In the frontier of the exhibition scene, a significant phenomenon is observed that a contemporary artistic staging practice, called scenography, has grew out from the theatre context and keeps expanding its influence in the exhibition context in recent time. Scenography has been acting as a transformative force to reform the traditional exhibitionary complex, and consequently, this has led to an unprecedented intersection where scenography meets contemporary curating, which further informs a radical ideological shift. This paper aims to exploit a new land of discussion to look into this intersection between scenographic practice and contemporary curating, its mergence and the subsequent revolution it has caused.
By seeing museums and exhibition spaces as metaphorical stages, it fundamentally reconfigures the infrastructure of curating practices, in terms of a shift in authorship, architectural embodiment of ideas, field of experience, layered narrative, dramaturgy and the hybrid expressions of new media. Three case studies will demonstrate scenography’s wide-ranged capacities and various methodologies in dealing with contemporary issues. Cases include: BMW Museum (Reopened in 2008), Cultures of the World (Opened in 2010) and Leonardo’s Last Supper: A Vision by Peter Greenaway (2008, 2010). Respectively, they prove scenography's overarching influence of acting as a brandscape, as a site of cultural mediation and as interference and discourse. The whole discussion cuts through major discourses in the field, both responding to the increasing awareness of the notion of staging experiences in the rise of experience economy, and the expanding notion of curating, in parallel.
Inhaltsverzeichnis (Table of Contents)
- Abstract
- Introduction
- Section 1: Critical Analysis: The Deadlock of Conventional Exhibitionary Culture
- Section 2: The Phenomenon of Expanding Scenography: Its Potentials to Reform Exhibition-making
- Section 3: Scenography in Exhibition Context: The Intersection, Mergence and Reformation
- Section 4: Scenography and Curating the Contemporary
- 4.1 Scenographer as Author: Redefining Curatorial Strategies
- 4.2 Architectural Structure: Embodiment of Ideas
- 4.3 Field of Experience: Transformative Process
- 4.4 Layered Narrative: Multiple Viewpoints
- 4.5 Dramaturgy Orchestration and Directing
- 4.6 New Media Hybrid Expressions
- Section 5: Case Studies
- 5.1 Case Study 1 BMW Museum (Reopened in 2008) - Scenography as Brandscape
- 5.2 Case Study 2 Cultures of the World (Opened in 2010) - Scenography as a Site of Cultural Mediation
- 5.3 Case Study 3 Leonardo's Last Supper: A Vision by Peter Greenaway (2008, 2010) - Scenography as Interference and Discourse
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This dissertation explores the intersection of scenography and contemporary curating, examining how scenographic practices are transforming exhibition-making and challenging traditional curatorial approaches. It investigates the implications of this intersection for curatorial strategies, authorship, and the overall experience of exhibitions within the context of the experience economy.
- The evolving role of curating in the context of the experience economy.
- The impact of scenography on the design and structure of exhibitions.
- The transformation of curatorial strategies through the adoption of scenographic principles.
- The creation of layered narratives and multiple viewpoints in exhibitions.
- The use of new media and hybrid expressions in scenographic installations.
Zusammenfassung der Kapitel (Chapter Summaries)
Introduction: The introduction establishes the context of the dissertation by highlighting the expanding notion of curating and the growing awareness of a shift in the profession. It emphasizes the link between new exhibition-making trends and the experience economy, arguing that staging has become a central metaphor in the new exhibitionary paradigm. The introduction cites scholars who support the idea that museum-making is becoming increasingly complex and multidisciplinary, demanding a broader skill set than traditional curators possess. It sets the stage for exploring how scenography offers a possible solution to these challenges.
Section 1: Critical Analysis: The Deadlock of Conventional Exhibitionary Culture: This section likely provides a critique of traditional exhibition practices, highlighting their limitations and inadequacies in addressing the changing demands of the contemporary exhibition landscape. It probably argues that traditional methods are failing to meet the expectations of the experience economy and the needs of a more diverse and engaged audience. The section might explore how these limitations stem from entrenched ideas about authorship, presentation and engagement with art and artifacts. It likely presents the argument that a shift away from these practices is necessary for museums to remain relevant and engaging.
Section 2: The Phenomenon of Expanding Scenography: Its Potentials to Reform Exhibition-making: This section likely introduces scenography as a transformative force within the exhibition context. It probably explores the origins of scenography in theatre and its evolving application in museums and exhibition spaces. The section probably details the potential benefits of adopting scenographic approaches, such as increased audience engagement, enhanced storytelling, and the creation of immersive experiences. It might also look at examples where the adoption of scenographic methodologies has been successful, highlighting the positive change these brought to the exhibition. It positions scenography as a response to the shortcomings of conventional exhibitionary culture.
Section 3: Scenography in Exhibition Context: The Intersection, Mergence and Reformation: This section likely delves deeper into the intersection of scenography and contemporary curating. It might analyze the ways in which scenography is reshaping the curatorial role and influencing the design of exhibitions. The section probably argues that this merging creates a dynamic and revolutionary approach to exhibiting contemporary art and design. It might focus on how this interplay brings about fundamental changes in the way narratives are presented and experiences are staged within exhibition environments. The section sets the stage for the more in-depth case study analysis that follows.
Section 4: Scenography and Curating the Contemporary: This section is a detailed exploration of the ways in which scenography impacts various aspects of contemporary curating. Subsections 4.1-4.6 likely examine specific effects, such as the redefinition of curatorial strategies, the embodiment of ideas in architectural structures, the transformation of the visitor’s experience, the creation of layered narratives, dramaturgy, and the use of new media. The analysis in this section probably provides a theoretical framework for understanding the practical application of scenography in exhibition design, covering its implications for how information is conveyed, meaning is created, and experience is shaped.
Section 5: Case Studies: This section presents three case studies illustrating the diverse applications and methodologies of scenography in dealing with contemporary issues. Each case study likely demonstrates the transformative power of scenography in different contexts, highlighting its adaptability and effectiveness in creating impactful exhibitions. The analysis of these cases might illustrate the diverse ways in which scenography addresses the challenges mentioned in earlier chapters. These studies likely serve to illustrate the theory presented earlier in the paper and to provide practical evidence of its impact.
Schlüsselwörter (Keywords)
Scenography, contemporary curating, exhibition design, experience economy, museum studies, curatorial strategies, authorship, architectural embodiment, layered narrative, dramaturgy, new media, case studies, BMW Museum, Cultures of the World, Peter Greenaway.
FAQ: Dissertation on Scenography and Contemporary Curating
What is the main topic of this dissertation?
This dissertation explores the intersection of scenography and contemporary curating, examining how scenographic practices are transforming exhibition-making and challenging traditional curatorial approaches. It investigates the implications of this intersection for curatorial strategies, authorship, and the overall visitor experience within the context of the experience economy.
What are the key themes explored in the dissertation?
Key themes include the evolving role of curating in the experience economy, the impact of scenography on exhibition design and structure, the transformation of curatorial strategies through scenography, the creation of layered narratives and multiple viewpoints, and the use of new media in scenographic installations.
What is the structure of the dissertation?
The dissertation is structured into five sections: an introduction, a critical analysis of conventional exhibitionary culture, an exploration of scenography's potential to reform exhibition-making, an examination of the intersection of scenography and curating, and finally, a section presenting three case studies.
What are the key arguments presented in the dissertation?
The dissertation argues that traditional exhibition practices are inadequate in the context of the experience economy. It proposes scenography as a transformative solution, capable of enhancing audience engagement, storytelling, and creating immersive experiences. It further argues that the merging of scenography and curating leads to a revolutionary approach to exhibiting contemporary art and design.
What are the limitations of conventional exhibitionary culture discussed in the dissertation?
The dissertation critiques traditional exhibition practices, highlighting their limitations in addressing the changing demands of the contemporary exhibition landscape and failing to meet the expectations of the experience economy and diverse audiences. These limitations likely stem from entrenched ideas about authorship, presentation, and audience engagement.
How does scenography transform exhibition-making according to the dissertation?
The dissertation explores how scenography reshapes the curatorial role, influences exhibition design, creates dynamic and revolutionary approaches to exhibiting, and fundamentally changes how narratives are presented and experiences are staged. It details how scenography addresses the shortcomings of conventional exhibitionary culture.
What aspects of contemporary curating are impacted by scenography?
Scenography's impact on contemporary curating includes redefining curatorial strategies, embodying ideas in architectural structures, transforming visitor experiences, creating layered narratives, employing dramaturgy, and utilizing new media in installations.
What case studies are included in the dissertation?
The dissertation includes case studies of the BMW Museum (reopened in 2008), Cultures of the World (opened in 2010), and Leonardo's Last Supper: A Vision by Peter Greenaway (2008, 2010). Each case study illustrates the diverse applications and methodologies of scenography in different contexts.
What is the significance of the case studies?
The case studies demonstrate the transformative power of scenography in different contexts, highlighting its adaptability and effectiveness in creating impactful exhibitions. They provide practical evidence of the theory presented and illustrate how scenography addresses the challenges discussed earlier.
What are the keywords associated with this dissertation?
Keywords include scenography, contemporary curating, exhibition design, experience economy, museum studies, curatorial strategies, authorship, architectural embodiment, layered narrative, dramaturgy, new media, case studies, BMW Museum, Cultures of the World, and Peter Greenaway.
- Quote paper
- Margaret Choi Kwan Lam (Author), 2013, Scenography as New Ideology in Contemporary Curating and the Notion of Staging in Exhibitions, Munich, GRIN Verlag, https://www.grin.com/document/266349
