The reflexive museum - opening the door to behind the scenes

In this paper I argue for a shift in conceptualising exhibitions: from products to be presented to processes to be revealed. I will explore how museum theory and praxis are inextricably intertwined and can be brought into fruitful dialogue within an exhibition setting. By revealing the processes leading to the definition of categories and the interpretation of identities, and by giving faces to decisions made, the ‘reflexive museum’ can become an embodiment of democracy, which does not silence controversies but gives diversity public voices. First, I sketch out recent academic musings on museological approaches. Then I present some examples of exhibitions in Germany in which these theories have been put into praxis. I conclude by arguing for a symbiotic relationship of museum theory and praxis enabling the museum to realise its unique potential as a dynamic ‘playground’ between academia and the public.

Being appropriated : the observer and the observed

Catalogue essay (1600 words, 16 pages)

The Max Bell Gallery (Gallery X series) Bishop and Reis

 An interactive exhibition, which recreates the Max Gallery and re-interprets two of Geelong's most renowned paintings (View of Geelong and A Bush Burial) through digital animation

Hollywood flesh

This was a major exhibition that received many online and printed reviews and described  John Forrest as a leading Australian artist. It also resulted in television interviews on ABC 7.30 Report and Inside Art.
Works were also published on the covers of two editions of The Melbourne Review.
Visual documentation can be acessed via Metro Gallery or via  Google (John Forrest Australian Artist)

The eye

An oil painting in 2 panels on Cherrywood

The experience of a museum space

Drawing on a long-term narrative study of global visitors to the Museum of New Zealand Te Papa Tongarewa (Te Papa), this paper illuminates the experience of a museum space. It sheds light on the interpretive interplay between museological space, content and narrative throughout the construction of meanings by museum visitors. I argue that these spatial dynamics emerge as a condition of meaning-making, or hermeneutic foundation, which facilitates the subsequent processes of meaning-making, or interpretations. The hermeneutic examination of the research material treats Te Papa as a physical space or form with its individual components such as architecture, exhibition design and display. This is followed by an inspection of content which reveals the key function of ‘narrative’ as a human meaning-making tool in mediating the mutual relationship of spatial form, museological content and meaning. The empirical insights into the complexity of the visitor experience reveal that representational and non-representational dimensions, or narrative and embodiment, are inextricably entangled in the quest for meaning.

Late

Late (2012) is one of a series of works investigating the relationship between artist and ideas of liminality and location. This work was produced in inland Queensland, and invited to be exhibited as a shortlisted group of artists in the Bayton Awards, for the Rockhampton City Gallery.

Understanding the role of affect in producing a critical pedagogy for history museums

While the existence of uncritical exhibition practices that support nostalgic narratives about the past cannot be denied, this paper is focused on demonstrating both the existence of critical exhibitions and on explaining how they work. In particularly, this paper looks at the ways in which the production of affective, nonrational forms of experience aimed at inducing a heightened level of engagement on the part of visitors is being used to facilitate a more critical reflection on the relationship between past and present. My examples, drawn from curatorial practices in Australia dealing either with contact histories or histories of migration, will be used to explore how explicit forms of engagement with the senses in contemporary exhibition practices gesture toward not only a new understanding of the pedagogical role of museums but also to new forms of pedagogical practice.

Observations

Exhibition of paintings and works on paper depicting my urban environment. Held at Australian Galleries, 50 Smith St., Collingwood, Vic. from 4-28 July 2013

A world observed

An exhibition of paintings inspired by the artist's immediate urban environment, including images of Geelong city and the surrounding district. Exhibited at Geelong Gallery, Geelong, Vic. from 11 February to 25 March 2012.