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The contributors to Things in Motion, collectively, demonstrate the dynamic capacity of things in motion, from the point where things emerge from source material, to their circulation in the contemporary world, including their extended circulation through reproduction in other media. The various chapters show that examining the itineraries of things multiplies the assemblages things form and multiplies the sites at which we can recognize things in motion. None of the things discussed seem to ever have died. Their itineraries are continued by their movement in and out of museums and curation facilities, where many of them have come to rest temporarily, the circulation of their images, and their adaptation in sometimes unexpected contemporary material culture. Their itineraries also include the scholarship about them, to which this volume contributes, making it another site assembled by these active things--Provided by publisher

Cover -- Inhalt -- Danksagung -- 1. Eine Frage der Haltung - oder: Ausstellen ist politisch -- 2. Queer - through the magic of the name -- 3. Queer is as queer does -- 4. Queer exhibiting - Ausstellungsbeispiele -- 5. Schluss und Anfang -- Literaturverzeichnis.

В связи со вступлением постановления Правительства Российской Федерации от 24 мая 2014 г. № 481 «О деятельности организаций для детей-сирот и детей, оставшихся без попечения родителей, и об устройстве в них детей, оставшихся без попечения родителей» в силу с сентября 2015 года организации для детей-сирот переориентированы на новый тип семейного воспитания, где приоритетом является семейное устройство детей. Детский дом – это место временного пребывания ребенка, промежуточная ступень с момента определения ребенка в детский дом до момента помещения или возвращения его в семью. Изучение и прогнозирование возможных эффектов и рисков, связанных с вступлением данного нормативно-правового акта, имеет огромное значение в системе социально ответственного управления. В ходе проведенного исследования, основываюсь на экспертных оценках, были выявлены предполагаемые положительные эффекты реализации механизмов, закрепленных Положением о деятельности организаций для детей-сирот и детей, оставшихся без попечения родителей, и об устройстве в них детей, оставшихся без попечения родителей, в рамках вступления в силу постановления Правительства Российской Федерации от 24 мая 2014 г. № 481 с 1 сентября 2015 года. ; Given that the RF Government Resolution dated May 24, 2014 № 481 "On activities of organizations for orphans and children left without parental care, and about placing the children left without parental care with such organizations" will be entered into force in September, 2015, the orphan organizations are redirected to a new type of family bringing-in, where priority is given to placing the children with foster families. Orphanage is a place of temporary residence of a child, i.e. an intermediate stage since the child is placed with an orphanage until he/she is placed with or returned to the family. Studying and forecasting of possible effects and risks related to enactment of the said regulatory act is of great importance in the system of socially responsible management. In the course of the study held on the basis of expert opinions, the alleged positive effects were revealed in relation to application of mechanisms embodied in the Regulation "On activities of organizations for orphans and children left without parental care, and about placing the children left without parental care with such organizations", as part of the entry into force of the RF Government Resolution № 481 dated May 24, 2014 since September 01, 2015.

One thing that excited me was the prospect of seeing the commonalities across these different disciplines: the fact that we all care about the stewardship of information, that we all care about curatorship of information objects, whether they be physical or virtual. We all have social, and to some extent, political motivations here, and we recognize that for a proper understanding of these areas you have to consider the social, political and organizational ramifications.

Introduction -- The art formerly known as "new media" -- Space and materiality -- Time -- Participative systems -- Introduction to rethinking curating -- On interpretation, on display, on audience -- Curating in an art museum -- Other modes of curating -- Collaboration in curating -- Conclusions : histories, vocabularies, modes

"Curating Under Pressure breaks the silence surrounding curatorial self-censorship and shows that it is both endemic to the practice and ubiquitous. Contributors map the diverse forms such self-censorship takes and offer creative strategies for negotiating curatorial integrity. This is the first book to look at pressures to self-censor and the curatorial responses to these pressures from a wide range of international perspectives. The book offers examples of the many creative strategies that curators deploy to negotiate pressures to self-censor and gives evidence of curators' political acumen, ethical sagacity and resilience over the long term. It also challenges the assumption that self-censorship is something to be avoided at all costs and suggests that a decision to self-censor may sometimes be politically and ethically imperative. Curating Under Pressure serves as a corrective to the assumption that censorship pressures render practitioners impotent. It demonstrates that curatorial practice under pressure offers inspiring models of agency, ingenuity and empowerment. Curating under Pressure is a highly original and intellectually ambitious volume and, as such, will be of great interest to students and academics in the areas of museum studies, curatorial and gallery studies, art history, studio art, and arts administration. The book will also be an essential tool for museum practitioners"--

Pilgrimage, as a global activity linked to the sacred, speaks to the special significance of persons, places and events. This book relates these sentiments to the curatorship of the Camino de Santiago that comprises a lattice of European pilgrimage itineraries converging at Santiago de Compostela in northwest Spain. The detailed analysis focuses on the management of pilgrimage settings as heritage and tourism linked to the shrine of Saint James and gives particular attention to investment guidelines, land use planning regulations, environmental stewardship, information dissemination and museology

Logic of equal aesthetic rights -- On the new -- On the curatorship -- Art in the age of biopolitics: from artwork to art documentation -- Iconoclasm as artistic device: iconoclastic strategies in film -- From image to image file--and back: art in the age of digitalization -- Multiple authorship -- The city in the age of touristic reproduction -- Critical reflections -- Art at war -- The heros body: Adolf Hitler's art theory -- Educating the masses: socialist realist art -- Beyond diversity: cultural studies and its post-Communist other -- Privatizations, or artificial paradises of post-Communism -- Europe and its others

Para el abordaje de la interdisciplina en el contexto museal me propongo reflexionar acerca de los factores y actores intervinientes en estas tipologías institucionales. Es parte del imaginario cultural en la región, aunque con esperanzadas excepciones, que el museo es un espacio de mostración, es decir, de exhibición, y en el mejor de los casos contenedores que articulan de manera más o menos eficaz la comunicación con la comunidad. Esta mostración supone también el anquilosamiento de las colecciones. Muchas veces nos encontramos con instituciones en donde se perpetúan las narraciones museales y esto no solamente repercute en la comunicación institucional sino que enuncia otras problemáticas y funciona como adjetivación de las conductas intramuseo. Como señala Gómez Alonso, la noción de museo plantea en sí una problemática conceptual tanto desde el punto de vista semántico como histórico, sin dejar de lado la diversidad de apreciaciones estéticas que surgen al respecto. El significado que esboza dicho término puede entenderse como continente o contenido, es decir, tanto lo que es el propio recinto o edificio como lo que en él se alberga. Por otro lado, Santos Zunzunegui lo verá como espacio para significar. Entonces desde estas perspectivas podemos zanjar los abismos que sitúan al profesional o idóneo como engranaje del sistema espacio-simbólico que implica el museo como institución cultural. Retomando el concepto de mostración o exhibición esta se reduce muchas veces a las llamadas colecciones, a la obra o a los objetos que forman parte del patrimonio de la institución o de las producciones curatoriales externas. Dentro del guión museal es menor la presencia de otros bienes patrimoniales existentes en el acervo, como por ejemplo, los fondos documentales. La relevancia de estos fondos es muchas veces altamente significante para estas narraciones y su invisibilización –más o menos consciente– constituye en mi opinión una falencia sustantiva en las políticas culturales. En el caso de este artículo, me propongo acercar una de las experiencias en las que he participado activamente en el trascurso de los años de trabajo en este tipo de instituciones. ; To address the interdisciplinary in the museal context I intend to reflect about the factors and actors participating in these institutional typologies. It is part of the cultural collective imagination in the region, though with optimistic exceptions, to see the museum as a display space, this is to say, as an exhibition space, and in the best case scenario as containers that articulate in a more or less efficient way, com munication with the community. This display supposes as well the stagnation of the collections. Many times we find ourselves with institutions in which museal narrations are perpetuated and this, not only has an effect in the institutional communication, but also states other problems and works as adjectiving for the intra-museum behaviors. As Gomez Alonso points out, the notion of museum suggests in itself a conceptual problem both from the semantic and the historical view point without sidelining the diversity of aesthetic appreciations emerging about this. The meaning which sketches such term can be understood as container or content, this is to say, either what the enclosure or building is and what is housed in it. On the other hand, Santos Zunzunegui will see it as a space to signify. Then, from these perspectives we can resolve the gaps which locate the professional or suitable person as gear wheel in the space-symbolic system which the museum implies as a cultural institution. Resuming the display or exhibit concept this is many times reduced to the so called collections, to the work or to the objects which make part of the institution patrimony or to the external curatorial productions.Within the museal script the presence of other patrimonial properties existing in the heritage, such as the documental archives is less. The relevance of these archives is many times highly meaningful for these narrations and them –more or less consciously- being made invisible, constitutes, in my opinion, a substantive lack in the cultural politics. In the case of this article, I intend to bring closer one of the experiences in which I have participated actively thorugh years of work in this type of institutions.

During the last decade, the curation of Islamic art and artifacts has been crossed by tensions at both the theoretical and practical level. Not only has it been continuously grappling with the Orientalist legacy, but it has also been operating in a global contemporaneity affected by multiple conflicts engendering a misperception of Muslims and Islam by non-Muslims. With this heavy background, this curation has been pursuing three main objectives: educating the public, decolonizing the museum, and reaching out to the Muslim communities and refugees living in non-Muslim societies. However, in the West, which remains worldly influential in the domain of heritage management, the first two objectives drove curators to engage in problematic practices, most notably the suppression of what we may call the "religious plot" in the exhibits' narrative. Moreover, while the educational impulse led to a secular didactic scholasticism erected as the supreme exhibitory norm, the decolonizing enterprise took on an ideological turn in the form of a neo-postcolonial discourse at odds with a reality that has considerably changed since the seventies. Contesting the "being Islamic" of the material curated, this discourse separates religion from culture, thus relegating the faith to a theme among other multiple themes in the museum displays. That this state of affairs is problematic appears in crude light as, in the last decade, a new Muslim-led curatorship has been challenging this secularist curatorial politics. Re-centering Islam in the representational emplotment regarding Islamic culture in the exhibitory space and experimenting in the installations' design to this effect, this curatorship, this essay's author believes, holds the future of Islamic museology.

During the last decade, the curation of Islamic art and artifacts has been crossed by tensions at both the theoretical and practical level. Not only has it been continuously grappling with the Orientalist legacy, but it has also been operating in a global contemporaneity affected by multiple conflicts engendering a misperception of Muslims and Islam by non-Muslims. With this heavy background, this curation has been pursuing three main objectives: educating the public, decolonizing the museum, and reaching out to the Muslim communities and refugees living in non-Muslim societies. However, in the West, which remains worldly influential in the domain of heritage management, the first two objectives drove curators to engage in problematic practices, most notably the suppression of what we may call the "religious plot" in the exhibits' narrative. Moreover, while the educational impulse led to a secular didactic scholasticism erected as the supreme exhibitory norm, the decolonizing enterprise took on an ideological turn in the form of a neo-postcolonial discourse at odds with a reality that has considerably changed since the seventies. Contesting the "being Islamic" of the material curated, this discourse separates religion from culture, thus relegating the faith to a theme among other multiple themes in the museum displays. That this state of affairs is problematic appears in crude light as, in the last decade, a new Muslim-led curatorship has been challenging this secularist curatorial politics. Re-centering Islam in the representational emplotment regarding Islamic culture in the exhibitory space and experimenting in the installations' design to this effect, this curatorship, this essay's author believes, holds the future of Islamic museology.

Controversy surrounding the exhibiting of artefacts depicting the Prophet Muhammad has become a global "hot topic" in both private and public spheres in contemporary times. The resulting religious, cultural, political, and societal tensions affect individuals, communities, and institutions, especially the museum where many of these images reside. Such polemical disputes are problematic for these cultural entities seeking to attract and maintain diverse audiences, significantly influencing their decision-making and politics of display. Based on qualitative empirical evidence and primary and secondary textual sources, this article maintains that the story of an object's journey through space and time can impact audience attitudes and mindsets especially if rich contextual histories and narratives are promoted in museum spaces. Discussion and analysis will serve to highlight the potential of museum encounters to enlighten and promote understanding through an overview of the religious/historical trajectory of depictions of the Prophet, current museological approaches, in-depth analysis of a particular artwork, and reactions to its display at a specific exhibition site. Final recommendations suggest that exhibiting and encouraging appreciation of "controversial" displays through exposure to an object's multiple layers of meaning can challenge the viewer to reflect and reconsider their mindsets.