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tumblr_lqhz1eJXan1qhbanxo1_1280Photo: Hoveringcat.com

Public opinion and valuations about exhibitions bring us head to reality. We refer to the valuations we receive once the exhibition is over or the first day whwn we stay out of the exhibition entry to see people faces or even inside. The exhibition opens and we want or not, no way to avoid it, it is evalued most of the times only based just on aesthetic criteria: Exhibit is not nice because I did not liked the colours… I like-dislike because it is ugly. We have to say, for the discharge of the curators, referees of the exhibition contest, they have the difficult task of being mediators between the museographers and scholars, to prevent bad encounters and to see the exhibition therefore handicapped. An exhibition should be based on the balanced equation: aesthetics / contents, or contents / aesthetic. If museography campa on track, so to speak, the exhibition runs the risk of navigating the waters of aesthetics more than the highlight the contents. The scientific and aesthetic balance in the development of the exhibition, are fundamental to achieve, finally, that is a balanced exposure, a correct exposure. The balance, as in navigation, frees us from the heel to port or starboard, or even collapse. Another factor that plays real relevance in the assessment, usually, is the functionality of the exhibition: accesses, circulation, fluency in travel, lighting, etc. But, ultimately, the real values that stand out on the other are the aesthetic because, they are also the prevailing in the society. Society values aesthetics, we are almost all aesthetes. It is not fair so, it is true, one must admit to still being museologists, i.e., designers at the end and at the end.

Levelgreen-by-j-mayer-h-architects-EVEPhoto Level Green Exhibit / J. Mayer H. Architects + Art+Com Berlin 

The nature of exposures requires a concrete specifications in the project. Design and build an exhibition of art than of science, for example, is not the same. All exhibitions have a point in common, stands for the content they need, give like that is a sculpture, a painting, a model of a boat or a dinosaur femur. The stand design requires that we must be consistent and not make it the protagonist of the exhibition as you can see in the example of Level Green or Hovering Cat. Normally, for art exhibitions, much summarizing your problem, will condition us light and preservation of parts, i.e., the environment where they are to be exposed, even from  preserving critera your anti-vandal security. In an art exhibition, the work is the star more than anything else, there are no more. From the point of view of museography, we must bear in mind mentioned above but there is a lot of work creating solutions relying on new technologies, we could call it “digital museum” project. Augmented reality is no longer an option, we believe, to be incorporated into the art exhibition unless the budget for the Assembly is very scarce, making it desirable to focus all efforts on the lighting.

20110408_img_11937_-530x353The balance so that the exhibition do not lean to the side of the aesthetics or the scientist, is very complex, requires arbitration on many occasions (photo: file EVE)

The design and assembly of technical and scientific exhibitions, are facing the problem of overcrowding of contents contributed by scholars, so everything is still low. The experto-investigators based scholars tend to consider all the study object addressing all its complexity, irrespective of the spatial aspects – nature not gift them the space capacity, were not all -, and does not take into account the budgetary and educational aspects. Which is interesting or even necessary for scholar Sage is often irrelevant to society. Better educational museography was invented, emerged, of the need for all those involved they were happy. Scholars needed a script to attach the expert knowledge to an exhibition and the Museum needed that excesses do not ran development of the didactic supports.

IMG_0617 (1280x960)A valuable exposure always part of the balance: aesthetic-content (Photo: file EVE)

Exposure should be understood from beginning to end, without gaps. We cannot allow this that I have not learned anything. The same thing that we cannot afford to ignore the children and the elderly. We, with the time, we have developed the axiom that we have already referred to in any other time of the brutal simplicity of thought. As in its day Winston Churchill said: we are going to write a long letter that I have a lot in a hurry. We need to simplify things for the visitor. If we can have with other solutions – audiovisual, apps, augmented reality -, why forcing that visitors read? Read in an exposure is to push the visitors to the discomfort and fatigue. We can’t do that. We cannot allow the exposure is not a memorable one. We must allow the license to design media that cause without feeling or emotion that eat the contents. The aesthetic without be definitive or decisive in the draft of the exposure, it is very important that it is appealing. No excesses, communication simple and linear in a beautiful visual atmosphere. We must also take care much the smells and the sound of the exposure, something that many times simply does not arise. A bad noise and an unpleasant smell can destroy an entire exhibition. If odors are converted in fragrances are transformed into useful content. And not to mention the sound.

2165436948855_CFCyusCD_lPhoto: archive EVE

In conclusion, we must say that the museographer should incorporate their contributions on the knowledge of the sciences, of the experience when the has, complementing and adapting as long as it is needed to make understandable the object of study in relation to the recipient. We need to democratize the culture and make it accessible to all. The cultural dissemination, access to culture, requires it to have an impact on the greatest number of people possible. We need actions museum based on the correct understanding. We are in a century will require interventions of museography didactics. The formal value of objects and works must lose prominence for the benefit of the understanding, it is necessary to ensure the contextualization of the objects and artifacts to acquire greater significance, can be understood and integrated into the bag of knowledge of the visitor. We must make good use of emerging technologies, management and evaluation of the assets from the coordinates disciplinary which require. The exhibition must be concerned with the teaching, communication and dissemination of knowledge and not of valuations that the arriving to disprove for not having fulfilled its purpose.

Below we give a series of examples for your individual assessment on the idea of equilibrium, if you want to do this exercise:

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126_sm 00009754592471543154_wdiGAGau_l 738878476558_NViALYI3_l 2165436771907_GlDgb4I2_l2165436948822_x0ofzI2E_l2165438395789_Im5hpdrf_l 2165438395794_AOGUi7ta_l 2165438395798_KLh61uJf_l 2165438395802_qyEhck44_l2165438395803_jXneMOrb_l 2165438395810_3ZIucUli_l 2785362935879_7pEavJ7j_l Euroshop-Dusseldorf-2014-STUDIO-DEGAGenovaOggi-EVEJunya-Ishigami-exhibition-by-Arc-en-reve-centre-d-architecture-Antwerplokschuppen-127-wwwlokschuppen-139-wwwlokschuppen-165-wwwlokschuppen-168-wwwMcChesney ArchitectsphpThumb_generated_thumbnailjpg-1phpThumb_generated_thumbnailjpg-2phpThumb_generated_thumbnailjpg-3phpThumb_generated_thumbnailjpg-4phpThumb_generated_thumbnailjpg

 
 
 
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