+ DISCUSSION OF CRITERIA UPON WHICH THE PROJECT WILL BE ASSESSED.
+ FURTHER GUIDELINES FOR POSTER AND DISPLAY.
Case Study: Regarding the bamboo fishing basket, a diagram showing how the bamboo was shaped into a cage is essential to illustrate the 'cultural'/artistic/design TRANSFORMATION of the raw material into a FUNCTIONAL ARTEFACT.
Should the diagram be placed next to the object?
What additional REPRESENTATION would be relevant: a photo of the object ready to use or in action; a film illustrating/documenting its use?
Anything else?
In terms of the SCENOGRAPHY of the museum display, we will need to consider the effect of all alternatives, and decide on the most APPROPRIATE: i.e. the most effective in enhancing our perception and appreciation of the OBJECT as a cultural artefact.
Another consideration is whether other objects (not just made of bamboo, but of other material) displaying similar properties of simplicity and ingenuity — qualifying them for a place in the 'Perfect Acts of Design' category — should be associated with the fishing basket, and HOW...
One disadvantage of dealing with Objects (as opposed to representation such as MultiMedia) in display situation is that the arrangement is static. It is important, therefore, to ensure that the display is sufficiently dynamic to go beyond merely illustrating itself, and open up other dimensions for thinking and interpretation.
LET'S CONSIDER ALTERNATIVES: The poster can show
1. a high profile artefact or 'MASTERPIECE') (a rather obvious, one-dimensional/static approach)
2. a combination of objects to show the range of objects exhibited, and get a sense of the museum collection.
But this is limited in so far as it focuses on WHAT is in the Museum, but not on the HOW it is presented.
3. For my poster I would like to give an indication of the WHAT and the HOW, without being too explicit whilst retaining a sense of mystery/ambiguity; to induce viewers of the poster to want to go to the museum.
A more sophisticated artistic strategy (that I have been developing in my 'Histoires...' series [see:
I had been working on the name separately, in conjunction with its VISUALISATION as part of a visual IDENTITY program.
In the context of the POSTER, however, it seems that the more CONTEMPORARY version of the NAME — 'TRADITIONAL ARTS, KERALA' — inspired by the recent change of name from MOMA (Museum of Modern Art') to 'Modern Art, Oxford', may not be explicit enough.
On the stark minimalism of the poster, the word 'Museum' remove all ambiguity; considerably reducing the risk of interprepreting the posetr as advertising a temporary exhibition or 'Mattancherry', the touristic location, where antique, gift and spice shops, alongside the Synagogue, are key tourist attractions
For the masks, after reading the essays from the Geneva team and other museologists, I feel more confident to apply my own free approach in 'Museo-graphies' to the display of the masks; blending tribal, Christian, Hindu, etc. in a collective 'jamming session', orchestrated according to different principles. The idea is not to treat the objects as mere pretexts for documentation, nor to focus on their quality alone (as 'art objects' for aesthetic delectation in the home), but as all this and MORE, to enable us to see them as part of a collective human cultural legacy.
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