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 purpose of this study was to develop recommendations for using more efficient lighting and better graphic design to create a more uniform structure in the exhibition hall ?Road to the past? in Jönköping County Museum by answering the following questions at issue:1) How are the objects in the exhibition hall ?Road to the past? exposed today?2) How can you use lighting and graphic design to create structure in the exhibition and strengthen the expression in the exhibition?Our work is based on observations and open group interviews. We observed the exhibition hall ?Road to the past? during day and evening. In the same hall, we observed a guided tour that we followed up with open group interviews.

Shaping visual stories - content in exhibitions is an essay on how content has been shaped in the two exhibitions "Memento mori" and "Hästen - tyglad, piskad, älskad". The study focuses on how exhibitions can be defined through their content as well as how the exhibitors'different intentions towards the exhibition affect the working process as well as the result. This is put in relation to theoretical models and discussions on ideals in the field of exhibition and what impels these to find an answer to the question: What makes an exhibition?.

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.

This essay concerns dance as an exhibition object by examining the permanent exhibition at The Museum of Dance in Stockholm, Dansmuseet. Due to its dependence on the temporality and movement of the lived body, dance does not easily lend itself to being exhibited in a traditional exhibition display; and since the live dance performance itself is ostensibly absent at the exhibition display, other means of representation must be relied upon in order to evoke the exhibition visitors? experiences of time and movement as well as the feeling of dance. Starting from a phenomenological first-person perspective, as an exhibition visitor, I present three ways in which such experiences may come about. The cross-section of the experience evoked and the means that trigger them are intermedial, spatial, and performative taking their departure in the visitor?s pre-understanding of dance..

This project had the aim to produce an exhibition catalogue for the ValandSchool of fine Arts (BA level). The purpose was to give the student a professionalfrontage and to visualize there exhibition concept through the catalogue.What elements, typography and shapes should be used for this purpose?How important is the physical format that the catalogue has?Through a massive sketch phase I came to see the difficulties in creating anexhibition catalogue. What type of images, shapes and expressions that couldrepresent the concept behind this specific art exhibition was hard to find.What shape should the catalogue have?The work became more than just making an exhibition catalogue, the cataloguehad to communicate the specific concept in a clear way.

The aim of this essay is to study how older art can be used to illustrate our contemporary society with a critical view and also to contribute to the discussion of for what reason we keep our public collections.My essay is based on a case study of the 2008 summer exhibition ?Queer: desire, power and identity? at Nationalmuseum. The exhibition used art from different eras to show how the ideals, norms of gender, and how the symbols for power have changed throughout history. It also reveals how certain art or artists have been excluded from art history due to their sexual orientation.This study is based on three questions:-          How can older art be used to illustrate a to our society contemporary theme?-          How can a public museum make an exhibition with a clear and active message?-          How can a clear and potentially sensitive message be shown without risking to be provocative towards either the visitors or the person(s) it is about.My material is based on the exhibition, the work material from the museum, protocols, photographs, exhibition texts, and interviews with the creators of the exhibition.

This essay explores how artwork in the public space can be analysed, conceptualized and described by bringing attention to site. Through an analysis of artworks in the yearly art exhibition of Fittja Open 2011, the essay draws attention to site-specific art and structures of power. The principal aim is to present not only the exhibition of Fittja Open 2011 but also other artwork in the public sphere in Fittja, a suburb to Stockholm. From this point of departure other interests evolve that concerns the "image" of Fittja. The analysis, based on research in art history, architecture, ethnology and philosophy as well as qualitative interviews, also focuses on understanding the role of site and the relations between art practice, institutions and site.The result shows that there are problems with a ruptured interface between the artwork and site.

This paper discusses the feeling of insecurity in educational exhibitions. The study analyzes one exhibition at the museum ?Nordiska Museet? in Stockholm, and strives to answer how the question of spatial factors can influence the feeling of insecurity, and thereby also the information process.The following questions have been addressed: Can we speak of a spatial allocation problem of exhibitions that contain much information? What is the relationship between the exhibition's intention and visitors conduct A model has been designed with influence from wayfinding where the exhibition is divided into basic parts, which allows a detailed study of the exhibition, and of how the parts relate to each other. The research contains spatial analyze, observations as well as interviews.The conclusion is that we, in the scientifically investigated exhibition, can speak of a spatial allocation problem when the information seems to be an overload for the visitor..

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.

This essay explores how artwork in the public space can be analysed, conceptualized and described by bringing attention to site. Through an analysis of artworks in the yearly art exhibition of Fittja Open 2011, the essay draws attention to site-specific art and structures of power. The principal aim is to present not only the exhibition of Fittja Open 2011 but also other artwork in the public sphere in Fittja, a suburb to Stockholm. From this point of departure other interests evolve that concerns the "image" of Fittja. The analysis, based on research in art history, architecture, ethnology and philosophy as well as qualitative interviews, also focuses on understanding the role of site and the relations between art practice, institutions and site.The result shows that there are problems with a ruptured interface between the artwork and site.

Graphic design is an integrated part of the public spaces we move through in our daily lives. This thesis explores the emotional aspects of graphic design, with a focus on environmental graphics for the public space. The goal is to find ways in which the emotional aspects of a design solution can be varied without compromising the practical aspects, i.e. affect the conveyance of information. This goal is pursued through an analysis of historical and contemporary literature as well as by design practise.

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.

This thesis is based on an exhibition at the county museum Upplandsmuseet in Uppsala, Sweden. During an internship at this museum I got a chance to produce an exhibition, with some guidance from the museum staff. This exhibition was created with the purpose of teaching about agriculture in the late 19th century and also about the magnificent workmanship of Alrik Klingberg, who have carved these wooden objects for over 50 years. Each one of the objects possesses a story and a memory. The memories that Alrik Klingberg has incorporated into the objects are mainly from his childhood at a croft in northern Uppland.

With my bachelorwork I aimed to design a new mobile ?livingspace? which should become as small, functional andeasy to assemble as possible.The ?living space?is made for people who are interested inhaving a biking vacation and getting more close to naturebut at the same time wish to have a comfortable and easyway of traveling and living. The ?living space? is a multipurposevehicle which you transport with a bicycle. Thevehicle contains a kitchen with workspace, a refridgerator,space for luggage and a comfortable sleeping space.In my workingprocess I made research, sketches and modelsto find a functional solution..