Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 15

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  EXHIBITION
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

GREAT MORAVIAN JEWELLERY AND ITS PRESENTATION IN EXHIBITIONS

100%
Valášková L.
Muzeológia a kultúrne dedičstvo
|
2023
|
vol. 11
|
issue 4
59 - 69
EN
Ever since the first pieces of Great Moravian jewellery were found in early medieval burial grounds, which began to be intensively and extensively explored mainly in Moravia after 1948, it was clear that these were not only elite goods related to the highest social class in Great Moravia of that time, but also exhibition objects that bear the hallmark of exclusivity. Their artistic beauty, the expensive material from which they were made, as well as the craftsmanship with which they were created, were and still are a sure guarantee for the exhibitor that they will interest the public in some way. The paper focuses mainly on large exhibition events, which from the 1960s presented Great Moravian jewellery not only to the Czech, but also to the foreign audience. At the same time, it briefly outlines the future, which is connected with presentation of these exceptional archaeological finds, and which is in the hands of the Moravian Museum in Brno.
2

IDEA OF MUSEUM IN CONTEMPORARY CURATORIAL PROJECTS

100%
Biryukova M. V., Nikonova A. A.
Muzeológia a kultúrne dedičstvo
|
2018
|
vol. 6
|
issue 2
31 – 44
EN
The assessment of the status of contemporary art is theoretically justified in the context of institutional theory, developed in the works of George Dickie and Arthur C. Danto. Museums are pillars of the institutional theory, as they mainly provide art with an undisputed status. The phenomenon of the museum boom of the present day, as the phenomenon of the emergence of the concept of “imaginary museums” in the second half of the 20th century, is associated with longing for “true” art, which ultimately leads to museums, or to the idea of museum. If in a classical museum a viewer expected to see “authentic”, as in “not fake”, works of the old masters, in a museum of contemporary art they expect to see at least “true” art, i.e. works “with the status of art.” Museums give art the quality of “authenticity”, hence the interest in museums and museum projects nowadays, despite the abundance of publicized images of museum artefacts in the media. Instead of these “simulacrums”, museums offer “real” artworks, and the idea of museum attracts a considerable attention, reflected in numerous curatorial projects dedicated to the image and the idea of museum. Among such projects were, for example, the exhibition Voices of Andre Malraux’s Imaginary Museum at the Pushkin Museum of Fine Arts in Moscow and the exhibition The Keeper at the New Museum in New York.
3

EXPOZÍCIA KARPATSKÝ FRONT – MEDZILABORCE 1914/1915

100%
Manik R.
Vojenská história
|
2022
|
vol. 26
|
issue 1
122 - 127
EN
The published material introduces readers to the newly opened exhibition in Medzilaborce, which is dedicated to the battles in the Carpathian Mountains at the turn of 1914/1915. In the opening part, the author presents the atmosphere of its onset, as well as the sad balance sheet of the war winter of 1914/1915 in our territory. The author further describes the individual parts of the exposition as well as collection items (e.g. badges, compasses, phaleristic collection), bringing the visitors closer to the course of the battles as well as the life of soldiers in the Carpathian Mountains during the World War 1. The exhibition caption is appropriately accompanied by several photographs.
4

GARDEN BY THE HOUSE. MODEL SOLUTIONS AT SILESIAN EXHIBITIONS IN THE NINETEENTH AND THE FIRST HALF OF THE TWENTIETH CENTURY (Ogród przy domu. Modelowe rozwiazania na wystawach slaskich w XIX w. i pierwszej polowie XX stulecia)

88%
Binkowska I.
Rocznik Historii Sztuki
|
2009
|
vol. 34
135-169
EN
The art of gardening became an exhibition theme very early, but it began to be treated as a subject only at specialised exhibitions; first such exhibition in Silesia was held in Wroclaw (Breslau) in 1845. The present article pays attention to the model garden or park around the house or residence. Initially, it was a scenic park that was promoted (Wroclaw exhibitions of 1869, 1872 and 1878). Soon the focus was on the reconstruction of its most representative, decorative and attractive parts: pleasure ground (flowerbeds, flower baskets, carpets and tubs, etc.), thematic gardens (exotic, mountain, one-species etc.), visible at the exhibitions in 1881, 1886 and 1892. Exotic compositions, originally in the form of winter gardens (the very first time in 1852), with the lapse of time were prepared in open space. The artistically richest and largest was a Japanese garden founded by Friedrich von Hochberg and laid out by Josef Anlauf in 1913. Previously, a similar exotic garden was made by F. Stämmler at Legnica (Liegnitz) in 1905. In consequence of historicism was an interest in old times gardens. Six gardens in a spirit of old ages, from the Middle Age to Empire were implemented by: Professor F. Rosen (whole plan, naturalist Th. Schube (historical plant cover), gardener F. Hanisch and architect Th. Effenberger. The project became a pretext for the discussion of the possibility to reconstruct a work of the old art of gardening. From 1904, the exhibitions became a place to look for a new type of a garden adjoining to the house that would replace a scenic park in its 'degenerate' form and fulfil the expectations of modern users. The search for alternative solutions was accompanied with an increasing influence of the British art of gardening (the Arts & Crafts movement) which led to a new attitude towards vegetable materials and to the creation of three new models of garden. The outstanding architect Hans Poelzig and gardener Paul Dannenberg proposed a country garden by a new type of a house (Landhaus). In 1913 gardens of Stanke and P. Hauber referred to the models of early modern gardens that balanced in their compositions usable and decorative parts. Towards architectonic gardens were inclined Peuckert, Reifegerster and Seidel - the authors of layouts in garden-towns Karlowice (Karlowitz) and Brochów (Brockau). A. Menzel was the only one who drew from the modern American art. These two latter tendencies dominated at interwar exhibitions (the GuGALi at Liegnitz in 1927 iand WuWa in Breslau in 1929) in the form of ascetic modernistic gardens designed by E. Vergin, P. Hatt, K. Schutze, J. Schutze and F. Hanisch. With time, there is a change to be seen in the organisation of exhibitions that began to be treated as the area of commercial, propaganda and political activities aimed at a mass consumer audience rather than a narrow social elite. Such was the purpose of the GuGALi organisers and its main designer G. Allinger.
5

MUSEALISATION OF COMMUNISM, OR HOW TO CREATE NATIONAL IDENTITY IN HISTORICAL MUSEUMS

88%
Ziębińska-Witek A.
Muzeológia a kultúrne dedičstvo
|
2020
|
vol. 8
|
issue 4
59 – 72
EN
The goal of the article is to critically analyse and deconstruct museum narratives about communism in East-Central Europe 30 years after transformation. The research material is museum exhibitions interpreted in accordance with the methodology of visual research (composition analysis, content analysis, analysis of material objects, and analysis of meanings). The first and most important museum type from the perspective of the memory canon is The Act of 6 June 1997 Penal Code (Journal of Laws of 1997, item 553). Art. 125. § 1. Whoever destroys, damages or takes away a cultural object in an occupied area or in which military operations are taking place, violating international law, shall be subject to the penalty of deprivation of liberty for a term of between one and 10 years. § 2. If the act concerns goods of particular importance for culture, the perpetrator shall be subject to the penalty of deprivation of liberty for not less than 3 years. Art. 278. § 1. Whoever takes away someone else’s movable property for the purpose of appropriation shall be subject to the penalty of deprivation of liberty for a term of between 3 months and 5 years. § 2. The same punishment shall be imposed on anyone who, without the consent of the authorised person, obtains someone else’s computer program in order to gain financial benefits. § 3. In the case of an act of a lesser significance, the perpetrator is subject to a fine, limitation of liberty or deprivation of liberty for one year. § 4. If the theft was committed to the detriment of the closest person, the prosecution takes place at the request of the injured party. Art. 279. § 1. Whoever steals by burglary is punishable by imprisonment from one to 10 years. § 2. If the burglary was committed to the detriment of the closest person, the prosecution takes place at the request of the injured party. As it represents the official historical policy of most East-European states, is the so-called identity or heroic museum. Its purpose is not so much to show the truth about the past but to create the collective memory of a society and its positive self-image.
6

MÚZEÁ BEZ BARIÉR: SPRÍSTUPŇOVANIE VÝSTAV A EXPOZÍCIÍ PRE NÁVŠTEVNÍKOV SO ŠPECIÁLNYMI POTREBAMI

88%
Jamrichová L.
Muzeológia a kultúrne dedičstvo
|
2016
|
vol. 4
|
issue 2
47 – 66
EN
It is not only a legal obligation, but also a moral and ethical imperative, that every cultural institution makes itself and its activities accessible to the public which includes people with various special needs. A careful analysis of these needs and the way to address them in a person‘s day-to-day life can be an inspiration for the creation of more accessible exhibitions and expositions. This paper analyses several types of such accessibility-improving measures by type, e.g. a guiding line through the exhibition, labels in Braille, haptic models and audio guides for those with visual impairments, video monitors and sign-language guides for those with auditory impairments, improved physical access for those with reduced mobility and alike. Additionally, the author highlight various small changes to the overall active and passive communication with the visitors that can be improved to access the exhibition‘s accessibility - after all, a well-prepared museum guide can often do much more to increase the visitors‘ engagement with the museum than any special tools. The final section of the paper contains a report on a survey of current exhibitions and expositions which are aimed at special needs visitors.
7

SAMSON AND DELILAH BY RUBENS. PROBLEMS REGARDING ATTRIBUTION AND MUSEUM EXHIBITION POLICIES (Samson i Dalila Rubensa. Problematyka atrybucji a polityka wystawiennicza muzeów)

88%
Krzyzagorska-Pisarek K.
Rocznik Historii Sztuki
|
2010
|
vol. 35
EN
Connoisseurship has been neglected in recent academic writings yet new attributions and rediscoveries are still being made. Rubens has been credited with a number of rediscovered works, previously ascribed to his pupils and followers and now sold for record prices. Many are considered Rubens early works executed upon his return from Italy in 1608. ‘Samson and Delilah' (1609-10) rediscovered in 1929 by the German art historian Ludwig Burchard was bought by the London National Gallery in 1980. It differs from the engraved copy, the oil sketch and the miniature copy in the ‘kunstkamer' (art cabinet) by Frans Francken II. It was listed as a copy in the Antwerp inventory in 1655. The picture also has a number of technical anomalies. The inclusion of ‘Samson and Delilah' in the Rubens canon distorted it, and made way for similar style works. In 2001 another early painting by Rubens, the ‘Massacre of the Innocents', was rediscovered and sold for 49.5 million pounds at auction. Both paintings require efforts to consolidate their attributions and a number of exhibitions were organised with the help of the National Gallery. They are changing our perception of Rubens's early style. It is now characterized by a garish colouring, strong dark outlines and an overall crude impression. This style does not correspond with the more secure and more subtle works of the period. A reevaluation of Rubens's early years is therefore needed based on stylistic, historical and technological evidence. Standards of authenticity in Rubens's oeuvre should be raised along the lines of Rembrandt Research Project and old attributions scrutinised for inconsistencies and contradictions, with more in-depth study of major works acting as touchstones for future attributions
8

MÚZEJNÍCTVO A VÝSTAVNÍCTVO V BRATISLAVE V OBDOBÍ PRVEJ SLOVENSKEJ REPUBLIKY (1939 – 1945)

88%
Falathová Z.
Muzeológia a kultúrne dedičstvo
|
2017
|
vol. 5
|
issue 2
61 – 76
EN
This paper analyses the organization of exhibitions in Bratislava in the period between 1939 and 1945. We examine not only the exhibitions themselves, but also for the first time shed light on their background, their administration and their locations. The exhibitions analysed here include those organized by museum as well as non-museum institutions of varying types and focus. Our analyses details the challenges involved in organizing exhibitions in the capital and then provides a detailed examination of three specific exhibitions. Additionally, the paper provides an overview of the exhibition activities of two major cultural institutions, the Slovak Museum and the Association of Slovak Artists towards the end of the period in question.
9

DIE CHARAKTERKOEPFE F. X. MESSERSCHMIDTS UND IHR ERSTER AUSSTELLER FRANZ STRUNZ

88%
Schirlbauer A.
ARS
|
2013
|
vol. 46
|
issue 2
292 – 313
EN
The paper discloses new facts about the initial period of reception of the well-known character heads, today titled as study heads, by sculptor Franz Xaver Messerschmidt. Their first owner was in the years 1792 – 1805 hitherto almost unknown Franz Strunz, the first exhibitor and the author and publisher of the first catalogue. F. Strunz was an enthusiast and supporter of the ideals of the Enlightenment, who bought the 49 busts from the artist's brother in Bratislava in ca. 1972. The latest research shows that for more than ten years they remained in custody of this man, whose name hasn’t been known to us with certainty for 220 years. This paper presents the results of several years of research of the author: a few essentially new facts and several new hypotheses as well.
10

DOBOVÁ REFLEXE RUKODĚLNÉ VÝROBY NA MORAVĚ NA PŘELOMU 19. A 20. STOLETÍ

88%
Drápala D.
Etnologické rozpravy (Ethnological Disputes)
|
2013
|
vol. 20
|
issue 1-2
55 – 75
EN
Traditional handmade manufacturing is perceived generally today as one of the characteristics of the local and regional tradition. It is used to present not only a differently defined society compared to the outer world, but it also shows potential in the creation and transformations of identities of these societies. In additional to the purely descriptive approach identifying the existing or previous conditions of individual kinds and forms of manufacturing activities, reflections on the future of crafts and home manufacturing were more often applied in the time related social discussion. At the turn of the 20th century, steps oriented towards the search for efficient support and specific tools contributing to the development of some handicraft industries became the applied side of these trends. Therefore, from the last third of the 19th century, tradesmen circles in the Austrian empire were developing efforts to explore homemade craft industry or subject it to control. One of the tools acquiring information about these little known manufacturing activities was the preparation of an exhibition in 1909. A stepping stone for organizing the exhibition was a questionnaire project that was supposed to collect relevant information about the article range, territorial representation, production organizations, sales and social and economic conditions of so called homemade craft industry from the entire Moravia. These responses are not only an insight into the current situation in handicraft manufacturing in Moravia, but also a proof of a view of local communities of the importance of individual manufacturing kinds for the local or regional economy and identity.
11

CONTEMPORARY ART AND CLASSICAL MUSEUM: CONFLICT OR SYMBIOSIS?

88%
Piotrovsky M. B.
Muzeológia a kultúrne dedičstvo
|
2017
|
vol. 5
|
issue 2
135 – 140
EN
This paper examines some of the aspects of exhibition practice at the State Hermitage Museum, in particular, projects related to contemporary art in the context and space of classical museum. Therefore one of its intentions is to show the art of the latest trends, whether such demonstration is a sign of evolution, or, on the contrary, of regression of culture. Despite the inconsistency of criteria of classical aesthetics in evaluation of art from the 20th to the early 21st century, the museum may show the continuity of tradition while exhibiting contemporary art in the context of art of the old masters.
12

KATALÓG VOJNOVEJ VÝSTAVY BANSKOBYSTRICKÉHO 16. VLASTIBRANECKÉHO PEŠIEHO PLUKU Z ROKU 1918

75%
Chorvát P.
Vojenská história
|
2016
|
vol. 20
|
issue 4
137 - 151
EN
In the introduction, the author informs that the Military exhibition of the 16th Home Guard (Patriotic) Infantry was inaugurated on 29 June 1918 in Banská Bystrica. The exhibition was installed in the rooms of the so-called small training ground of the regiment. The opening was attended by several social elites of the town of Banská Bystrica as well as the County of Zvolen, officers of the replacement battalion or the field regiment and other invited guests. The exhibition was aimed at presenting various works of art of the regiment members (active and reserve ones), originating since the outburst of the conflict. In addition, the military booty materials and other items captured at battlefields were exhibited. The central motive of this presentation was to document the so-called lived history, in this case the combat operation of the regiment and its activities in the background. At the same time, the authors wanted to emphasize the unity and symbiosis of the regiment and the local (Hungarian) society. In 1918, a catalogue was published from the exhibition, in Hungarian language. The catalogue was printed in the Filip Machold Printing Works in Banská Bystrica, on a relatively low quality “war” paper. The pages of the brochure were numbered, starting with a preface. At the time, the catalogue is archived in the Central Slovakia Museum in Banská Bystrica.
13

MODERN AND CONTEMPORARY ART IN THE RUSSIAN MUSEUM CONTEXT

75%
Biryukova M. V.
Muzeológia a kultúrne dedičstvo
|
2020
|
vol. 8
|
issue 3
63 – 74
EN
The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighbourhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.
14

VÝZBROJ RAKÚSKO-UHORSKEJ ARMÁDY NA FOTOGRAFIÁCH ANTONA BRECHERA

75%
Konečný M.
Vojenská história
|
2016
|
vol. 20
|
issue 4
152 - 180
EN
In the introduction to the article, the author informs briefly on the exhibition organized by the Eastern Slovakia Museum in Košice on the occasion of the 100th anniversary of the outbreak of the World War I, titled This is what our grandfathers were like. World War 1. and Eastern Slovakia, 27 June 2014 – 7 December 2014. The author highlights that the most precious addition was the unique album of photographs from the battlefields of the World War 1, made by Anton Brecher (1888 – 1964) living in Košice for a major part of his life. After entering the military service, he became the military photographer and thanks to this undisputed benefit, he managed to survive for the full four years without serious injury on the frontline. The album also contains paintings with military topic, made by Brecher. The captions contain not only the subject of the photographs but also the place (municipality, town and significant geographic data) and time (usually the month and year, sometimes even the specific date) of shooting. The caption texts are in Hungarian, apart from the majority of military terms, which are in German. The album contains primarily the shots of combat activity of the Austro-Hungarian Army units on the frontline (building trenches, infantry fire and shellfire, transfers of soldiers, meetings of officers, caring for the wounded, burying the fallen, etc.). Another interesting part comprises the photographs depicting the situation in the rear, leisure time and typical entertainment of the soldiers.
15

200 JAHRE AKADEMIE DER BILDENDEN KÜNSTE MÜNCHEN. MÜNCHEN UND DIE KUNST IN OSTMITTELEUROPA 1850 - 1914

63%
Hessky O.
ARS
|
2009
|
vol. 42
|
issue 2
346-350
EN
The article offers information on the exhibition The 200 Years of the Fine Arts Academy Munich and the resulting extensive publication (589 pp.), both organized and published in 2008. It concentrates on the role of the academy in pursuing artistic progress in 19th century painting with a specific stress put on contacts with the environment in Eastern Europe (e.g. painters Mihaly Munkacsy, Laszlo Mednaszky).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.