luni, 13 septembrie 2021
luni, 19 aprilie 2021
joi, 15 aprilie 2021
Rather than curators
To marl the distinction between care and preservation of collections, from the exercise of display.
Robert Storr, ‘Show and Tell’ in Paula Marincola (ed.), What Makes a Great
Exhibition?, Philadelphia: Philadelphia Exhibitions Press, 2006: 14.
marți, 2 martie 2021
Great podcast about busses - and a book... better busses for better cities.
Other key words: frequency, maintenance, transit
Frequency is freedom!
marți, 17 noiembrie 2020
A wonderful website - with wonderful stories of people. Images do matter! Because images contribute to the stories one tells.
O comunitate face atâta cât poveștile pe care le spune despre ea însăși.
joi, 10 septembrie 2020
Some great examples of using exhibitions as devices to delve into contemporary research in anthropology:
Orly Orbach -Rehearsed Futures: Supplementary school performances in and beyond the Museum of London
Robert Deakin - Motorcycle in Repose: 4 Images of the Pre-Regenerated Aberfeldy Estate
marți, 30 iunie 2020
A great project, done by the Folklore Museum in Norway: https://minner.no/; very simple and effective memory collections (with two tabs: read more and send memory).
The national museum network Contemporary Network is behind the fundraising campaign.
The Norwegian Folk Museum archives and manages the contributions that are submitted.
A project managed by Audun Kjus
joi, 18 iunie 2020
miercuri, 17 iunie 2020
Interested in user experience, narrative and storytelling, the use of immersive environments for building design and simulation, green buildings, energy efficient buildings
marți, 9 iunie 2020
miercuri, 27 mai 2020
A public exhibition and event, taking place at The Bargehouse on London’s South Bank in January 2012, that brought artists and academics together to tell the story of our worn clothing as it passes through charity shops and recycling bins and is sold into the global marketplace.
It’s the culmination of a five year academic social science project ‘Waste of the World’. The exhibition brought invisible global waste economies into public view, revealing the people involved and how the trade impacts upon their lives.
As the academic process drew to a close, we came in to devise a way of telling the story to a wider public.
Everything Must Go was curated by anthropologist Dr Lucy Norris and artist Clare Patey, produced by Boz Temple-Morris with Tiphaine Tailleux and included photography by Tim Mitchell, workshops by Lizzie Harrison, film by Meghna Gupta and design by Brighten the Corners.
We also hosted a discussion series, ‘Talking Rubbish’, where researchers, designers, filmmakers, business entrepreneurs and third sector leaders came together to critically engage with the issues raised and the implications for the way in which we think about our old clothing.
marți, 12 noiembrie 2019
sâmbătă, 9 noiembrie 2019
marți, 17 septembrie 2019
How information is transmitted, synthetized and publicised are also three very important factors we need to bear in mind.
LA LOMA designed some great exhibitions/ projects, from The Fascinating World of the Piano (http://laloma.info/en/projects/faszinationklavier), visual tactics for protests and activists, The Glass Room pop-up expo (about looking into your online life https://theglassroom.org/) and many others.
joi, 4 iulie 2019
Good to think with: Visualising Cultures: Media, Technology and Religion (BASR Annual Conference 2019)
participation of scholars in other disciplines and fields of study.
This year, the conference (Leeds, UK/ 2-4 September 2019) will be held in collaboration with documentary film makers from Leeds Trinity University’s Media, Film and Culture team and IRIS (International Research Centre for Interactive storytelling) and will include the screening of several documentary projects. As such, we welcome papers and panels on the theme of screen media, film and religion as well as on the academic study of religion/s more generally. It does not need to fit the theme.
This can include religion in all types of media, including, but not limited to:
• Gaming – virtual worlds
• Digital technology
• Production of screen media projects on religion
In addition, we welcome any research approach applicable to the study of religion/s,
including but not limited to:
• Visual ethnography
• Collaborative practice
• Other innovative research methods
More info at: https://basr.ac.uk/annual-conference-2019/
Keynote: Dr James Kapalo, University College, Cork, who is the Principal Investigator of
the European Research Council Project Creative Agency and Religious Minorities: Hidden
Galleries in the Secret Police Archives in Central and Eastern Europe (Hidden Galleries).
luni, 3 iunie 2019
The German artist Gunter Demnig began his Stolperstein project in the mid-1990s as a guerrilla art installation in Berlin. It has grown enormously, and now it is arguably the world’s largest participatory counter-memorial. Stolpersteine -‘stumbling stones’ – are 10 cm x 10 cm brass plates affixed to cobblestones, bearing the names and dates of birth, deportation, and murder or survival of victims of Nazi Germany; they are installed in the pavement/sidewalk in front of the ‘last residence of choice’ of the person(s) being commemorated. There are now over 70,000 Stolpersteine located in 24 countries. The installations are organized through a combination of individual, state sponsored and grass roots efforts.
The scholars Ruth Mandel and Rachel Lehr are carrying out multi-sited ethnographic research about this and other site-specific artists’ responses to the Holocaust. They describe here what they are finding, starting in Norway where the traveled 5,000 km with Demnig, observing and even taking part in installation ceremonies. Mandel and Lehr attended many installations–not only in Norway, but Austria, Hungary, and Germany (we hope to attend many more). At all these, people treated the stones with great reverence. The improvised installation rituals we observed took many forms—religious, secular, simple, elaborate; but all seemed to share a sense of the sacred—even if momentary. Flowers, candles, stones, and photos of the deceased, were arranged around the Stolpersteine, and were well-documented. This was a striking contrast with the local landscape directly following an installation. Afterward, the stone simply became a small glint interrupting the grey stones surrounding it, offering passers-by a chance to stumble across it, bend down, read, and reflect—or to pass on by.
Some of the questions of the two researchers are:
For example, why are there so few stones in Poland—despite the artist’s offer to donate and install them gratis? Why have some municipalities banned their installation? Why do some Jewish leaders opposed them? Do they pose threats? How do different generations of descendants respond? How do local people interact with them?
These are some of the questions that will be guiding the next stages of our ongoing research
There are two things I find really inspiring about this project. First that it allows small gestures and material presences of memorisation to weave into the social fabric of contemporary Europe. Second, that it prompts contemporary stories about Europeans reactions to these acts of memorialisation. Some of them are really disturbing - you would not imagine people still having something 'against' the victims...
Please read more:
In Romania, Bulgaria, Serbia and Hungary, there is a lot of potential into 'planting' these stones into the pavement of cities and villages, for the many victims...
The artist, in his website says that the victims were: Jews, Sinti, Roma, Jehovah’s Witnesses, homosexuals, mentally and/or physically disabled people, those persecuted for their political views, their sexual orientation, forced laborers, people persecuted on the grounds that they were ‘asocial’ such as homeless people or prostitutes—anyone who was persecuted or murdered by the Nazi regime between 1933 and 1945.
marți, 18 decembrie 2018
In many countries around the world, people do not have access to research publications. The fees are too big to be paid by researchers themselves and institutions are not ready to sign complicated and expensive deals with publishing companies and on-line libraries.
The issue in itself is very problematic and totally un-fair. On one hand, researchers do research without paying to gather the information they accumulate; on the other hand, publishing houses restrict access to the knowledge produced and disseminate it among those who have the money to pay for it.
As a reaction to this problem, some publishing houses started to publish open access ( for example UCL Press), other research publications turned this policy into their favour (e.g. HAU Journal).
Interestingly enough, universities in the UK ask their staff to up-load on their open access platforms Author's Pre-Publication Versions of their articles. Only if up-loaded there their publications matter for the next REF. Goldsmiths has a Ref 2021 Eligibility & Open Access guide where researchers are asked to up-load their published articles no later than three months after publication.
It is true that articles do not look so beautiful as they would look, once published and formatted. And also that one cannot really know how to quote properly (what page should they put? ). But, at least, in a more rough form, we can say that we see an interest in making research' outcomes more open.
A very good website where one can check publisher's copyright policies is
Another one is
For the first one, just introduce the name of the article.
marți, 4 decembrie 2018
For some reasons, I did not see the invitation and I did not manage to attend this great initiative. Looking at the list of films screened I saw the trailer for The Merger.
I like the title of this movie and the very idea of merging. https://www.imdb.com/title/tt7891470/
It is a comedy, and yes we know that very often experiences of migration are far from humorous... But at the same time I think dislocation, and all the bitterness and hardships surrounding the migration process, offers to all those who live through it, and to all those who support 'the migrants,' also possibilities of wonder and of irony and humour, and last but not least playfulness - with all the staging that it presupposes. What it is needed in a society to be accepted?
Maybe the very act of merging, which is so difficult to be done in classical museum displays, is something that could be used in future exhibitions about migration.
sâmbătă, 30 iunie 2018
Are you bored with museums? This museum in Amsterdam seems like a good remedy for that.
I did not see it, but I would love to. This one and The Museum of Jurassic Technology!
Let's start a list of the weird independent sector.