Borderland artists Christin Apodaca, Gabriel Márquez and Mitsu Overstreet were asked to create installations for the El Paso Children’s Museum and Science Center.
“It is important for us to have local connections in the museum,” said Stephanie Otero, acting director of the museum and vice president of operations for the El Paso Community Foundation, in a statement. “We look forward to announcing more artistic partnerships in the coming months.”
The three artists will create installations complementing the exhibits designed by Oakland-based Gyroscope Inc., which designed the STEAM-based interactive zones for the museum currently under construction downtown.
Illustrator and muralist known for her black and white line drawings that weave native plants into her compositions, Apodaca will work on the Desert Bloom Zone of the museum. The space is intended for the youngest visitors to the museum and is inspired by the Chihuahuan desert.
Marquez is an artist and designer whose work has been exhibited in El Paso and Seattle, where he lived for several years. Her work will be showcased in the Follow Your Instincts area, where children ages 4-7 can learn about animals and careers in animal care.
Contemporary visual artist and designer, Overstreet is perhaps best known for his “River Spirit” ground installation at El Paso International Airport. His work will take place in the Flow Zone, where visitors can learn about water treatment and recycling.
Who owns the artwork in the Denver Art Museum? A recent City and County of Denver audit raised questions about the ownership of some works, even as city and museum officials deny the need to act on the audit findings.
Posted Jan. 21, the audit recommended half a dozen behind-the-scenes changes to the way the institution conducts business, including concerns about board diversity. But it also brought to light a rare clash between listener Timothy O’Brien and the museum over access and ownership.
The museum received more than $ 20 million in annual funding from the city in 2018 and 2019, including bond funds for its ongoing North Building renovation and construction project. But her formalized relationship with Denver, which began in 1932, is in jeopardy if she doesn’t clarify ownership of several works she shares with the city, O’Brien concluded after her 10-month audit.
“The Denver Art Museum’s agreement with the city is unclear and lacks documentation on the entity that owns what are and what the responsibilities of each entity are,” O’Brien wrote. “The museum also needs to strengthen the way it manages inventory planning, and its board could better represent the diversity of the communities it serves.”
Museum executives and Denver Mayor Michael Hancock’s office both disagreed with O’Brien over the need to update their formal partnership. They cited a harmonious relationship and planned future actions that will eventually follow O’Brien’s advice.
“The mayor’s office has accepted six of the report’s seven recommendations, which will go a long way to addressing concerns raised by the audit,” Hancock spokesperson Mike Strott wrote, referring to O’Brien’s recommendations. on how to improve the 35 members. the internal functioning, recruitment and statutes of the board.
“However,” he continued, “we felt it was premature to move directly to the creation of a brand new operating agreement before having implemented these six recommendations and before having had the chance to determine if a new operating agreement is really what is really needed. “
Denver Art Museum officials declined to identify which works of art were the subject of a potential ownership dispute because they believed there was none.
“We don’t really feel like there’s a lack of clarity on this,” said Andrea Fulton, associate director and director of marketing for the Denver Art Museum. “It’s a matter of procedural documentation. We agree, of course, and are more than happy to work with the city to reconcile all of these strengths. But there is not really a lack of understanding between us.
O’Brien’s biggest frustration – and one reminiscent of his contradictory 2017 Denver Zoo audit, in which zoo officials put up months of resistance to O’Brien’s office before surrendering – is that the Museum officials refused to provide him with full access to their ARGUS data, the museum’s collections management system that lists in detail the association’s more than 70,000 paintings, sculptures and other works of art.
O’Brien said museum staff told him that an intern had previously attempted to copy the confidential database, which museum officials see as a valuable extension of their collected works. As a result, he said, museum officials have categorically refused to allow him to make a digital copy of the archives for offsite analysis. O’Brien’s staff were also closely watched at times while collecting data from the archives on site, he said.
“I don’t like being equated with an intern, and I think I have the law on my side. The law is a higher calling than a museum policy, ”said O’Brien. “This is one of the reasons the audit took so long. “
Deputy Director of the Fulton Museum disagreed, saying O’Brien’s team had received full access and training on how to use the database. She said it would never be acceptable to remove a museum work or artifact from the building and that its archives are treated the same “from a security and integrity perspective.”
“The museum is not aware of any inappropriate copying of data by an intern,” Fulton wrote in a follow-up email. “Ultimately, the team had unfiltered access to on-site data.”
O’Brien’s recommendations are advisory, not legally binding, but they are authorized by the City and County of Denver charter. O’Brien has worked his way through the city’s premier cultural nonprofits in recent years, including the aforementioned Denver Zoo, as well as the Denver Botanical Gardens. Its 2018 report on the latter urged the gardens to improve safety practices, among other recommendations.
Fulton said museum executives value the outside perspective on how they work. They were already planning to update many of their practices as they moved into their expanded campus this year, following major renovations and construction in and around 100 W. 14th Ave., Fulton said.
“They are windows to different areas of work, and the operations of an art museum are big, wide and extensive,” she said. “And that’s exactly how we digested this audit. These are really focused and specific potential areas for improvement that we are happy to explore.
Museum executives were hoping to unveil their $ 150 million refurbishment of the Geo Ponti-designed North Building (which will be reintroduced as the Martin Building) and a new 50,000-square-foot visitor center in June 2020, but have pushed back. this in the wake of the coronavirus pandemic. Their new target date is fall 2021.
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What do you think 2021 will hold for exhibition design?
What a roller coaster year 2020 for exhibition design! With many museums closed for much of the year and needing to put staff on leave, many short and long term projects have postponed openings. As a result, many institutions and design agencies have taken the time to completely rethink the future – and on many levels. The pandemic has impacted in so many different ways, from budgets and deadlines to new sensitivities and perspectives and the more practical issues of visitor travel, including the implications of touch and the importance of travel lanes.
As we move forward now, I think the appetite for exhibitions will follow different paths. On the one hand, we’ll see some really exciting installations that come and go in a flash. Inexpensive exhibitions to set up and embodying creative and free-thinking solutions, making maximum use of light and the audiovisual sector.
On the other hand, we will see beautifully designed, clean, and material-rich displays that are highly regarded. I think the exhibits will become immensely popular as we come out of the pandemic. I predict an explosion of creativity too. People are so hungry for exciting ‘real’ things that embody value and craftsmanship, as well as new and empowering designs, especially after the lack of experiential 3D cultivation in our home-confined, life-based existence. the screen of recent times. I also believe that there will be a significantly increased engagement in exhibition design for sustainable materials and more flexible, modular and reusable designs.
I can’t wait to see what will happen in 2021.
What is your favorite example of exhibition design from 2020 and why?
The year was thus divided between the pre-containment exposures in January and February and what followed.
Earlier this year, I just managed to see a big exhibition called Sense Me at the Trapholt Museum of Modern Art in Kolding, Denmark. It was a wonderful sensory journey, with textured curtains in which you could walk around and experience effects; a responsive digital box that you can walk in and create moving images and a room full of curved wooden trees that emit sounds with a disorienting and distorting mirror, as well as a cloud that you can gaze into at the top of a ladder (photo above). It was a brilliant and immersive experience that seemed all the more impressive as nothing like it was possible for the rest of the year and beyond.
We are currently designing an exhibition on touch at the Fitzwilliam Museum in Cambridge, which opens this month and whose subject matter will have an entirely different resonance after Covid, which was completely unforeseen during the conception of the exhibition.
The Dec. 22 ballots on unionizing the Portland Museum of Art Galleries Ambassadors have been temporarily impounded until the National Labor Relations Board responds to management’s request for a review. Brianna Soukup / Portland Press Herald
PORTLAND – The outcome of an organizing vote this month by 23 employees of the Portland Museum of Art remains unknown pending an appeal from museum management to the National Labor Relations Board (NLRB).
The postal election was held to decide whether employees should join UAW Local 2110 of the technical, office and professional union. New York-based Local 2110 represents educational and cultural institutions in New York and New England.
The ballots were due to be compiled on December 22, but Local 2110 president Maida Rosenstein said they “were seized instead of being counted because the museum formally appealed the decision of the labor council “.
Initially, 70 museum employees, including curators, registrars and educational staff, filed a petition to unionize with the NLRB. The September petition cited low wages and poor job security. The board ruled in November that 23 of the employees, the museum’s “gallery ambassadors” who provide education and interpretation of the exhibits to visitors, had the right to form a union.
“We continue to follow procedures established by the National Labor Relations Board in processing ballots at this point,” Graeme Kennedy, director of strategic communications and public relations for the museum, told Forecaster on Dec. 27. “We asked for review of a part of the unit’s decision that we sincerely believe to be wrong – specific to the responsibilities of gallery ambassadors with respect to the safety of our visitors and our works – and look forward to news from the board of directors about the request. ”
The museum, according to the NLRB ruling, sees gallery ambassadors as having a security role and therefore should not be part of a union representing other types of workers. The council said the ambassadors were not security guards.
Rosenstein said that typically such demands are never heard by the labor committee and are dismissed, which she hopes will happen in this case so that the outcome of the vote can be certified.
Kennedy told Forecaster in November that the “Portland Museum of Art cares deeply about its staff and its community and in no way seeks to delay or prevent a vote on organizing.”
“We have a bit of a bump in the road because of the pull,” said Michaela Flint, gallery ambassador. “But I hope the voices of museum workers will be heard. As workers, we have the right to a fair and uninterrupted vote.
Rosenstein said that if a union had been in place, workers would have had bargaining power when recently told they were “essentially on leave” for the month of January because the museum was closing to the public because of it. of the coronavirus.
Flint said the temporary shutdown gave her “a glimpse of what it’s like to have help from a union,” she said.
“They offered mutual aid, an unemployment briefing, carpooling and grocery delivery,” she said. “Local 2110 went above and beyond for the museum workers. They even offer help to those who oppose the union.
Kennedy said museum management is awaiting the outcome of the election and looks forward to “continuing to work in partnership with our staff for PMA’s mission rooted in diversity, equity, accessibility and inclusion.”
“Throughout this process, we have remained deeply committed to the institutional values of transparency and mutual respect informed by our staff,” he said. “The election ensures that all voices are heard and we will work in good faith with all employees to ensure a strong, dynamic and sustainable PMA.”
School board agrees to offer risk premium during pandemic
In a year when many cultural institutions were closed, exhibition designers had to adapt and often bring the museum experience into our own homes.
Through Henri wong
How would the hard-hit exhibition industry return after the first lockdown? The Design Museum’s flagship exhibit, Electronic: From Kraftwerk to The Chemical Brothers, was set up before the lockdown and its organizers revealed to Design Week how it was adjusted accordingly. In addition to the obligatory masks and hand sanitizer stations, the capacity of the bikes had been doubled so that people did not have to take public transport and the capacity was cut in half (the museum had to open late to fill a lack of ticket sales).
Beyond the immediate changes, we wondered how exhibition design could evolve in the long term. Nissen Richards studio director Pippa Nissen told Design Week Covid could start a ‘digital revolution’ in exhibition spaces with the rise of augmented reality (AR) and virtual reality (VR). She also noted that there might be a shift towards an (even more) more organized experience, driven by how people might experience confined spaces differently. Future exhibits could be about “experiencing someone’s pre-designed experience” with less choice on the part of the visitor.
Materials would be another focus. “We can’t waste so much anymore,” Nissen said. Not only should the materials be more durable, but they should be more adaptable (to change social distancing rules and future plans). It was a trend echoed at Milan’s Salone Del Mobile – which we attended the preview just before the lockdown and its possible postponement – where the focus was on reusable exhibition displays.
When it finally opened, Design Week saw a relatively quiet preview of the Design Museum’s successful exhibition on the history of electronic music. A transfer from Paris, Electronic: From Kraftwerk to The Chemical Brothers took turn-of-the-century visitors and ‘mad sound scientists’ to the Chicago house scene and also to Manchester where the graphic work of Ben Kelly and Peter Saville for the Haçienda club is displayed.
Perhaps most striking in the exhibit was the three lights and sounds installation which would have been particularly well received by all visitors missing the city’s closed club scene. Kraftwerk’s 3D experience was akin to a high-level music video, displaying music from the band’s eight albums. Architecture 1024’s large-scale moving light display was set to the soundtrack of French DJ Laurent Garnier.
The final room belonged to Got to Keep On, a 2019 play by the Chemical Brothers and showmakers Smith & Lyall. The room featured strobe light and smoke effects and shape-shifting 3D visuals. It summed up what Smith & Lyall called the “transformative power of music, art and design”.
As in many sectors, museums and galleries have focused this year on digital. When people couldn’t go out, the best way to reach them was at home. In the spring, the British Museum launched what it called one of the “most comprehensive online museum collections databases” in the world. Some 4 million objects have been made available for viewing online. The curation, however, has not been abolished. Themes were launched in conjunction with the exhibits, such as Love and Identity, which sought to provide an organized experience for people, told us Michael Tame, head of the museum’s digital program.
Across the industry, efforts have been made to improve online accessibility during the lockdown. For example, the Royal Academy has created a 38-minute online tour of its Picasso and Paper exhibition. It wasn’t unprecedented – Google once helped institutions like the National Gallery in London and the Metropolitan Museum of Art in New York to create virtual tours – but there was now a bigger push.
AR Acute Art Platform – interviewed by Design Week at the start of the year – has also expanded its offer with a new application that puts the user in the position of exhibition curator. Designed in-house, the app uses phone cameras to place facilities in people’s homes. He was accompanied by a few renowned collaborators: Jeff Koons, Marina Abramovic and Ai Weiwei.
Man’s best friend was the focus of a design-led exhibition at Japan House in London this summer. “The human engineering approach is a vision of creating the environment that uses the human body as a criterion,” explained Hara Kenya, chief creative advisor at Japan House. “However, look at a small dog next to its owner and you begin to see the potential for a new type of architecture.”
16 architects and designers from around the world produced work for the playful exhibition, attracting Japanese architect Kengo Kuma. Among the collection of beds, toys and activities was a poodle-specific piece by German industrial designer Konstantin Grcic. Paramount was a mirrored structure that aimed to appeal to the breed known to love its own reflection.
Japanese architect Kazuyo Sejima was inspired by the characteristics of his subject himself. Mimicking the fluffy coat of the Bichon Frize, he created a “cotton candy cocoon” where the breed could relax in comfort and style.
The V&A Alice in Wonderland exhibit was scheduled to open this summer. When the exhibit was postponed until next year, the museum turned to London-based game studio Preloaded to create VR sets for those who wish to visit the fantastic world of Lewis Carroll.
While the original plan was to have a 4-minute experience at the exhibit itself, that ambition grew during lockdown to become a home-based virtual reality experience. The studio also developed a centerpiece for the exhibition preview in October. The experience took people to the Queen of Hearts Garden and the Hall of Doors, incorporating visual tricks – such as the change of scale – throughout. The world consisted of vivid hand-drawn visuals, with illustrations by Icelandic artist Kristjana S. Williams.
Virtual reality opens up possibilities for the exhibition experience, Preloaded associate creative director Jon Caplin told us. “Not being held back by the physical world means you can completely change the environment, in color and scale,” he added, while noting that it could be experienced in the comfort of people’s bedrooms. . In an age of social distancing, this could be a useful avenue for museums and galleries to explore – although that of course means investing in a VR headset, added Caplin.
Being in a closed art gallery could make anyone paranoid during a pandemic. Visitors who brave the risk of leaving their homes may still doubt whether they are in a crowded space, people standing too close to them, or be skeptical of air circulation in museums. The spectrum of control exercised by people who frequent an indoor art museum varies greatly from the experience of visiting an outdoor botanical garden. How to give visitors more space to enjoy the works in complete safety? The field of exhibit design is expanding to meet these evolving challenges that will likely persist well beyond a vaccine solution against COVID-19.
Exhibits take years to prepare. While some exhibitions dealing with permanent collectibles have more flexibility, other exhibitions with works on loan from private collectors or other artistic institutions are more complicated. They require extensive agreements, insurance, and usually a courier to get them back and forth between spaces. When COVID restrictions started hitting museums last spring, it turned the exhibition programs of most museums upside down. Not only have they had to rethink, postpone or cancel entire exhibitions, but they have also had to rethink their current galleries to allow for greater social distancing.
When many museums only allow 25% capacity, how visitors interact with the space becomes increasingly important. Avoiding bottlenecks and consolidations is a major concern. What does this mean for interpretation and museum experience? Visitors are likely to see fewer labels. The text on the wall can bring groups of people together to read it. It will take more work from guests to educate themselves with brochures or visit the website for more background on the artwork before their visit. Videos and other materials that enhance the visitor experience will become simpler, shorter, or only available online.
Exhibition design will likely continue to evolve into a “less is more” approach. More artwork will be removed from checklists to leave extra space between objects and viewers. The galleries will therefore appear larger and more open. Based on neuroscience research from Peabody Essex Museum of Art, we know that visitors tend to spend much more time viewing individual works of art earlier in the exhibits than at the end. Less work and more space will allow visitors to better pace themselves and enjoy the rooms without being overwhelmed or crowded.
A debated point in the design of an exhibition is whether there should be one way to experience an art exhibition if there is to be multiple routes. Most museums’ post-pandemic protocols have a “one-way, one-way” system to guide human trafficking. Some believe that this is a less efficient way to deal with crowds and that the more people in and out of a space, the better it is for visitors. However, studies from the Peabody Essex Museum have also found that when museum visitors see an exit sign, they tend to spend less time interested in art and have a sense of urgency to leave.
COVID-19 will undoubtedly affect the way museums are built and renovated for decades to come. It will be highly preferable to have flexible gallery spaces where walls can be removed or auditoriums with seating that can be reconfigured. Bringing the outdoors into artistic institutions, a push that began long before the pandemic, will become a priority. Outdoor cafes and illuminated glass corridors will gradually become the new standard for museums around the world. Gift shops might even become mini-museums themselves, where touching is a thing of the past, and where you navigate to shop.
Condensing an exhibition’s message with fewer works of art, text, and interpretive elements can allow visitors a safe museum experience, but it offers a more diluted way of interacting with the art. Less accessible information and little or no tactile elements also make visits less rich and less memorable. While it is important to consider how to create the adaptable viewing experience possible, it is equally important to ensure that we don’t lose valuable content and to continue to find new ways of connecting people and the world. ‘art.
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Yesterday, the Costume Institute of the Metropolitan Museum of Art held its press preview for “About time: mode and duration. “As was noted repeatedly throughout the proceedings, the show’s management had no way of predicting how puny that puny title would turn out to be in 2020. Initially, the show, which is focusing on the concept of time in fashion and specifically uses Henri Bergson’s concept of duration as a framework, had a fairly dual meaning thanks to the fact that it coincides with the 150th anniversary of the Met. But now, with its closely postponed spring opening seven months due to the coronavirus pandemic and the United States in a suspended state of anxiety, it is truly time for museum visitors to have the opportunity to let themselves be carried away by the beautifully constructed and intellectually stimulating pieces of clothing.
Of course, thanks to all the museums in New York reduced capacity and clearly low number of participants, not as many people will see this show compared to its successful predecessors. The exhibition was curated as usual by Wendy Yu curator Andrew Bolton. It is made possible by Condé Nast and Louis Vuitton, whose artistic director Nicolas Ghesquière contributed curatorial ideas and pieces he had designed to Bolton’s efforts. The show features a narrated soundtrack from the lines of Virginia Woolf that almost seems to merge the aural elements of the 2012 “Schiaparelli and Prada: impossible conversations“with last year’s literary foundation”Camp: Fashion Notes. “Bolton’s emphasis on a non-linear timeline is just as cerebral as the latter shows, while the fact that (virtually) all of the clothing included is black will undoubtedly be reminiscent of some of the works included in 2017.”Rei Kawakubo / Comme des Garçons Art of the In-Between”And the lesser-known fall 2014 show on mourning outfits,“Death becomes her. ”
The black color scheme sets a somewhat subdued tone that also seems appropriate in light of current events. That, and the fact that the vast majority of the pieces included are from the Costume Institute’s own collection, may not attract the interest of potential visitors in the way that stars like a gold dress by Guo Pei have in the past, but this allows the scenography of the exhibition to shine all the more.
Led by artist Es Devlin, it does indeed make good use of lights. But the main attraction is its structure, which mirrors that of two giant clocks. Divided into 60 “minutes”, each increment contains a pair of clothes that clearly communicate with each other. Speaking at the press premiere, Devlin said she seeks to help viewers “understand these expansions and contractions” of the female form, as well as how this architecture moves and transmutes. through the different stages of life. Clearly, a laudable goal for any visitor, but especially for those who work in the design industry themselves.
ACCA’s two-year lecture series focused on ambitious, contested, controversial, genre-defining and defying contemporary art exhibitions and projects is now available in its entirety as free podcasts and illustrated video lectures.
The series began in April 2019 when Australian art collector and patron John Kaldor spoke of when he invited French artists Christo and Jeanne-Claude to Australia to walk two and a half kilometers of coastline to Sydney’s Little Bay, this which gave rise to the first monumental environmental work monument by the pair: Wrapped Coast – One Million Square Feet 1968-69.
Defining Moments: Stories from the Australian Exhibitions 1968-99 concluded this week with a talk by Dr Mikala Tai on the founding of Gallery 4A, a Sydney-based non-profit organization established in 1996 to showcase and promote the work of Asian and Asian-Australian artists.
Artistic Director / CEO of ACCA Max Delany said the fifteen lecture series traces the legacy of artists and curators, addresses the critical reception of important selected projects and reflects on a wide range of exhibitions and formats that have helped shape contemporary art and culture Australian more widely.
“We are happy to present now Defining Moments: Australian Exhibition Stories 1968-99 in its entirety, online. Presented by a diversity of commentators and protagonists, the series covers a number of topics and contexts, from the creation of murals at the Papunya School in 1971 that sparked the painting movement in the Western Desert, and the first Australian feminist artistic initiatives, up to the 1994 landmark. exhibition Don’t Leave Me Like This: Art in the Age of AIDS at the National Gallery of Australia, among other exhibits that respond to important moments and movements in the history of Australian art and culture.
“The Decisive moments is a rich resource, offering new perspectives and reflections on the game changers in contemporary art during the last three decades of the 20th century, ”said Delany.
The defining moments: Australian exhibition stories 1968-1999 the lecture series includes:
2019 season Selected projects from 1968 to 1983 encompassing interventions in public space and remote communities, as well as projects in artist and institutional spaces. Available as a podcast on ACCA website and podcast platforms:
Jean Kaldor on Christo and Jeanne-Claude, Wrapped Coast 1968-69, with the respondent Rebecca coates John kean to Digging for honey ants: the Papunya mural project, with the respondent Hannah presley Ian millis to Object and idea, National Gallery of Victoria, 1973 Peter Kennedy to Inhibodress, multimedia interference, with responder Sue cramer David Chesworth to Clifton Hill Community Music Center 1976-83 Julie ewington to Almost anything goes: Sculpturescape 1975 in Mildura Janine Burke to A room of their own: creation of a space for the feminist collective, with the respondent Helen Hugues Anne Marais to Post Object Art in Australia and New Zealand
2020 season New institutional models and contemporary modes of exhibition emerging in the 1980s and 1990s. Presented digitally in the form of video conferences and podcast freely accessible on ACCA website and podcast and video platforms:
Judy Annear to Popism, National Gallery of Victoria, Melbourne, 1982 Peter Cripps to The art of recession and other strategies, Institute of Modern Art, Brisbane, 1985, with the respondent Channon Goodwin Djon Mundine OAM to The aboriginal memorial, Sydney Biennale, 1988 Doug Hall AM on the First Asia-Pacific Contemporary Art Triennial, Queensland Art Gallery, Brisbane, 1993 Ted gott to Don’t leave me like this: art in the age of AIDS, National Gallery of Australia, Canberra, 1994 Stephane Gilchrist to Aratjara: art of the first Australians, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1993 and running:Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson, Australian Pavilion, Venice Biennale in 1997 Mikala Tai on the founding of Galerie 4A and the inaugural exhibition 1997.
Access podcasts and videos from the full two-year lecture series here.
British set designer Es Devlin designed monumental concert stages for Beyoncé and Lorde as well as genius theater sets for Othello at the Met Opera and Hamlet at the Barbican, among others. Devlin’s latest work does not feature musicians or actors. After months of COVID-related delays, the exhibit she designed for “About Time: Fashion and Duration” opens on October 29 at the Costume Institute of the Metropolitan Museum of Art. The show promises to be sensory overload, with Meryl Streep, Julianne Moore, and Nicole Kidman reading Virginia Woolf Orlando and Devlin’s dramatic set design creating a clock-like pathway through which visitors can explore the changing relationship of fashion to time. An animated glimpse into Devlin’s work – two interlocking clock-shaped galleries – makes its exclusive debut here.
The decision to work with Devlin came naturally; she had designed several sets for Louis Vuitton’s womenswear collections in Paris, and with the brand as the show’s sponsor, calling on a Devlin collaborator felt good. “My favorite part of the job is collaborating with other designers outside of the curatorial field,” says Andrew Bolton, Wendy Yu curator in charge of the Costume Institute. “I have been fortunate enough to work with these amazing creative people, and it really moves the story of the exhibition forward.
He continues, “It’s always important to me that an audience enjoys the exhibit, and it’s an experience for them, so we try to deliver these multisensory immersive experiences, where the installation kind of reinforces the narratives of the exposure we try to convey. In this particular case, we got to Es – I was a huge fan of her and thought I could work with her last year on ‘Camp: Notes on Fashion’, but we went to a different direction.
This change of stage for “Camp” turned out to be fortuitous for “About Time”. Bolton has long had a penchant for the stage in the 1994 film version of Orlando, where Tilda Swinton, in the lead role, rushes through a labyrinth of hedges and emerges transformed through time and fashion. “I thought the idea of using a maze would be a good vehicle to convey this idea of time travel, and Es has made a lot of mirrored mazes, so she is very familiar with the idea,” explains- he does. They spent a week working together on a maze concept in London before COVID, but serendipity struck again. “I got a call from the Met saying the New York Fire Department stopped the idea because it was a fire hazard, if it was dead ends and people just couldn’t go out, ”Bolton recalls. “I said, ‘Es, why don’t we just make a clock? Immediately, because Es is so creative, she just changed her path; there was no hesitation whatsoever. She started working on this concept of a clock, and oddly enough, I think it’s better than it originally would have been.
The final design of the exhibition consists of two circular galleries that mimic a clock face, connected by a dark central track. In the first gallery, time is presented in a linear fashion through combinations of clothing arranged in a chronological chronology. At the center of the gallery is a pendulum, the ultimate reminder of the ticking of the clock, with Bolton’s style timeline from 1870 to 2020 located around the perimeter of the room. The characters seen here in the animation, quite Victorian in silhouette, nod to the pairings Bolton made with the museum’s archives. Presenting the exhibit in this way, he explains, not only underscores the importance of the museum’s collection and the strength of a linear view of fashion, but also celebrates a curatorial style that the Met has championed at the early ’90s. “I wanted to focus on what has really been one of our major contributions to fashion conservation methodology over the years by focusing on this idea of juxtaposition. The first time we did it was on a show called ‘Infra-Apparel’ in 1993; this is the first time that we have used this methodology, ”he explains.
Twelve warning urban tales. Exhibition design / Taller de Casqueria
Zoned: 650 m²
Manufacturers: RJ brackets, Textilfy
Elena Fuertes, Ramón Martínez, lvaro Molins, Jorge Sobejano
Text description provided by the architects. The exhibition Twelve Warning Urban Tales, based on Superstudio’s Twelve Warning Tales for Christmas, aims to “rethink our role in the construction of the city”, in the words of Ethel Baraona, curator of the exhibition. . Through twelve installations that focus on different aspects of society and its relationship with the urban environment, Twelve Warning Urban Tales explores utopias and dystopias about the future of the city.
The exhibition route takes up the first idea of the city as a limit: the physical and legal framework in which citizenship is born. The proposal defines a space within the Matadero Madrid exhibition space in which the interventions are located. Consequently, an intermediate space appears which is not an exterior properly speaking, but not an interior: a prolonged threshold that surrounds the exhibition. A semi-dark transition space, which allows the visitor to understand the exhibition from the outside and to look for alternative ways to approach it. A staircase placed in this threshold allows visitors to rise above the wall and have a distant view of the entire exhibition.
Inside the perimeter, the exhibition space is structured by a regular grid distorted by the proposed boundary. This structure in the form of a game board assigns a cell to each intervention and guides the movement of visitors through the exhibition, opening up different paths. The grid also serves as a support structure for each of the installations as well as for the graphic material, which takes the form of larger banners, flags and textiles. The materiality of the perimeter mixes and blurs the reflections of the interventions in a continuous background.
Twelve uplifting urban narratives construct an image of the city based on different projections of the future to come, prompting visitors to create their own narrative.