Curators and designers of exhibitions continuously experiment with various media in order to display art. The technical and medial boundaries of composing and presenting exhibitions are explored and exceeded. The same goes for the physical walls of the white cube.
Ever since the first public exhibitions took place in the second half of the eighteenth-century, various media and techniques have been utilised and combined in order to communicate the exhibition’s story and message most cogently, or in order to foreground the works on display most effectively. The first World’s Fair (1851) celebrated innovative industrial processes, and novel techniques literally cast a new light on culture. The nineteenth-century British painter John Martin, accentuated the experience of his The End of Time-canvasses by introducing light and sound effects. In the 1960s, Bruce Nauman explored the walls of his studio through his video work, and examined the possibilities of new media and techniques. Over the past decades, the rise and availability of Internet has further stimulated a revision of our conception of an exhibition’s medial borders. One can, for instance, visit an exhibition in Second Life, and Augmented Reality grants an extra dimension to a visitor’s experience of an exhibition.
Evidently, the practice of constructing exhibitions is evolving and becoming increasingly multilayered. This, however, raises questions such as:
• How do new techniques and digital media used in exhibitions influence the experience of art on the one hand and the experience of an exhibition on the other?
• Can we trace the desire to create cross-medial exhibitions back to the visitor or to the curator of the exhibition, and where will this trend take us?
• Do these new developments expand the creative possibilities of museums, or do they in fact impose limits on curators?
• Can we identify examples of the utilization of cross-mediality in exhibitions from the last couple of centuries that might have led to this current trend?
Kunstlicht invites academic reflections on cross-medial exhibitions and on exhibitions of cross-medial art. Proposals (200 – 300 words) can be sent to email@example.com on or before 1 July 2012. Selected authors will be asked to write a 2.000 – 3.000-word paper (excluding notes). Papers may be written either in English or in Dutch, although we prefer native Dutch speakers to write in their native language.
Authors who publish in Kunstlicht will receive three complimentary copies. Kunstlicht does not provide an author’s honorarium. Two years following publication, papers will be submitted to the freely accessible online archive at www.tijdschriftkunstlicht.nl/site/index.php/archief
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