The making of a cultural historical Exhibition usually involves the collaboration of two categories of professionals: the curator, in charge of the Exhibition content, and the designer. From these positions, representing content and form, the team is in charge of cooperating towards a shared goal ? the Exhibition ? which is the spatial expression of ideas.This MA thesis is based on my work experience as a designer of cultural historical Exhibitions. By means of situations where my perspective collided with that of the museum curators?, I examine our different concepts on a number of issues: the meaning of an Exhibition; the process; and the perception of what our respective roles are.

We are heading for a line, and its a fine one. This project is a dialogue between you and I; about the dialogue itself. The initial interest was to use literary text to address the visitor in the Exhibition space. The purpose was to make man aware of its relation to others and narrative objects. I planned for the dialectical event in every descision.

The aim of this paper is to highlight issues and potential problems regarding conservation inan Exhibition situation. The thesis presents a case study from the Röhsska museum, inGothenburg, where an interior of painted tapestries was currently being conserved andrestored. The study includes general history about the painted tapestries, conservation historyand information about the current treatments.The painted tapestries originates from a former manor [sv: säteri] in Gothenburg calledHökälla and were donated to the Röhsska museum in 1916. The tapestries were a part of themuseum?s permanent Exhibition until 1996, when it was dismounted and put in storage.

The purpose with this thesis is to study how the arranging of archaeological objects in permanent Exhibitions has changed over time. To find out about this I have been analysing three museums with prehistorical permanent Exhibitions. The Exhibition at Statens Historiska museum was produced in 2005, Nationalmuseum in Köpenhamn was produced in 1972 with additions from 1988 and 1995 and, finally, Malmö Museer Exhibition which was produced in 1977. These Exhibitions have been compared to analyse developments during the last 30 years. The result shows that there are different ideals within the Exhibitions.

The making of a cultural historical Exhibition usually involves the collaboration of two categories of professionals: the curator, in charge of the Exhibition content, and the designer. From these positions, representing content and form, the team is in charge of cooperating towards a shared goal ? the Exhibition ? which is the spatial expression of ideas.This MA thesis is based on my work experience as a designer of cultural historical Exhibitions. By means of situations where my perspective collided with that of the museum curators?, I examine our different concepts on a number of issues: the meaning of an Exhibition; the process; and the perception of what our respective roles are.

The purpose of this thesis has been to increase the availability the Exhibition text at Eskilstuna Art Museum to make it easier for the target group to read and understand them. To get answers to my questions, I have studied relevant theories and methods, including textual analysis of the current Exhibition texts. In my work, I have used the principles of the concept ?easy to read? but also considered the problems with this tool when I made my prototype. After my studies, I noted that both the content and design needed to be changed to fulfill better legibility, readability and reading value..

This study examinates technology's traumatic impact on the male subject in The Atrocity Exhibition by J.G. Ballard. In my analysis I show how the protagonist uses a fetischistic strategy in order to make sense of the trauma that technology embeds. Paradoxically it proves to be the agent of his trauma, but also functions as his shield. The machine is thus in a position of the hinge, the point in a structural system that both enables and deconstruct the system.

Abstract ? What is an Exhibition hall? ? How do you create tension between art and nature? ? Why should an Exhibition hall be situated in the country side; would that add to the experience? ? What are the conditions of exhibiting contemporary art? These are some of the questions I first asked myself when I came to work with this project on an Exhibition hall outside Kivik, Österlen. These questions brought me to new places, meetings and ideas. The team working actively to realize this project, calls it ?Art by the Sea?. The team has been working with the project since 2001 .

Webexhibits is a growing but unexplored, cultural phenomenon that indicates a new use of the Internet for cultural communication. In the essay two quantitative methods, logganalysis and websurveys, have been used to study the visitors in 5hus.nu. The purpose is to generate knowledge about webexhibits as a cultural manifestation and medium by studying the experience and actions of its visitors. To achieve the aim the paper explores the methodological questions of how to study webusers. Theories about the Exhibition as a medium and the web as a virtual area of exhibits have been used to understand and interpret the results.

The Röhsska museum in Gothenburg has recently launched a new work method, Backstage, that is studied and paralleled to the museums permanent Exhibition on Japanese design. In Backstage the museums routine work is executed in full view of the museums visitors in an Exhibition area. The study has focused on the museums intentions and the visitors? interpretations in Backstage and Japanese design, as well as the staff?s experience of the work method?s public aspects. The study?s empirical material has been collected through interviews with the museum staff as well as observations and interviews with visitors in both Backstage and Japanese design.

The purpose of this paper was to analyse ?Identity- about trademarks, signs and symbols?. The project was a co-operation between the National museum of Art and Stockholm School of Economics in the spring of 2002, which consisted of an Exhibition, a book and a series of seminars. The goal was to illustrate how the trademark had developed through history, which role it has in the modern society and how the trademark serves as a creator of identities. The project, mostly the Exhibition, was exposed to criticism, which was directed towards the sponsorship deals between The National Museum of Art and five companies..

The aim of this bachelor?s thesis is to analyze if there are differences in the way of explainingthe causes of The Great Emigration from Sweden to America in the late 1800s/beginningof the 1900s. Due to the researcher?s education the thesis has a didactic, and comparativeperspective between how history textbooks aimed for Middle School and High School andhow the Exhibition Drömmen om Amerika (= The Dream of America), in Vaxjo, Sweden,explains this phenomena. A special analysis scheme is applied to the sources in a way to makeit clear to the reader how informative they are and how much effort they put in the explaining.The outcome of the analysis shows that the Exhibition gives the visitor a wider, deeper,and more informative depiction of The Great Emigration, compared to the textbooks? moresummarized extracts.

During the autumn of 2007 I attended a course in plantcomposition in Alnarp. The main task during the coursewas to make a proposal for a theme garden that was goingto represent the school at an Exhibition in the GardenSociety in Göteborg, during the summer of 2008. Thetheme for the garden was set to ?sustainable development?and we had fully two weeks to work with the proposal.I won the competition and during the spring andsummer of 2008 I developed and realized my idea. Thegarden Exhibition was inaugurated the 28th of June andwas open until the 28th of September.

This examination studies the gender balance of contemporary art Exhibitions in Sweden. To what extent genders are equally represented assumes to be based on how the curating process considers equality work. Three categories of art organisations are studied with the intention to determine differences in equality approach between the categories. Official documents of each organisation are examined to understand how they formally relate to equality work. Statistics of the actual gender balance of each organisation are produced based on the last two years Exhibition archives.

This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all ?kitsch?.