The relationship between design, object and memory: the Renato Russo exhibition

IF 0.4 0 HUMANITIES, MULTIDISCIPLINARY

Conservar Patrimonio Pub Date : 2020-12-15 DOI:10.14568/cp2020038

Alceu Silva Neto, P. Arantes

引用次数: 0

Abstract

The objects and their functions are configured depending on how they will be used, assuming they can be used as archives’ tools, material culture inputs, generators of memories or simply perform the function for which they were designed. Thus, it becomes necessary to discuss the functions of museum objects and culture. To this end, the relations created between the items exhibited and the exhibition design in the process of memory elaborating will be identified, considering that both are inserted in an institutional space configured as Theater of Memory. The argument is supported by concepts from Hooper-Greenhill, Meneses and Ramos. As a case study, the exhibition Renato Russo, from the Museu da Imagem e do Som of São Paulo, was elected, including the description of the chosen objects and the dynamics created between the exhibition space, the objects and the visitor.

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设计、对象和记忆之间的关系：雷纳托·鲁索展览

这些对象及其功能的配置取决于它们的使用方式，假设它们可以用作档案的工具、物质文化输入、记忆的生成器，或者只是执行它们的设计功能。因此，有必要对博物馆实物和文化的功能进行探讨。为此，考虑到展览物品和展览设计都被插入到一个被配置为记忆剧场的制度空间中，将确定它们在记忆阐述过程中所创造的关系。胡珀-格林希尔、梅内塞斯和拉莫斯的观点支持了这一论点。作为一个案例研究，来自圣保罗图片博物馆的展览Renato Russo被选中，包括对所选对象的描述以及展览空间、对象和游客之间的动态。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Conservar Patrimonio HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.80

自引率

0.00%

发文量

审稿时长

12 weeks

期刊介绍： Conservar Património is a journal, published three times a year, that intends to create a space for the diffusion of conservator-restorers’ studies and activities. However, at a time when Conservation-Restoration pretends to develop further through collaboration with other areas of knowledge, such as History of Art, Archaeology, Museum Studies, Chemistry, Physics, Biology and other related disciplines from the fields of the natural and social sciences, the journal also receives contributions from any other provenance as long as directed towards the multiple dimensions of the works that integrate our Cultural Heritage. Theoretical issues on the conservation activity may also be submitted.