Description
Objectives
1. Stimulate the understanding of the museum as a privileged place for transdisciplinary and collaborative work between museology, architecture, engineering and design under a clear purpose and an integrative vision that brings together the various aspects in a single, cohesive and integral proposal that aims to promote an aesthetic experience involving and meaningful for each subject, in order to contribute to its integral formation; 2. Understand the nature of the exhibition and the main transformations of the exhibition space that occurred in the museum context during the 20th century, to identify how they influenced the understanding of the museum institution and the reception of works and objects, besides having conditioned the perception and experience of each subject; 2.3. Recognise examples where there is an overcoming of the dichotomous vision between the container (building) and content (collection and collection on display); 2.4. Analyse and discuss new museological strategies and exhibition experiences in development since the late 20th century to the present day, in order to enable future professionals from various areas to meet the multiple challenges facing the museum, as well as society (socio-political, environmental, technological challenges); 2.5. Rethink the nature and format of the exhibition and what is the mission of the museum in the 21st century.
Syllabus
1. Characterise the exhibition as a privileged place of discovery and encounter with art, activating the relationship between space - object – subject; 2. Gustave Courbet and the first signs of rupture in the second half of the 19th century; 3. Reformulation of the theory and practice of the exhibition space in the European Avant-garde in the first decades of the 20th century towards a site-specific and performative concept; 4. Marcel Duchamp and The Surrealist Exhibitions: the concept of exhibition/installation; 5. Peggy Guggenheim, Frederick Kiesler and Art of this Century: Correalism and Immersive Space; 6. Alfred Barr, the MoMA and the Exhibition as Metanarrative: definition, main premises and primacy of the White Cube paradigm; 7. Italian museography and historical pre-existence: Carlo Scarpa, Franco Albini and the BPR Group; 8. Pontus Hultén and Willem Sandberg: Museum as Laboratory or Open Museum; 9. Harald Szeemann, When attitudes become form: live in your head, 1969: the Importance of gesture; new artistic practices | new ways of exhibiting. 10. Panorama at the dawn of the 21st century. The museum as a space for participation and entertainment. New and renewed practices and research.