Displaying art objects in exhibition is not only an artistic expression in the heart of curating, but it is also an essential interface for curators to present stories and convey meanings. How to engage people beyond purely-visual-appeals is always a top-of-mind-question embedded in curators’ mind, and the discourse has become a major concern among pioneers in recent times. Over the decade, frontier exhibitioners were attempting to breakthrough from a purely vision-dominated museum culture. Some exhibition experiments were successful, and the movement has fundamentally changed the way curators think about exhibition-making, including the ultimate purpose of displaying objects. The paradigm shift actually rings the bells and requires contemporary curators to pay attention to. It is crucial to realize that the recent success was not only about the artistic sense of the artists, but it is also the revolutionary belief of the frontier curators that has made it happen. This essay aims to uncover the distinctive differences in the core beliefs of multi sensory approaches, in order to find out dynamic answers to new display strategies. Cases include: Partners (Haus DerHunst, Munich, 2003), Rain Room (Barbican Centre, London, 2010), and HeinerGoebbels-Stifter’s Dinge (Ambica P3, London, 2012).
Contents
Introduction
Discussion
Section 1 : Critique on Conventional Vision-Dominated Culture : Exhibitions Just for Knowing, Reading, Looking,Gazing, Encoding?
Section 2 : A Shift to Multi-Sensory Exhibition Approach
2.1 Object focused? Experience focused? or Paradigm Shift?
2.2 Multi-sensory Approach - Core Traits
Section 3 : Case Studies
3.1 Partners (Haus Der Hunst, Munich, 2003) Walk-in-Film Experience
3.2 Rain Room (Barbican Centre, London, 2012) An Immersive Experience
3.3 Heiner Goebbels-Stifter’s Dinge (Ambica P3, London, 2012) Experiencing Performative Objects
Section 4 : The Impact
4.1 Role-shift of Audiences/ Visitors : From Passive Readers to Active Participants
4.2 Role-shift of Curators : From Scholars to Experience-Creators
Conclusion
Appendix - Image Sources
Bibliography ( word count : 4,998)
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