Wear Next exhibition: What's next for wearable technology?

There was a time when 'smart attire' was simply a dress code—a happy medium between formal and informal clothes. But as technological advancements continue to change our lives, the clothes and accessories we wear are increasingly embedded with smart technology. Wearable technology is nothing new, if you cast your mind back to the popular calculator watch of the '80s. But as more advanced products like Apple Watch and FitBit become mainstream, a new exhibition in Brisbane asks what's next for wearable technology.

La réception des expositions d'art engagé à la fin du XXe siècle au Québec : entre reconnaissance et institutionnalisation

L’objectif de ce mémoire est de comprendre comment s’articule la réception d’expositions socialement engagées dans un contexte muséal contemporain et québécois. Afin de mener à bien cette recherche, deux études de cas seront analysées : Art et féminisme (1982) et Pour la suite du Monde (1992). Comme l’exercice du mémoire commande un développement restreint, nous avons sélectionné des manifestations qui se sont déroulées dans une seule institution, le Musée d’art contemporain de Montréal. Avant d’aborder directement le phénomène de réception et afin de bien cerner le contexte artistique et théorique des années 80 et 90, le premier chapitre sera consacré aux différentes théories et pratiques de l’exposition, telles que développées au cours de cette période. Ainsi, nous parcourrons des théories relatives à l’exposition d’art et à son commissariat de Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich et Michel Pollak ainsi que Daniel Buren. Ensuite, les deuxième et troisième chapitres seront exclusivement voués à Art et féminisme et Pour la suite du Monde. Outre l’examen de leur réception, nous décrirons leur contexte de mise sur pied, et ce, tant du point de vue conceptuel que sociohistorique. Le but de cet exercice sera de bien comprendre comment s’énonce le propos d’une exposition lorsqu’il est lié de près à sa réalité politique, culturelle et institutionnelle.

Analyse des pratiques de cinq enseignantes spécialisées en arts plastiques au primaire favorisant l'action de l'élève dans le travail de l'exposition d'art en milieu scolaire

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Representing experience : changing audience relationships in contemporary art

By practice and research this exegesis includes the audience in the making of art, by using the responses of others that inhabit the artwork. It also establishes 'not-knowing' as a methodology to examine changing relationships to audience in contemporary visual arts.

The Celebrity Aura Exhibition

The Celebrity Aura Exhibition was an art exhibition centred around 'celebrity aura' that featured 13 local artists. It was run by the School of Communication and Creative Arts and was held in conjunction with the Inaugural Celebrity Studies Journal Conference (12-14th December) at Deakin University.

Nenhuma ferida fala por si mesma. Sofrimento e estratégias de cura dos imigrantes por meio de práticas de ethnography-based art

Neste ensaio fotográfico, apresento “Woundscapes. Suffering, creativity and bare life”, uma exibição de arte baseada em etnografia, produzida de forma colaborativa por 11 antropólogos e artistas de diferentes países, cujo trabalho se concentra na reprodução de olhares e estereótipos pós-coloniais e de memórias individuais que são ligadas às respetivas dinâmicas diaspóricas e às estratégias de cura dos imigrantes no amplo Mercado terapêutico da Grande Lisboa.

Exhibition of the royal house of Stuart.

Original paper cover bound in.

Art + Bioéthique : quand la recherche en bioéthique quitte les murs de l’université

Éditoral / Editorial

Art + Bioéthique : quand la recherche en bioéthique quitte les murs de l’université

Éditoral / Editorial

Art-Map: concept of moving curatorial project and its practical realization in Aveiro

In this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country.

Art, sex, and institutions: defining, collecting, and displaying Shunga

In Edo-Japan (c.1603 – 1868) shunga, sexually explicit prints, paintings and illustrated books, were widely produced and disseminated. However, from the 1850s onwards, shunga was suppressed by the government and it has largely been omitted from art history, excluded from exhibitions and censored in publications. Although changes have taken place, cultural institutions continue to be cautious about what they collect and exhibit, with shunga largely remaining a prohibited subject in Japan. Since the 1970s there has been a gradual increase in the acceptance of shunga outside Japan, as evidenced in the growing number of exhibitions and publications. The initial impetus behind this thesis was: Why and how did shunga become increasingly acceptable in Europe and North America in the twentieth century, whilst conversely becoming unacceptable in post-Edo Japan? I discuss how and why attitudes to shunga in the UK and Japan have changed from the Edo period to the present day, and consider how definitions can affect this. My research examines how shunga has been dealt with in relation to private and institutional collecting and exhibitions. In order to gauge modern responses, the 2013 Shunga: Sex and Pleasure in Japanese Art exhibition at the British Museum is used as an in-depth study – utilising mixed methods and an interdisciplinary approach to analyse curatorial and legal decisions, as well as visitor feedback. To-date there are no official or standardised guidelines for the acquisition, cataloguing, or display of sexually explicit artefacts. It is intended that institutions will benefit from my analysis of the changing perceptions of shunga and of previous shunga collections and exhibitions when dealing with shunga or other sexually explicit items in the future.

Blended learning and art education: student participation in a collaborative, authentic assessment project

This paper reports on higher education student engagement with blended learning experiences incorporating located (on campus), cloud based (online e-learning ) and graphically built, socially networked 3D multi user virtual environments (MUVES). Immersion in this environment enabled collaboration between two groups of students enrolled in separate undergraduate art education and public relations units, to identify, develop and participate in an integrated, authentic assessment project. It is contended that immersive blended learning experiences support creative problem solving and encourages synchronous and asynchronous student participation in authentic problem solving and collaborative practice. Interacting with co-learners, students gain knowledge and skills through situated learning, defined as the application of knowledge, learned in one setting and transferred to another and where immersion in a virtual learning experience leads to higher level engagement on the transfer task in a real world setting. In this project, collaborative blended learning involved the creation of a collection of digital artworks by art education students using computer software located in a real world environment. These artworks were curated and exhibited by the students in a virtual gallery they designed and built on Deakin Arts Education island in Second Life. For public relations students, the virtual art exhibition was the focus of a virtual campaign, designed, researched and developed by them to promote the Deakin Virtual Art Gallery on Deakin island in Second Life. The final promotion for the Virtual Gallery was presented by the students at a symposium in both real world and virtual world environments.

Why fundamentalism?

Why Fundamentalism? was an exhibition proposal and critical writing project developed from concept phase through to detailed proposal. It included an edited video document that lay out its core ideas and presented the diverse voices of each collaborator. A number of key themes were engaged around the hot-button (and much misunderstood) concept of Fundamentalism. The proposal included an exhibition layout, developed test imagery, ideas and animations, proposed forms for future works and a process whereby design briefs would lead to subsequent commissions. Two major grant applications were submitted to the Australia Council and Arts Queensland, with the support of State Library of Queensland, the University of Adelaide and numerous others. The project remains at the developed proposal stage awaiting suitable funding----- Critically the show became an active vehicle for drawing and exploring a line of distinction between ideas of ‘what is fundamental’ and ‘fundamentalism’ as it rested in the popular imagination, as well as in political and philosophical debates. It teased out and engaged with a number of key questions that included The Problem of Ungroundedness, A Politics of Finitude, The Post-modern/Pluralist Problem, Silent Fundamentalisms (Voices of Reason and Neo-con Religions), Fundamentalism as a Media Construct, The Pre and Post Cold-war Other, The Pressing Need for Foundations in the West and Islam as Foundationalism (rather than fundamentalism).

In Interaction

The field was the design of cross-cultural media art exhibition outcomes for the Japanese marketplace. The context was improved understandings of spatial, temporal and contextual exhibition design procedures as they ultimately impact upon the augmentation of cross-cultural understanding. The research investigated cross-cultural new media exhibition practices suited to the specific sensitivies of Japanese exhibition practices. The methodology was principally practice-led. The research drew upon seven years of prior exhibition design practices in order to generate new Japanese exhibition design methodologies. It also empowered Zaim Artpsace’s Japanese curators to later present a range of substantial new media shows. The project also succeeded in developing new cross-cultural alliances that led to significant IDA projects in Beijing, Australia and Europe in the years 2008-10. Through invitations from external curators the new versions of the exhibition work subsequently travelled to 4 other major venues including the prestigious Songzhang Art Museum, Beijing in 07/08, the Block, QUT, Brisbane and the Tokyo International Film festival. Inspiration Art Press printed a major catalogue for the event extensively featuring this exhibition. This project also led to the Sudamalis (2007) paper, ‘Building Capacity: Literacy And Creative Workforce Development Through International Digital Arts Projects’ (IDAprojects) Exhibition Programs And Partnerships’.

Remembered, reclaimed and renewed...

Review for the exhibition titled 'No More Secrets' by Pamela Croft and Cheryl Moodai Robinson at the Casula Power House