Exhibitions have become, at least since the 1990s, particularly attractive case studies to museologists, cultural researchers and art historians. The growing interest in the history and theory of exhibitions has promoted a relevant national and international discussion, fruitfully crossing academic, artistic and museological contexts. Within the frame of museum studies, the specific field of exhibitions histories is still expanding, also challenging and reshaping important art historical frontiers and methodologies. At the same time, museums are critically re-evaluating their exhibitionary heritage in an unprecedented way: projects like multimedia archives, catalogues raisonés of exhibitions, virtual and physical restaging of exhibitions, etc., promote particular forms of disseminating, documenting and recovering the histories and memories of meaningful exhibition events.
Such wide and complex movement of “remembering exhibitions,” to use Reesa Greenberg’s words, demonstrates how the exhibition is defining a rich and manifold field of inquiry and research. Thus, a comprehensive investigation of exhibitions and their impacts proves necessary, given that the analysis of exhibitions’ histories, images, critiques, voices and circulations can importantly contribute to broadening the grounds of museum studies, art history, visual theory, cultural studies, photographic history, intermedial and digital cultures. In this issue of Revista de História da Arte, we aim at gathering different readings, and disciplinary perspectives capable of problematizing the phenomenon of exhibitions, considering them as dynamic historical settings where individual and collective forces necessarily intersect. To this end, we are accepting proposals for articles that critically explore the subject according to a wide range of methodologies, chronologies, geographies and approaches. Possible topics may include, but are not limited to:
- Exhibitions histories (not) as art history?
- The exhibition between medium specificity and intermediality
- Art exhibitions and the exhibition as a form of art
- The reception of exhibitions: art criticism and the construction of art history
- Experiments: the exhibition as laboratory
- Documenting exhibitions: histories, voices, images
- Beyond reproduction: connections between photography and exhibitions
- Exhibitions of exhibitions and other evocations
- Circulations: the exhibition as network
- Challenging the aura: the exhibition as (un)repeatable event
- Diplomacy, heritage and the cultural politics of exhibitions
- The exhibition between propaganda, rhetoric and persuasion
- Identity building and contestation on display
- The politicization of exhibitions: narratives of continuity and change
- (Im)material approaches to exhibitions
- Exhibitions’ archives and/or databases
- Museography, production and exhibition design
- Interactions between exhibitions and the market
Proposals (abstracts) are welcome until 31 July 2018.
Please send proposals to firstname.lastname@example.org including title, 500-word abstract, 4 keywords, together with the author’s name, affiliation, contact details and a short biographical note (200 words).
Authors will be notified by August.
Complete papers including images will be due by 15 November 2018. Articles will then be submitted to double blind peer review and should follow RHA editorial guidelines.
Accepted languages: English
Joana Baião is a postdoctoral researcher at IHA and at the Institut d’histoire moderne et contemporaine (Ens, Paris), as well as a consultant of the project History of the Calouste Gulbenkian Foundation’s Art Exhibitions – Digital Catalogue.
Leonor de Oliveira is a postdoctoral researcher at IHA and has been involved in projects related to exhibitions as senior researcher (History of the Calouste Gulbenkian Foundation’s Art Exhibitions – Digital Catalogue) and as curator (Casa das Histórias Paula Rego).
Susana S. Martins is a postdoctoral research fellow at IHA, Universidade NOVA Lisboa and at the Institute for Cultural Studies, KU Leuven. She teaches at the Department of Art History (FCSH-UNL), and her work focuses on the intersection of photography and exhibitions.