DepartmentTemple University Abroad. Rome Campus. Gallery of Art
Africa--Emigration and immigration--Exhibitions
Europe--Emigration and immigration--Exhibitions
Europe--Emigration and immigration--Government policy--Exhibitions
Permanent link to this recordhttp://hdl.handle.net/20.500.12613/171
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Abstract"This project, and its resulting exhibition, which includes text and images, is dedicated to those souls who are navigating the Sahara as well as those that have been lost among its dunes where their bodies 'instantly mummified'. Throughout, the intent of the project has been to identify traces of these migrants' journey from Africa into Europe; through data and policy analysis which are woven together with the images and texts so as to relate fragmentary memories of the journey. Given that words cannot express certain elements of the migratory condition, and statistical data can only represent the aggregations and that which is recorded, the images help provide the deeper insights that enable us to decipher such a complex phenomenon. Recognizing the imperative to sketch out a "new politics of truth, one founded in contingency and self-transformation," it is our aim to move away from a conventional interpretation of migration, which relegates the discussion to the dim space between illegality and victimhood."--Lorenzo Rinelli's academia.edu webpage.
DescriptionPublished to accompany the exhibition, Safe Travels/Interrupted Flows, curated by Marta Bordignon, Camilla Lai, and Lorenzo Rinelli in collaboration with Shara Wasserman. Held June 4-24, 2019 at the Gallery of Art, Temple University Rome.
CitationBordignon, M. & Rinelli, L. (2019). Interrupted Flows. Temple University Rome.
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Showing items related by title, author, creator and subject.
Re-envisioning the 1876 Centennial Exhibition: New Exhibit Solutions for an Old Interpretive ProblemBruggeman, Seth C., 1975-; Winling, LaDale (Temple University. Libraries, 2011)This paper takes a fresh look at the Centennial Exhibition of 1876 and exhibits that interpret it, and suggests new exhibit strategies to re-interpret this complicated moment in American history.
PENNHURST: AN EXPLORATION OF EXHIBITION AND COLLECTION CARE INSIDE A HAUNTED ASYLUMLowe, Hilary Iris; Bruggeman, Seth C., 1975-; Flanders, Lowell (Temple University. Libraries, 2017)This study is an imaginative exercise which explores the use of historic artifacts at the haunted attraction Pennhurst Asylum in Spring City, Pennsylvania. It is understood here that the use of historic artifacts from the former Pennhurst State School within Pennhurst Asylum inevitably tethers the attraction to the difficult history of Pennhurst State School. This study explores the convergence of dark tourism, exhibiting difficult history, and performance as historical interpretation. Within the context of collections management and public history, Pennhurst Asylum acts as a case study exploring what can happen when difficult history is exploited and commodified.
CARAVAGGIO: PERCEPTION SHIFTS THROUGH SELECTED TWENTIETH– and TWENTY-FIRST CENTURY MUSEUM EXHIBITIONSCooper, Tracy Elizabeth; West, Ashley D.; West, Ashley D. (Temple University. Libraries, 2018)The focus of this thesis will be the exploration of the narrative constructs around the life and work of Michelangelo Merisi da Caravaggio (1571–1610). This exploration will occur through the study of selected exhibitions curated on the Lombard artist from the twentieth- through twenty-first centuries. It will demonstrate how museums have played a significant role in the public’s understanding and perception of Caravaggio. In this thesis, I will argue that exhibitions on Caravaggio have supported and reshaped the general understanding and perception of the artist in crucial ways not done to the same effect in more nuanced academic scholarship. I will also argue that public exhibitions have functioned according to a different set of agendas from those addressed to academia. For example, exhibitions are conceived and function on guiding principles such as alignment with museum mission statements, audience draw and accessibility, educational outcomes, and the visitor experience. This thesis will seek to determine to what measure these principles have affected the framing of content and to clarify how in particular the selective use of Caravaggio’s biography has affected interpretation of his works within a museum context for a viewing public. The restored enthusiasm for Caravaggio in the second-half of the twentieth century also focused on his personal life due to the publication and translation by Walter Friedlaender of Lives written by his seventeenth-century biographers—Giorgio Mancini, Giovanni Baglione, and Giovanni Pietro Bellori—as well as the publication of documents and court records, which highlighted episodes of Caravaggio’s criminality, all impinging on our interpretation of his artistic merits. Although these findings support our understanding of Caravaggio as a complex individual, they also contribute to the sensationalization and romanticization of the artist as the quintessentially bohemian figure. Furthermore, doubtful attributions and disputes over execution dates problematize our understanding of the artist’s oeuvre and have at certain points reinforced a ‘Caravaggio narrative’ of the rebellious, indecorous artist. It is my intention to show how museum exhibitions have contributed to and exploited this narrative and to determine more precisely how and to what extent they have shaped it. With this exploration of Caravaggio’s narrative construction by museum exhibitions of the twentieth- to twenty-first centuries, I aim to approach and reconsider this subject, which has been dealt with heavily in scholarship, under a different lens. In the case of Caravaggio—whose persona and works have been posthumously manipulated, admired, and condemned at the hands of biographers and critics—it is necessary to approach this subject with renewed, unbiased, and objective vigor within a new frame of understanding: the museum exhibition frame. I will use a comparative method, studying three key exhibitions over time, to show how museums have presented the artist’s career development. I pay particular attention to the incorporation of biography and to the impact the inclusion of selected aspects of his Lives have had on the public view of his works. The influential format of Giorgio Vasari’s Lives of the Artists set the structure and codified the model of biographical determinism that would inform Caravaggio’s later biographers in the interpretation of his works; this has persisted through the twentieth- and twenty-first centuries with the application of psychoanalytic approaches to Caravaggio. The first of the three exhibitions I have selected is Longhi’s 1951 Milan exhibition, Mostra del Caravaggio e dei Caravaggeschi, which restored public consciousness of Caravaggio’s innovative and revolutionary style, reinserting him into the artistic canon. My second example will be The Age of Caravaggio, held at the Metropolitan Museum of Art in 1985. The Met exhibition is novel for its focus on Caravaggio’s relationship with his precursors and contemporaries (the organizing committee deliberately excluded works by Caravaggio’s followers) and for its interpretation of works within their historical context. Finally, I will examine Caravaggio: L’ultimo tempo 1606–1610, held first at the Museo di Capodimonte, Naples 2004–2005, then later as Caravaggio: The Final Years, at the National Gallery, London in 2005, which focused on the more enigmatic part of Caravaggio’s late career after his flight from Rome in 1606. The London 2005 exhibition provided new insight into the artist’s stylistic changes in the last years of his life. These three exhibitions will give insight about the perception shifts of the artist that have taken place in the twentieth and twenty-first centuries as a result of scholarly research spurred by museum exhibitions centered around Caravaggio.