the new interpretive
paradigm. Through three case studies, it goes on to uncover the
dynamic interpretive strategies undertaken which have created
various unique curatorial voices. Cases include: The Surrea
Essay from the year 2012 in the subject Art - Miscellaneous, grade:
Merit, Kingston University London (Kingston University London, in
Partnership with the Design Museum, London, U.K.), course: MA
Curating Contemporary Design, language: English, comment: "An
arresting and fascinating essay. ...] I]t is up to the job of
conducting a highly intelligent discourse in a way that carries the
reader irresistibly along.The subject matter ...] is
bang-up-to-the-minute, supported by recent literature. ...] And
since Margaret is analysing new ways of doing exhibitions, one
feels that she is entitled to devise an appropriately new way of
articulating her essay. ...] As "research" the essay shows that
Margaret is aware of and perceptive about the contemporary, and as
criticism it shows that she has sharp ideas and can express them
cogently." -Anthony B., abstract: Abstract - Displaying art objects
in exhibition is not only an artistic expression in the heart of
curating, but it is also an essential interface for curators to
present stories and convey meanings. How to engage people beyond
purely-visual-appeals is always a top-of-mind-question embedded in
curators' mind, and the discourse has become a major concern among
pioneers in recent times. Over the decade, frontier exhibitioners
were attempting to breakthrough from a purely vision-dominated
museum culture. Some exhibition experiments were successful, and
the movement has fundamentally changed the way curators think about
exhibition-making, including the ultimate purpose of displaying
objects. The paradigm shift actually rings the bells and requires
contemporary curators to pay attention to. It is crucial to realize
that the recent success was not only about the artistic sense of
the artists, but it is also the revolutionary belief of the
frontier curators that has made it happen. This essay aims to
uncover the distinctive differences in the core beliefs of multi
sensory approaches, in order to find out dynamic answers
Essay from the year 2012 in the subject Art - Installation /
Action/Performance Art / Modern Art, grade: Distinction, Kingston
University London (Kingston University London, in Partnership with
the Design Museum, London, U.K.), course: MA Curating Contemporary
Design, language: English, comment: "You offer a good descriptive
account of the V&, amp, A exhibition, 'Decode' supported by a
solid list of references. Your argument comprises a series of
strong points that successfully target the exhibition's successes
and limitations. ...] Strong images support the text. You show that
you have a clear understanding of the processes of exhibition
curating and that a strong curatorial voice comes through the
text.," abstract: Decode: Digital Design Sensation was V&A's
large-scale debut digital exhibition in its culture. From a
curatorial angle, it was not just an exhibition to inform the new
trend of digital art and design, but it also acted as a milestone
for the museum to change its face and maintain a world's leading
role in art and design field. With this mission in mind, the whole
situation became unique. This essay aims to investigate how this
situation has affected the curatorial approach, and analyze the
exhibition's forward-looking objectives, then go more in-depth to
find out how curators came up with wise decisions to meet those
objectives. The discussion will focus on four main areas of
Decode's achievements, and zoom in to look at the essentials for
the success: Firstly, the encompassing curatorial idea - Code,
Interactivity, Network. Secondly, their bold marketing solution
Recode Decode campaign. Thirdly, its collaborative platform which
both achieving integrity of content and allowing openness for
discourses. Lastly, its underlying agenda to bridge to the future.
Throughout to the end, the essay unfolds a whole picture of
Decode's missionary accomplishment that had manifested V&A's
evolvement into its digital culture.
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