The digitization of museums is something which is increasingly integrated into the conduct of The Rijksmuseum, with the institution also adapting to the use of social media to encourage their...Show moreThe digitization of museums is something which is increasingly integrated into the conduct of The Rijksmuseum, with the institution also adapting to the use of social media to encourage their remote audience. The COVID-19 pandemic drastically altered the user experience of cultural heritage and, in order to communicate a selective narrative of its artworks to its users, The Rijksmuseum created a Tiktok account. Due to the adaptation, several questions have been raised with regards to the aura and experience of artwork, and how this is altered in an online setting, an environment where images circulate at a fast pace. This thesis aims to cover Haidy Geismar’s methodology surrounding object materiality as well as her discussion of the break away from the ‘white cube’ museum setting. In addition to discussing David Joselit’s ideas regarding the circulation of digitized objects and the ‘buzz’ of the image. These key concepts will be discussed in relation to Jan Asselijn’s ‘De Bedreigde Zwaan’, and its online presence; this is the key case study of this thesis. Overall, this thesis aims to discuss how the use of Tiktok as a platform mediates this key Golden Age artwork and how this effects its meaning and interpretation.Show less
This paper looks at the 15th Istanbul Biennial (2017) titled “a good neighbour” predominantly from Edward Said’s orientalist and Homi Bhabha’s postcolonial frameworks. Istanbul’s geographical...Show moreThis paper looks at the 15th Istanbul Biennial (2017) titled “a good neighbour” predominantly from Edward Said’s orientalist and Homi Bhabha’s postcolonial frameworks. Istanbul’s geographical positioning of being situated between the East and the West effectively suggests the presence of an orientalist binary, as well as a transcultural ‘third space’ in light of these theoretical frameworks. This research traces an absence of the orientalist attitude, and moves beyond the boundary lines of cultural difference in analyzing the curatorial strategies and the conceptualization of “a good neighbour”. The curatorial statement of the biennial, as well as the selected artworks mentioned here reveal the layers of hybridity and embody a state of ‘in- betweenness’ of “a good neighbour”. In its critical approach, this paper draws on relevant sources and the historical context of Turkey in order to shed light upon the geographical and ideological characteristics of Istanbul’s contemporary art scene.Show less
