Nazi Exhibition Design and Modernism

Tymkiw, Michael

doi:10.5749/j.ctvvnfk2

Cited by 40 publications

(2 citation statements)

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“…The totalitarian thrust, which was at the roots of the Fascist doctrine, was achieved by relinquishing individualism and embraced by other totalitarian regimes in the interwar period. 80 The MdFR was the embodiment of Fascist ideas about Gesamtkunstwerk and GesamtKünstlerwerk, and the emotional power of the arts when brought together via the complex intermedia potential of the exhibition space in which what binds the material objects and the physical spaces, through which visitors passed in order to experience the creation of the Fascist State, was immaterial (light, colour, and sound) which, as we have seen, was a key element in Futurist theories of synthetic interconnection. Futurist ideas of simultaneity and the collapsing of time and space worked alongside the assemblage of different elements.…”

Section: Discussionmentioning

confidence: 93%

Chapter 3 - 1932

Brook,

Mussgnug,

Pieri

2024

Intermedia in Italy

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Section: Discussionmentioning

confidence: 93%

Chapter 3 - 1932

Brook,

Mussgnug,

Pieri

2024

Intermedia in Italy

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“…In order to understand the conversations and experiences of my participants, it is imperative that one understands the process of designing and developing an exhibition. Exhibition design literature tends to focus on elements such as colour choice, label writing, fonts and sizes of spaces (MacLeod 2005;Dernie 2006;MacDonald and Basu 2007;Knell 2011;Hughes 2015;Tymkiw 2018). These elements are used to communicate both explicitly and implicitly with visitors and use human instincts and psychology to do so.…”

Section: Research On Museum Practice: An Overviewmentioning

confidence: 99%

Dreaming of an Eighth Fire Museum Practice: Indigenous voices in the Canadian Museum of History and Te Papa

Bilodeau¹

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Museums and Indigenous peoples have long had a complicated relationship. Though this difficult relationship is well documented, the experiences of individual Indigenous museum practitioners have not been closely examined. Instead, the literature tends to focus on decolonising museums, collections management and repatriation, and museum practice more generally. Studies do not specifically engage with the experiences of individual Indigenous museum practitioners, nor do they delve too deeply into the question of what happens to their voices in museums. Through an exploration of the ways in which Indigenous museum practitioners’ voices appear in the Canadian Museum of History (CMH) and Te Papa, this thesis addresses that gap in the literature. I ask about the connections between Indigenous voices in the museum and the experiences of contemporary Indigenous museum practitioners. Through a framework based on the Anishinaabe Seven Fires Prophecy, this research goes on to revise and expand the field of museum studies by asking what a different future might look like for Indigenous museum practitioners. This research was conducted using qualitative methods. Semi-structured interviews explored questions about the experiences of Indigenous museum practitioners and focused on the ways their voices appear in each museum, as well as their dreams and aspirations for the future of museums and museum practice. Interviews were supplemented with observational research in exhibition spaces. This research is theoretically grounded in critical Indigenous methodologies including Kaupapa Māori, and research as relations and reconciliation. I also employed autoethnography and ethnography to reflect my non-objective role in this research, and action research in order to reflect the research’s forward-looking, change-making nature. I found that Indigenous peoples see their voices appearing in front of house spaces via language, as well as objects and their arrangement. Their voices also influence the operation of these museums through their unique perspectives as Indigenous people. Though they are making differences in museums, Indigenous museum practitioners still have to fight to be heard in many instances. The most poignant finding is that their dreams have positive change-making potential. Based on their dreams, I make recommendations for changes to current professional practice in the sector and contribute academically to the museum studies and Indigenous studies research landscapes through the use of the Seven Fires Prophecy as a framework.

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Design Made in Germany

Erlhoff¹

2022

History of Design and Design Law

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Nazi Exhibition Design and Modernism

Cited by 40 publications

References 0 publications

Chapter 3 - 1932

Chapter 3 - 1932

Dreaming of an Eighth Fire Museum Practice: Indigenous voices in the Canadian Museum of History and Te Papa

Design Made in Germany

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