My Individual Project
This exhibition also gave me some inspiration, I realized that there are some abstract parts allowed in the exhibition, we should indeed express our own views in the curation, but at the same time, we can give the audience some space to think and feel. Therefore, I reflected on the content of my exhibition, and I thought that I should not confine myself to analyzing the content of the opera, because an exhibition that is too literal may not attract the interest of the audience, and I should incorporate more parts that can be interactive and experienced.
Therefore, I decided to add some interactive experience areas, such as allowing participants to watch opera videos of different periods, allowing them to participate in the interaction of lines and reciting, or asking some questions at the end of the exhibition for the audience to answer.
I found three artists, the first is Jean Paul Gaultier, whose design works often break the boundaries of gender and emphasize the breakthrough of traditional gender concepts, which I think forms a sharp contrast with the costumes in opera.(1) The second is Cindy Sherman, who records different women with her own lens and deconstructs the identity and status of women.(2) The third is Alphonse Mucha. I visited Mucha’s exhibition last August, and he has created many paintings on the subject of women, and the women in his paintings are soft but powerful.(3)
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- Mucha 1
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- Mucha 2
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- Mucha 3
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- Mucha 4
(1) Oliveira da Silva Junior, Alcidesio, and Jeane Félix. “Publicidade Como Pedagogia Cultural: Representações de Gênero Nas Campanhas de Jean-Paul Gaultier.” Reflexão e Ação 28, no. 2 (2020): 44–57. https://doi.org/10.17058/rea.v28i2.14051.
https://fashion.jeanpaulgaultier.com/en
(2) Cindy Sherman Photography, Bio, Ideas | TheArtStory
(3) Bade, Patrick, and Victoria Charles. Alphonse Mucha. 1st ed. New York: Parkstone International, 2014.
Alphonse Mucha Paintings, Bio, Ideas | TheArtStory
(Mucha 1)
(personal accounts 1)
(personal accounts 2)
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(personal accounts 4)
(Mucha 1)
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24 February 2025 at 19:55
So far I think that there is clear development in how the discussions we have as a collective are impacting your curatorial thoughts and decisions. Acknowledging that you have little curatorial experience, I do think the best thing will be to keep on your continued research like your visit to the Talbot Rice Gallery so that you can best learn how the audience will interact Women through Time in Opera. I do not think you need to change your idea at all, as you had suggested, just to be able to attract numbers, but rather think that the presentation of the work will be key to how the exhibition functions. I think that the next steps for you should be to maybe consider a venue, as you have already thought about possible artists, and from there think of potential ways to examine interactive exhibitions. Maybe thinking about including audio and video work, as well as physical objects, will be helpful. Have a look at often how Carolee Schneeman’s work is displayed with physical objects next to video recordings. :))