Reconstruction as trope of cultural display. Rethinking the role of “living exhibitions

Bibliographic Data

ID7339463
AuthorsCathrine Baglo (corresponding author)
Year1970
Issue2
Pages49-49
Publication date1970-01-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueNordisk Museologi (JOURNAL)
Journal identifiersISSN: 1103-8152 • E-ISSN: 2002-0503
PublisherUniversity of Oslo Library (PUBLISHER • NO)
DOI10.5617/nm.3047
OpenAlexW2291941249
LanguageEN
Citations received4
References cited5

During the nineteenth and early twentieth century, a new and particularly widespread type of exhibition practice occurred all over the Western World, namely “living exhibitions”. They were characterized by the display of indigenous and exotic-looking peoples in zoological gardens, circuses, amusement parks, various industrial expositions, and major international expositions where representatives of indigenous and foreign peoples from all over the globe performed their everyday life in reconstructed settings. Entire milieus were recreated by bringing along dwellings, animals, objects, etc. Eventually this would also become the dominant trope of display in folkloric exhibitions. Nevertheless, the living exhibitions have not been regarded as in uential to this development. Instead, the trope has most commonly been accredited to the Swedish folklorist Artur Hazelius. In this article, I stress the importance of situating his display techniques and museological ideals within a wider context, most importantly the living exhibitions. The emphasis will be on the display of Sámi

Aesthetics · Archaeology · Art · Context (archaeology · Everyday life · Exhibition · Folklore · Globe · Indigenous · Literature · Media studies · Political science · Sociology · Trope (literature · Visual arts · History · Law · Museums and Cultural Heritage · Psychology · Visual Culture and Art Theory

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