The Essay 'Museum exhibition. About domestication process' treats domestication as a philosophical problem, which rise of human being's need because of sense and safe. Author has convinced, searching for durability in the changing world of happenings. This kind of situation always inspires Greek philosophers, for example Parmenides, also metaphysical systems from the beginning of Christian times in diverse ways, it domesticated human in the grace of God world, found by great virtues and order - as Saint August wrote. On the other hand, it is possible notice, that domestication performs as individual existence, after this look there is another perspective. Author suggests, that domestication belongs only to the childhood, when this sensual, bodily immersion into the space-time continuum is the act of participation in the world of values. In the case, when we are interested in designation - what is domestication at all, author confirms - there are many answers, for example in the Emanuel Lévinas's works. As the philosopher, he treats domestication as happening, and the place is a home, but this documented moment is not ascribed into the place, but it realizes that using by sweetness and intimacy full of warmness. Domestication creates society, and sensuality has an ethical plan, sweetness and warmness signal about bodily closeness, visual effects become secondary. In the next volume, author deals with the question - Is it possible, that domestication experience can garner, replace again or recall again? She uses Gaston Bachelard's quote to convince, that sensation of domestication has found inside daydream, this is a very special moment, which lets experience cosmic and individual unity. Above all, this essay shows, sense of domestication appears around the table, home, temple or even agora. It is connected with establishment place, which gives a feeling: 'feels like home', that is a way of human freedom. Author also has assured, that it is possible to describe a topography of domestication, which consist of zones and rings, it shows what is close and far, places identified with authentic experience of closeness and these, which are connected with formal relations or accidental relations. In the last conclusion, author has affirmed - in this happening situation, which creates a relation with human being (in the meaning of entirety) and society, these intriguing figures of domestication, which are an act and go between art and support by exhibit cultural practices.
The paper describes efforts to present the period of socialism in museums from the beginning of this century in the form of exhibitions of selected Slovak museums, the collecting interest of individuals in objects from this period and the establishment of museum exhibitions, their motivation (nostalgia, technological and art-historical interest, way of spending free time, etc.), the efforts of civil associations bringing together those unjustly prosecuted before 1989 to document the lack of freedom and totality and to establish a museum of the crimes of communism as a form of building collective memory about this historical period. The study points to dealing with the past by providing an example in selected countries of the former Eastern bloc and a comparison with developments in Slovakia.
The authoress discusses the institutionalization of the memory of the Warsaw Uprising as a process activated among other things due to its Museum opened in 2004. She presents how the museum contributes to the shaping of collective memory. She draws her conclusions from an analysis of programmatic and statute documents collected in the museum's archives. On this basis she describes the mission and message of the Museum, with a special focus on the interpretation given to the Warsaw Uprising by the authors of the museum's concept. She also presents how the contents to which they give preference are 'translated' into the museum's visual language as well as the architectural-visual plan of its permanent exhibition.
The aim of this study is to propose and present a suitable methodological framework based on the principle of discourse analysis, which would be suitable for the implementation of research on the museum environment, in particular museum exhibitions and their narratives. The potential of the dispositive analysis of the museum phenomenon is enormous, but the elaboration of this methodology in the context of museum research in our environment is lacking. This study aims to add to this underdeveloped area and provide readers and researchers with key information concerning the possibilities and uses of this methodology. As a suitable methodological tool, the study chooses dispositive analysis, which has advantage of allowing the analysis of materializations in addition to the discourse plane, which is an advantage for the analysis of exhibitions and the exhibits housed therein. Dispositive analysis, which in the study is primarily based on S. Jäger’s approach, enables the examination of materializations without overlooking the role of visitors and the broader context of the exhibition, which, by its very nature of membership of a cultural institution, is always discursively conditioned. The relationship between the museum and discursive reality is thus a thematic part of the study, as is the exploration of the topics of discourse (Foucault) and the dispositive.
The aim of this article is to analyse the exhibition semantics of the exposition of the H.S. Skovoroda National Literary and Memorial Museum (Ukraine, Kharkiv region). The authors substantiate the concept of dearchaisation of Skovoroda’s image by means of modelling the syntax and semantics of the exhibition space. According to the authors, exhibition design cannot ignore symbolism, as the principles of cultural consumption of “places of memory” function in the stream of consumption of a work of art. The viewer does not come for the subject, but for emotions and experience. Therefore, design should go beyond the physical properties of objects, subjects, compositions, and so on, and the content of any design should ultimately be the conditions for gaining new experience. The relationship between the material (object) and the imaginary (interpretation) is projected at the intersection of exhibition syntax and semantic modelling.
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