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Material Proximity

Experimenting with Material Strategies in Spatial Exhibition Design

Ane Pilegaard

A museum exhibition allows for close encounters with material objects. However, the distancing effect of the glass surfaces of display cases, as well as twodimensional text and picture panels, often seems to counteract the visitor’s sense of experiencing the three-dimensional material qualities of museum objects. In order to challenge this distancing effect, this article proposes an approach to spatial exhibition design that takes material aspects of both museum objects and exhibition design practices into close consideration. By developing the concept of material proximity, the article investigates the intimate space between museum object and visitor in which the object’s material qualities can be activated and interpreted. Based on an interdisciplinary bridging between different concepts of materiality from museum studies and architecture, the article concretizes the concept of material proximity through empirical analysis of a series of experimental display designs carried out at Medical Museion (the medical museum of the University of Copenhagen).

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Sandra H. Dudley and Conal McCarthy

Museum, contested histories in the Cairo Museum, object mobility as translation, and material proximities in exhibition design. Beyond even these varied subjects, however, while Museum Worlds is not a specialist archaeology or world cultures

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Mariana C. Françozo

offers the visitor a chance to feel, to a certain extent, that they are in the scene and are part of the migration process. This choice in exhibition design is aimed at highlighting the perspective of the migrant, yet it also takes away from the

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Steamships to Suffragettes

A Case Study of Interpretative Museology, Public Engagement, and Digital Development

Nicolas Bigourdan, Kevin Edwards, and Michael McCarthy

its seventh metamorphosis in order to better establish an equilibrium between modern exhibition design trends and the need to maintain the notion of “the museum at work.” This latest iteration of the SS Xantho exhibition, while instigated and defined

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Julie Gough, Jonathan Jones, Kelli Cole, Shari Lett, Glenn Iseger-Pilkington, Billie Lythberg, Jennifer Walklate, Jeanine Nault, Jake Homiak, Joshua A. Bell, and Natasha Barrett

allow different narrative lines—exhibition visits and exhibition design, for instance—to bleed into one another. It brings to mind Benjamin’s essay “Naples,” in which different parts of the titular city loop through and out of each other to create its

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“The Changing of the Guards”?

British Prehistoric Collections and Archaeology in the Museums of the Future

Catherine. J. Frieman and Neil Wilkin

. Thrane 1996: 12–14 ) ( Figure 1 ). New forms of exhibition, designed to bring new values, new stories, and new audiences to the fore, tend to deemphasize traditional links with research and researchers (cf. Witcomb 1997 ), albeit that materials held in

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With an Open Mind and Open Heart

Collections Care at the Laboratory of Archaeology

Kate Roth

Nations .” Canadian Journal of Archaeology 21 ( 1 ): 33 – 44 . Hutchison , Mary . 2013 . “ ‘Shared Authority’: Collaboration, Curatorial Voice, and Exhibition Design in Canberra, Australia .” Pp. 143 – 162 in Golding and Modest 2013 . Kahn