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Al Museu Calouste Gulbenkian “Art on Display. 1949-69”: una mostra che interroga i modi di esporre l'arte nei musei e nelle mostre attraverso le soluzioni storiche di Franco Albini e Franca Helg, Carlo Scarpa, Lina Bo Bardi, Aldo van Eyck e Alison e Peter Smithson

franz-erhard-walther

Da Bolzano a Merano le iniziative online e social di Museion, ar/ge kunst, Fondazione Antonio Dalle Nogare e Kunst Meran Merano Arte per #iorestoacasa

#wolfgang tillmans

This is the personal website of Anna-Sophie Springer – curator, writer and editor.

Mies van der Rohe’s Museum for a Small City Project (unrealized), 1942

In the form of a collage, the architect proposed a museum in which artworks would function as architectural elements. His museum of minimalist style would ensure that the artworks would take pride of place, rather than the structure of the building.

https://museumforasmallcity.wordpress.com/about/

#mies van der rohe

This digital publication explores the story of the planning and politics of a series of overpasses on Long Island, commissioned in the 1920s and 1930s by Robert Moses. The story suggests that the bridges had been designed to prevent the passage of buses, thereby allowing only people who could afford to own a car to access Long Island’s leisure spaces. The possible devious intent of Moses and the transformation of the story in subsequent decades shaped a scholarly debate. The publication accompanies the film Misleading Innocence (tracing what a bridge can do), conceived by Francesco Garutti and directed by Shahab Mihandoust. It points to the complexity of the topic and the elusiveness of clear answers by presenting objects and documents that Francesco Garutti encountered during research. Essays and a conversation deepen the analysis and widen the scope beyond the case of the bridges. In English. Edited by Francesco Garutti. Design and development by Linked by Air, New York.

"The visionary British architect Cedric Price felt that paradoxical condition already in 1999, when he designed a small exhibition dedicated to the relationship between space, time and movement, titled Mean Time, for the Canadian Centre for Architecture in Montréal. The exhibition had no labels or captions. In their place were small pictograms drawn by Price himself. The intention was to encourage visitors to appreciate the objects as they were rather than spend an excessive amount of time reading about them. In that sense it was a beautiful demonstration of the belief in the capacity of people to interpret things by themselves. As German artist Luis Camnitzer wrote in 2009: “The museum is a school. The artist learns to communicate. The public learns to make connections.”

#cca #montreal #cedric price

These curators, all aged 35 years old and younger, are bringing fresh, millennial perspectives to museums, exhibitions, and projects across the globe.

#contemporary art #alina cohen

during lockdown

The Met, Microsoft, and MIT have teamed up for the second time to explore ways that viewers can engage with the collection via AI

How Artificial Intelligence Can Change the Way We Explore Visual Collections

#met

PLEASE NOTE: We have been overwhelmed and delighted at the interest in our Robot Tours. We are looking at ways to make these available to all in the near future. For now, priority booking is available and will be given...

MoMa At the Museum Series

serie di short documentary prodotta dal MoMA che mostra il lavoro dietro al Museo

Bernard Schiele is unequivocally in favour of the use of text in the exhibition medium. He believes it to be the very foundation of an exhibition and integral to its internal logic, saying that an …

Das Museum der Zukunft

Ein Manifest von Thomas Hirschhorn

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