Pub Date : 2020-11-22DOI: 10.1080/20419112.2020.1852714
K. Lens, Koenraad van Cleempoel
This is not a collection was the provocative title of an exhibition (2019) with religious objects in the repurposed Park Abbey in Leuven, Belgium. We were intrigued by a collection of relic holders with aged textile inside them. The gentle care for these fragile objects and their delicate and breakable holders are like metaphors for their changing meaning and interiorized expression. We noticed a similar relationship between vulnerability and careful preservation during the exhibition (2018) It almost seemed a Lily : featuring a unique dialogue between seven recently restored sixteenth century 'Enclosed Gardens' with work of contemporary artist Berlinde De Bruyckere (°1964). Both her work and the original Enclosed Gardens are based on concepts of fragility, texture, the body, and decay. Figure 1 Expo It almost seemed a lily in Museum Hof van Busleyden, Mechelen, Belgium (2018-2019). The Enclosed Gardens are part of the permanent collection of the museum. During the temporary exposition work of Berlinde De Bruyckere dialogues with the centuries-old retables 1 . @ Museum Hof van Busleyden Mechelen (long-term borrower) and Foundation De beata vita OLV-Waver (owner).
这不是一个收藏品。这是2019年在比利时鲁汶重新改造的公园修道院举办的一场宗教物品展览的挑衅性标题。我们对一堆里面有旧纺织品的文物架很感兴趣。对这些易碎物品及其精致易碎的持有者的温柔关怀，就像是对其不断变化的意义和内化表达的隐喻。我们在展览中注意到了脆弱性和精心保护之间的相似关系（2018）它几乎像百合花：展示了七个最近修复的16世纪“封闭花园”与当代艺术家Berlinde De Bruyckere（1964）的作品之间的独特对话。她的作品和最初的封闭花园都是基于脆弱、质地、身体和腐烂的概念。图1世博会在比利时梅赫伦的Hof van Busleyden博物馆，它几乎像一朵百合花（2018-2019）。封闭式花园是博物馆永久收藏的一部分。在Berlinde De Bruyckere的临时展览工作中，他与有数百年历史的收藏品1进行了对话。@博物馆Hof van Busleyden Mechelen（长期借款人）和基金会De beata vita OLV Waver（所有者）。
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Pub Date : 2020-11-19DOI: 10.1080/20419112.2020.1836804
E. Ioannidou
“Home” describes an intangible concept. It is the emotional and meaningful relationship between people and their familiar environment. In living conditions of individuation, temporariness and mobility, personal possessions gain utmost importance in the establishment of a sense of “home”. They become material icons of durability and continuity in everyday life which carry references to people, places, the past and, most importantly, to oneself – one’s identity and history. Home No. 7 (a sample of) is a practice-led study of this hypothesis. The project attempts to record and maintain a sample of a domestic interior – once regarded as “home” – created in the North Room on 262 Bethnal Green Road at the time it was about to be dismantled. The sample of ‘home’ is contained within a box. The interior of the box is divided into compartments, each of which holds a different means of registration: casts, cards, photos, samples, drawings and texts. The quasi-scientific way of registration aims at a clear presentation of the information recorded and an objective point of view. Yet, these means of objective recording inadvertently reveal personal systems of reference created by the inhabitant. The text that accompanies and reflects on the project discusses the relationship between an individual and his/her personal possessions drawing from the fields of anthropology, philosophy, history, critical theory and studies of material culture. Project and text attempt to understand the material “at home” constructed by one’s personal possessions and the immaterial “at home” created by their relationship to their owner.
“家”描述了一个无形的概念。它是人们和他们熟悉的环境之间的情感和有意义的关系。在个性化、临时性和流动性的生活条件下，个人财产对建立“家”感至关重要。它们成为日常生活中持久性和连续性的物质象征，其中提到了人、地方、过去，最重要的是，提到了自己——一个人的身份和历史。家7号（的样本）是一项实践主导的关于这一假设的研究。该项目试图记录和维护一个曾经被视为“家”的住宅内部样本，该样本是在Bethnal Green Road 262号的North Room中创建的，当时它即将被拆除。“家”的样品装在一个盒子里。盒子的内部分为几个隔间，每个隔间都有不同的登记方式：模型、卡片、照片、样品、图纸和文本。准科学的登记方式旨在清楚地介绍所记录的信息和客观的观点。然而，这些客观记录的手段无意中揭示了居民创造的个人参考系统。伴随和反思该项目的文本从人类学、哲学、历史学、批判理论和物质文化研究等领域探讨了个人与个人财产之间的关系。项目和文本试图理解由个人财产构成的物质“在家”，以及由他们与主人的关系创造的非物质“在”。
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Pub Date : 2020-11-19DOI: 10.1080/20419112.2020.1836806
Brian M. Kelly
The histories of the 17th and 18th century Grand Tour and 16th century Wunderkammer offer perspective on the connections between foreign travel and collecting. These histories also assist in positioning the role of narrative in the development of a collection’s identity, and its influence on the evolution of the contemporary museum. As the Wunderkammer, or cabinet of curiosities, shrank in scale transitioning from a room to a cabinet within a room, its function also shifted from displaying to concealing what might be deemed hyper-collecting or hoarding. The contemporary scale has decreased even more as the Wunderkammer is now digital existing in small handheld devices with increased privacy. The Wunderkammer-a project hybridized the histories of the Grand Tour and Wunderkammer in a contemporary context seeking to document ranges of authorship in the vault. Consistent photography of nearly 100 European church, basilica, and cathedral ceilings developed into a virtual Wunderkammer where illustrative relations were fostered through juxtaposed curation. Results identified normative proportional conditions for various vault types, as well as anomalies responding to abnormal conditions in alignment, dimension and/or timeframe.
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Pub Date : 2020-11-18DOI: 10.1080/20419112.2020.1835239
S. Bennett
A home could be likened to a glimpse into our heads. The plaster and lath are the skin and bones, our skull of sorts, a container of all things, sitting, waiting to be observed. The things we keep silently, but visually tell a story of us. Is this why we keep them? So as not to erase our identity? This essay sets out to understand consumer culture through people’s most special things in their domestic spaces. With an ethnographic approach, influenced by The Meaning of Things, I conducted in-person interviews, surveys, and workshops with residents discussing their most special things. From these findings, I created Home Moves prompts to re-engage with our things, and a speculative Living Room Lobby to transform personal collections outside of the domestic space.
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Pub Date : 2020-09-21DOI: 10.1080/20419112.2020.1819095
Naomi Zouwer
My parents migrated to Australia in the late 50 s, my father and his family from The Netherlands and my mother and her family from Finland. Once here they recreated their interiors to feel like they were in their homelands. I grew up in these spaces and have inherited some of the objects that adorned them. The experience of these interiors contribute to this essay as a reflection on domestic spaces and the collection of objects within them. I respond to these objects through my art practice and surround myself with them at home because they feel like they are part of me and have helped me construct my identity as a first-generation Australian. The small objects I have collected and the stories attached to them are central to my art practice and part of my daily life. A mixture of functional and non-functional items; precious in terms of memories, they are keepsakes, souvenirs, some are whole and some just fragments. My interest is not in valuable or rare collections, the art of collecting or museological practices, but rather, creating personal memory museums that deal with the migrant experience. The objects I selected were all diminutive, often no larger than the palm of an adult’s hand because I wanted to explore the intimacy inherent in small objects. The processes and applications used in the painting and textile works, capture and amplify the significance of everyday objects in the construction of identity. Material exploration, painting, drawing and textile practices allow insightful discoveries into experiences related to migration, and narratives of belonging. To place these in a critical context, I draw upon the writing of Svetlana Boym on migrants and their connections to objects and on Susan Stewart and Gaston Bachelard on souvenirs and miniatures.
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Pub Date : 2019-05-04DOI: 10.1080/20419112.2019.1671651
P. Kirkham, Sarah A. Lichtman
This special issue of Interiors: Stage and Screen focuses on interiors (very broadly defined) in both films and plays. It grew out of an initiative taken in late 2015 at Kingston School of Art, Kingston University, London, to help foster a greater degree of cross-pollination across the research, publishing, and teaching undertaken there by historians of design and historians of film and media, as well as by art and design practitioners and theorists, including those specialising in interior design. The initiative sought to help remove disciplinary blinkers. Within film and television studies in the academy, the study of sets for interiors and the objects within them have tended to be neglected compared to most other aspects of those fields, just as design historians have tended to marginalise design related to film and television. A major outcome of that initiative was an undertaking by the university’s Modern Interiors Research Centre (MIRC, founded 2005) to hold an international symposium on the topic of interiors in film and television and to follow that up with a publication. Discussions with colleagues in the School of Art and Design History and Theory (ADHT) at Parsons School of Design (The New School) and Cooper Hewitt, Smithsonian Design Museum, New York, led to a co-sponsored international symposium around the expansive topic of Interiors: Film, Television, and Stage. It was In te rio rs D O I: 10 .1 08 0/ 20 41 91 12 .2 01 9. 16 71 65 1
《室内：舞台与银幕》特刊关注电影和戏剧中的室内（定义非常宽泛）。它源于2015年底在伦敦金斯敦大学金斯敦艺术学院采取的一项举措，旨在帮助设计历史学家、电影和媒体历史学家，以及艺术和设计从业者和理论家，包括室内设计专业人士，在那里进行的研究、出版和教学中培养更大程度的交叉授粉。该倡议旨在帮助消除纪律上的盲点。在学院的电影和电视研究中，与这些领域的大多数其他方面相比，对室内布景及其内部物体的研究往往被忽视，就像设计历史学家倾向于边缘化与电影和电视相关的设计一样。该倡议的一个主要成果是，该大学的现代室内研究中心（MIRC，成立于2005年）承诺举办一次关于电影和电视室内主题的国际研讨会，并随后出版一本出版物。与帕森斯设计学院（新学院）艺术与设计历史与理论学院（ADHT）和纽约史密森尼设计博物馆库珀·休伊特的同事进行了讨论，促成了一场围绕室内设计：电影、电视和舞台这一广泛主题的联合主办的国际研讨会。这是在里约热内卢的D O I：10.11080/20419112.2019。16 71 65 1
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Pub Date : 2019-05-04DOI: 10.1080/20419112.2019.1665917
Laura Mcguire
This essay examines the innovative film and theatrical spaces proposed and designed in the 1920s and 1930s by the Austrian-American architect and stage designer Frederick Kiesler, including the Optophon and the Film Arts Guild Cinema. Within a context in which both theatrical designers and science fiction authors postulated increasingly immersive entertainment environments, Kiesler’s designs brought to the fore complex interfaces between the human body, sensory experience, and modern entertainment technologies for the architectural interior. Kiesler’s ideas, along with those of his contemporaries, predicted the virtual reality spaces of today.
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Pub Date : 2019-05-04DOI: 10.1080/20419112.2019.1673021
T. Gronberg
Tilly Losch is commemorated as an absent presence through two 1930s interiors commissioned by her then husband the art collector Edward James: Paul Nash’s design for a bathroom in James’s London town house and a patterned stair carpet ostensibly based on Losch’s wet footprints on leaving her bath. The Nash bathroom, no longer extant, has been recreated for exhibition purposes and the footprint carpet is now housed in West Dean College. Alongside accounts of these interior designs, where Losch appears elusively as the traces of her corporeal form, this essay juxtaposes histories of dance as a means of retrieving Losch’s persona as a professional performer. Well-known in her native Vienna (and subsequently internationally) as a ballet and contemporary dancer, during the 1930s Losch collaborated with the American designer Norman Bel Geddes on a short silent film of her ‘Dance of Hands’. As an aspect of Losch’s dance practice, this film is indicative of ways in which women performers of the period actively participated in the artistic avant-garde, deploying the iconography of body parts as a demonstration of feminine agency. For historians of visual culture, tracking traces of Tilly Losch across interiors and film prompts questions more broadly concerning the significance of different disciplinary historiographies with regard to both modernism and gender.
蒂莉·洛施(Tilly Losch)作为一个缺席的存在，通过20世纪30年代由她当时的丈夫、艺术收藏家爱德华·詹姆斯(Edward James)委托设计的两件室内设计来纪念:保罗·纳什(Paul Nash)为詹姆斯(James)伦敦别墅的浴室设计，以及图案楼梯地毯，表面上是根据洛施离开浴室时的湿脚印设计的。纳什浴室已经不复存在，为了展览的目的，它被重建了，而足迹地毯现在被安置在西迪恩学院(West Dean College)。在这些室内设计的叙述中，Losch作为她身体形式的痕迹难以捉摸，这篇文章并置了舞蹈的历史，作为一种检索Losch作为专业表演者的角色的手段。20世纪30年代，她与美国设计师诺曼·贝尔·格迪斯(Norman Bel Geddes)合作拍摄了一部无声短片《手之舞》(Dance of Hands)，在她的家乡维也纳(后来在国际上)作为芭蕾舞和当代舞者而闻名。作为Losch舞蹈实践的一个方面，这部电影表明了这一时期的女性表演者积极参与艺术前卫的方式，利用身体部位的图像作为女性能动性的展示。对于视觉文化的历史学家来说，在室内和电影中追踪蒂莉·洛施的痕迹，会引发更广泛的问题，即不同学科的历史编纂者在现代主义和性别方面的重要性。
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Pub Date : 2019-05-04DOI: 10.1080/20419112.2019.1673009
Alice T. Friedman
Depression-era Hollywood’s on-screen representations of queer and gender-non-conforming characters went beyond costume, gesture, and plot lines to include interior décor and carefully-chosen objects as assembled and arranged by art directors and set decorators in service to character development and narrative richness. A close look at Otto Preminger’s Laura (1944) and at the visual codes surrounding its queer protagonist Waldo Lydecker, suggests that everything from the cut of his suits, to his flowery language, and especially his lavish New York penthouse filled with exotic bibelots and antiques combined to create an image of the effete, narcissistic, yet powerful “homosexual” widely feared at the time. In film noir productions, like the classic Laura, ornate interiors were often used not simply to suggest wealth and power but also moral corruption of the sort associated in some viewers minds with wealth in the decades following the Depression. Moreover, with the gradual spread of Modern architecture and design in the US, together with the notion that transparent glass walls, clean lines and smooth white surfaces conveyed objective, masculine and morally superior values, applied ornament and gilded surfaces of the sort we see in Lydecker’s home frequently came to encode messages of weakness and self-indulgence associated with femininity and, especially, effeminacy. All of these underlying messages are present in the set decoration of Laura, and especially in the material and visual representation of the evil Waldo Lydecker, whose obsession with his former protegée Laura Hunt drives him to murder.
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Pub Date : 2019-05-04DOI: 10.1080/20419112.2019.1671650
Sarah A. Lichtman
This article focuses on the designs for and staging of the play The Diary of Anne Frank (1955), and considers the ways in which the sets of the Secret Annex both documented and transformed the hiding place to convey its isolation and confinement to the audience. It also explores how the decoration and furnishings of Anne’s recreated bedroom reflected broader postwar-era cultural messages about coming of age, adolescent girls, and their material surroundings during that period. Published in English in 1952, Anne Frank: The Diary of a Young Girl chronicled the more than two years that Anne, her family, and four other Jews spent in hiding during World War II in an annex in Amsterdam during the Nazi occupation of the Netherlands. The success of the English-language book led to a theatrical adaptation by Frances Goodrich and Albert Hackett. Directed by Garson Kanin and with sets by Boris Aronson, the play opened on Broadway in 1955. Rooted in documentary-like details and based in large part upon a real space, the sets for The Diary of Anne Frank nevertheless reflect aesthetic choices firmly situated in postwar US discourse.
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