Scenography has been acting as a transformative force to reform the traditionalexhibitionary complex. This has led to an unprecedented intersection wherescenography meets contemporary curating, which further informs a radical ideologicalshift in the frontier of the exhibition scene. This book aims to exploit a new land ofdiscussion to look into this intersection between scenographic practice andcontemporary curating, its mergence and the subsequent revolution it has caused. Byseeing museums and exhibition spaces as metaphorical stages, it fundamentallyreconfigures the infrastructure of curating practices, in terms of a shift in authorship,architectural embodiment of ideas, field of experience, layered narrative, dramaturgy andthe hybrid expressions of new media. Three case studies will demonstrate scenography’swide-ranged methodologies in dealing with contemporary issues. Cases include: BMWMuseum (Reopened in 2008), Cultures of the World (Opened in 2010) and Leonardo’sLast Supper: A Vision by Peter Greenaway (2008, 2010). The discussion cuts throughmajor discourses, both responding to the rise of the experience economy and theexpanding notion of curating, in parallel.

Scenography has been acting as a transformative force to reform the traditionalexhibitionary complex. This has led to an unprecedented intersection wherescenography meets contemporary curating, which further informs a radical ideologicalshift in the frontier of the exhibition scene. This book aims to exploit a new land ofdiscussion to look into this intersection between scenographic practice andcontemporary curating, its mergence and the subsequent revolution it has caused. Byseeing museums and exhibition spaces as metaphorical stages, it fundamentallyreconfigures the infrastructure of curating practices, in terms of a shift in authorship,architectural embodiment of ideas, field of experience, layered narrative, dramaturgy andthe hybrid expressions of new media. Three case studies will demonstrate scenography’swide-ranged methodologies in dealing with contemporary issues. Cases include: BMWMuseum (Reopened in 2008), Cultures of the World (Opened in 2010) and Leonardo’sLast Supper: A Vision by Peter Greenaway (2008, 2010). The discussion cuts throughmajor discourses, both responding to the rise of the experience economy and theexpanding notion of curating, in parallel.

Contemporary Curating, Artistic Reference and Public Reception undertakes a unique critical survey and analysis of prevailing group exhibition-making practices in Europe, the UK and North America. Drawing on curatorial literature and two in-depth case studies of group exhibitions, Bertrand advocates for a mode of curatorial practice that secures the content of artworks, in contrast to prevailing open-ended, indeterminate approaches. Proposing a third exhibition type beyond the current binary exhibition ontology that opposes art historical narratives to curatorial installations or Gesamtkunstwerk, the book directly tackles the enduring critique of curating as a mediating activity that produces sameness in group-exhibition contexts by establishing artistic equivalences. The book relies on the principles of analytical philosophy to assess how different exhibition-making approaches fix reference and determine artistic reception, reintroducing a standard to evaluate exhibitions beyond personal taste and thematic coherence. Bertrand ultimately proposes an alternative conception of practice that affirms the renewed relevance of the institutional group show in the present context. Contemporary Curating, Artistic Reference and Public Reception will be of interest to academics, researchers and students working in museum and curatorial studies, visual cultures, art theory and art history programmes. Art theorists and critics, as well as curators of contemporary art with a research-based practice, should also find much to interest them within the pages of the book.

In the context of critical museology, museums are questioning their social role, defining the museum as a site for knowledge exchange and participation in creating links between past and present. Museum education has evolved as a practice in its own right, questioning, expanding and transforming exhibitions and institutions. How does museum work change if we conceive of curating and education as an integrated practice? This question is addressed by international contributors from different types of museums. For anyone interested in the future of museums, it offers insights into the diversity of positions and experiences of translating the »grand designs« of museology into practice.

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: 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.

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground. Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments. The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today’s world. The book is available for free in PDF format as Open Access at www.taylorfrancis.com. It has been made available under a a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license

Peter Sloterdijk sees our digitalized world in a "growing spatial crisis", accompanied by the danger of a "general virtuality of all relationships". Others view the digitalization of the world as opening up a grassroots democratic space that allows everyone access to culture. Against this backdrop, this anthology examines the spatial characteristics of the museum – between physical place and virtual space. The chapters collected here approach the museum space from various disciplinary perspectives, such as philosophy, history, art history, architecture, scenography, museum education and curatorial studies. At the same time, the contributions by international museum experts are assigned to different literary genres – fundamental considerations alternate with think pieces, case studies and interviews.