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  2. THE MEMO BLOG
  3. Remember the Children: Daniel’s Story — United States Holocaust Memorial Museum
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Over 1. Others belonged to some of the few thousand survivors who managed to hide in Christian homes or isolated areas. Abramek imagines himself in a better world, riding a mechanical bird among the clouds and the wind, his brothers and sisters.

Remembrance and Beyond will continue tonight with a screening of the movie Fateless, which follows a year-old Jewish boy from Budapest to the Buchenwald Concentration camp, and on Thursday with a presentation on tolerance to non-governmental organizations by Judea Pearl, President of the Daniel Pearl Foundation. Skip to main content. At this pivotal point in the history of the history of exhibitions and the history of the web, the relationship of the digital to the physical is key for determining what will be remembered.

Typically, the web user is given a few images of artworks and a rudimentary description, while installation shots are rare and videos even rarer resources are often limited, copyright intervenes, and platforms change.

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There is an increased understanding that reprising exhibitions on the web offers opportunities to record aspects of exhibitions that, until now, have remained invisible or under-visualised, to provide material not found in catalogues, and to circulate information about exhibitions before the catalogue is published or when out of print. Activating each photograph of a contemporary artwork led to detailed information on the piece, with the possibility of a further link to more information on the artist.

Activating an archival photograph resulted in only an enlargement and no information whatsoever. Picturing Singapore — An Archival Perspective , which was designed as a site-specific response to an import, a way of bridging the gap between two very different histories and visual cultures. The omission of any mention of the tour also points to an absence in exhibition histories, where documentation of travelling exhibitions is almost non-existent.


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This meta-site, conceived by Eva Meyer-Hermann and Stephanie Rosenthal, curators of the exhibition, was designed to address lacunae in the catalogue and disseminate information during and after the exhibitions. Each museum provided information about the other venues as well as its own, and extensive documentation.

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Giving equal valence to all the museums recognises that the venues of an exhibition are integral to its history. Unlike many snap-to-grid rectangles that use a digital feature to automatically arrange various sizes and shapes of photographs in similarly-sized units, the MOCA grid is layered. There is a place to click for a definition of a happening and a link to the kaprow. MOCA understood that the Kaprow retrospective was a landmark exhibition and needed to be remembered as such. In every component of the web pages, the distinction between past and present is evident, as is the desire to construct a living legacy.

The mix of bright and muted colours of the website, its many sections but crisp design and multi-layering, produce the effect of bringing the past into the present. The photo-grids allow viewers to follow sequentially the processes of construction the installation of the ice blocks and disintegration the melting of the built configuration while, simultaneously, viewers apprehended the temporality of the happening in a single moment.

Remember the Children: Daniel’s Story — United States Holocaust Memorial Museum

The photographs are also available as a slide show on Flickr, with a ribbon of smaller images running below the full screen slide on the screen. The timed changes between slides also suggest sequencing and flow.

The curators represented different exhibition times by curating multiple web spaces: the less formal, shared online community platform, Flickr, to document the process of filling an empty space with art and people, and the more formal institutional RCA site to document the artwork and the seemingly static time of the exhibition space. The changing images also conveyed the sense of the exhibition as an evolving, dynamic entity, both for curators and viewers, rather than a collection of isolated, static fragments.


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  6. By contrast, the Centre Pompidou website for Voids was notably understated. There were no installation photographs and no videos. Even the colour was muted, almost monochromatic. He constructs a fuller, if less hagiographic, record of the rhythms and realities of seeing exhibitions and attempts to determine what they are about. His tracking video allows screen viewers to identify with exhibition viewers and when, using the full screen option, to become absorbed like them in the viewing process.

    Shattering the silence of traditional photographic modes of remembering exhibitions signals a desire to remember bodies as well as artworks in exhibition spaces, to construct a more corporeal, less abstract portrayal of the contemporary exhibition viewing experience. YouTube, in particular, has revolutionised what is publicly remembered about exhibitions with material not found on museum websites such as videos of vernissages where the focus is as much on those attending as the art, videos taken clandestinely in exhibitions by individuals, or the addition of a soundtrack or commentary.

    The pressure of so much individual remembering has pushed institutions to adopt and adapt to the newest forms of online remembering. The video is also available on ArtBabble.

    Many of the transcripts are searchable on Google or locally allowing for exact segments to be found. Download the print version. Tate Papers ISSN is a peer-reviewed research journal that publishes articles on British and modern international art, and on museum practice today. Brandon Taylor. Jennifer Mundy. Main menu additional Become a Member Shop. Twitter Facebook Email. Notes 1. This two-dimensional reconstruction was aimed more at research than re-enactment.

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    Pierre Nora ed. My thanks to Elitza Dulguerova, who, on reading the Budapest version of this essay, raised similar questions. The catalogue contains photographs of a number of other exhibitions. See Stephanie Barron and Sabine Eckmann eds.