This is no. 7 release of projects in my »Inquiries in visual memory«.
This time two different projects are presented. The Release_Project about the exhibition of the iconic ‘Black Square’ painted by the Russian painter Kazimir Malevich – and the Discours_Project presenting an exhibition of Speaking Places.
The Release_Project :
The Last Futurist Exhibition ‘0.10’, 1915 scrutinize the surface of everyday culture. This is an exhibition photograph showing the context and the design of the exhibition room where the famous suprematist black square is presented.
What does the room tell about the time of creation and exhibition?
The fourth Discours_Project is the exhibition Speaking places, places speaking presented at a small exhibition room at the Roskilde University in relation to a research seminar dealing with gazes on the specific site of Paris trying to reveal more than the ordinary from a popular site.
The whole project had generated sixteen large photographs but for this exhibition, only seven of them were selected to present the variety of the basic idea namely what can be called Parisian or French? This quest for identity was contrasted to the photographic document of the 1950ties and the golden age of after-war epoch.
Inquiries in visual memory no 6 – April 2011
Discours_Project  – The Romani in the waste disposal site 1972
Discours_Project  - Drifting Sand - memory of three hundred years - a multi-screen interpretation
Inquiries in visual memory no 5 – October 2010:
Border_Project  – MoMa, New York 2010
Border_Project  – GeoCenter, Moens Klint, Denmark
Release_Project  – The Kitchen-Debate in Moscow 1959
Discours_Project  – Introduction
Why are exhibitions and museums so important? What can they be used for? Who determines relevance in a transformative process?
Transforming exhibitions is not just something you do, it is something that gets better the more you do it. This book looks at the intersection of the visitor or user, who gets personal
and cultural meaning from their visit and the museum as it appears in the design of the exhibition. It examines on-site communication for intentional and hidden content and messages, and reveals possible relations to the visitor, his or her world and society
in general. This investigation also focuses on the processes involved in interpretation and design and takes a closer look at the practices of exhibiting rather than the objects on display. The four main themes in the book are:
• Constructions – The visitor at an exhibition
• Questions – Experience and learning processes
• Invisibles – The exhibition design processes
• Openings – Category, objects and communication
Present on site is relevant not only for students and researchers in the field of museum communication, media and design studies, but also for exhibition and museum practitioners.
- Course Director Dr Kevin Walker,
- Associate Director Karen Knutson,