Collective creativity in the art museum

Rung, Mette Houlberg

doi:10.4324/9781315149486-14

Cited by 3 publications

(3 citation statements)

References 0 publications

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“…(Simon, 2010, III) I dag bliver museet gentaenkt som et socialt rum, hvor fokus ikke kun er p a udstillingsgenstandene, men ogs a p a personlige meninger og holdninger og den faelles samtale. Overordnet kan man, med museologen Steven Weils ord, sige, at museet er g aet fra at "dreje sig om noget til at dreje sig om nogen" (Weil, 1999), og hertil kunne man tilføje "at vaere sammen med nogen" i takt med, at publikumsdeltagelse fortsat bliver mere og mere fundamentalt for museumsarbejde (Rung, 2018). Kunstinstitutionen er s aledes ikke kun et sted, hvor besøgende kan betragte kunst, men er ogs a et sted, hvor de kan diskutere, bidrage og skabe.…”

Section: Det Participatoriske Museumunclassified

Deltagelse og æstetiske oplevelser på kunstmuseet? En Fænomenologisk Analyse

Høffding

Rung

Roald

et al. 2022

Curator The Museum Journal

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Resumé På museer står deltagelse i dag helt centralt. Brugerne inviteres til at være aktive, indgå i aktiviteter, tale sammen og skabe sammen. Selvom vi hilser denne deltagelsesagenda velkommen som et initiativ, der demokratiserer kunstmuseerne og gør dem relevante for flere mennesker, så argumenterer vi i denne artikel for, at deltagelse også påvirker kunstoplevelsen på en måde, der risikerer at overse en væsentligt dimension ved at opleve kunst. Baseret på kvalitative og fænomenologisk inspirerede interviews med museumsbesøgende præsenterer vi en skitse af denne form for æstetisk oplevelse. Vi diskuterer hvordan der bør tages hensyn til disse oplevelser, både i kurateringspraksis, formidlingen og i diskussionen af formålet med kunstmuseet i dag.

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Section: Det Participatoriske Museumunclassified

Deltagelse og æstetiske oplevelser på kunstmuseet? En Fænomenologisk Analyse

Høffding

Rung

Roald

et al. 2022

Curator The Museum Journal

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“…(Simon 2010, III) Today the museum is reconceived as a social space in which our focus is not only on the objects on display, but also on personal expression, on sharing with others in the context of, or around, content. Overall you can say, with the words of the museologist Steven Weil, that the museum has gone from "being about something to be being about someone" (Weil 1999) and one could add, "to being with someone", as participatory practices become ever more fundamental to museum work (Rung 2018). The art institution is not only a place where visitors can perceive art, but also a site where they discuss, contribute and create.…”

Section: The Participatory Museummentioning

confidence: 99%

Participation and Receptivity in the Art Museum – A Phenomenological Exposition

Høffding¹,

Rung²,

Roald³

2019

Curator The Museum Journal

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There is a powerful trend in museums today of asking visitors to participate in the exhibitions, co‐create content, and to be active and engage with one another in the museum space. While welcoming the participatory agenda as an initiative of democratizing art museums, we argue in this paper that the rise of the participatory agenda also redefines the purpose of the art museum in a way that risks overlooking the kinds of experiences people undergo in art museums. Based on qualitative and phenomenologically inspired interviews with museum visitors, we present a sketch of a class of aesthetic experiences that ought to be taken into consideration in curatorial practices. Developing a picture of the phenomenology of aesthetic experience, we argue that such experiences should be taken into account when considering the question of the purpose of the art museum.

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“…For different types of museums and exhibitions, there are used to collect, preserve, interpret and display valuable collections of artistic, cultural and historical artworks [7,8]. The calligraphies, paintings other types of artworks are commonly shown in public or private museum, and there are usually protected by the specific frame with clear glass [9]. The visitors are allowed to have a closed look at the artwork in details.…”

Section: Introductionmentioning

confidence: 99%

Design and fabrication of the portable artwork preservative device (PAPD)

Zhenggang

Rejab

et al. 2019

JMMST

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Traditional artworks not only have the long history, but also offer the high economic value in the auction market. The artwork is commonly used paper or silk paper as raw material, which needs the relative harsh condition to save. However, there are generally three types of conditions to do harm to the valuable artworks, which are water, fire and earthquake or stealing conditions. In order to protect the artworks from irreversible damaged conditions, the portable artwork preservative device is designed to protect the artworks using rolling up the artwork method and keep it inside the artwork box. Three types of sensor modules have been selected in this study, which are used to detect the external conditions. It is concluded that this device shows the valid response performance, and it is automatedly rolled up the artwork around 10 s when it detects the signals from three sensor modules. In addition, the joystick module is used to control the artwork movement manually.

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Collective creativity in the art museum

Cited by 3 publications

References 0 publications

Deltagelse og æstetiske oplevelser på kunstmuseet? En Fænomenologisk Analyse

Deltagelse og æstetiske oplevelser på kunstmuseet? En Fænomenologisk Analyse

Participation and Receptivity in the Art Museum – A Phenomenological Exposition

Design and fabrication of the portable artwork preservative device (PAPD)

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