A Trip to Lucerne

Chapel Bridge, Lucerne
Image Source: flickr (raveneyes_48)

On the weekend of September 25 and 26, 2009, students and instructors from the TEC-CH programme went to the city of Luzern, located in Central Switzerland. Famous for its beautiful Chapel Bridge (Kapellbrücke), the city was also vibrant with culture and made an exciting destination for our annual field trip, under the course titled Interactive Communications for Museums, this year co-taught by Peter Samis (SFMoMA), Shelley Mannion (British Museum), Kris Wetterlund and Scott Sayre (Sandbox Studios).

In addition to the delights of travel, the trip to Luzern was also an immersive learning experience for students, and perhaps for instructors as well. Our itinerary included visits to the Museum of Art Lucerne (Kunstmuseum Luzern), the Swiss Transport Museum and the Hans Erni Museum, with an optional visit to the Bourbaki Panorama. With such an eclectic mix of museum types, students had the opportunity to experience various styles of interpretation, to observe visitor behavior in diverse settings, and to imagine different ways that interactivity can enhance each museum experience.

Kunstmuseum Luzern

Our first stop was the Museum of Art Lucerne. Housed on the fourth floor of the Lucerne Culture and Congress Center (KKL), the building itself was a masterpiece by architect Jean Nouvel. There were three exhibitions on display during our visit: A Hans Erni retrospective, Silence, and Nox Borealis.

In order to experience the difference between an unguided visit and a guided tour, students entered the exhibitions one-hour before their scheduled appointment with docents. During the hour, students were free to roam the museum and were asked to record their experiences at a mobile phone prompt that vibrated every 10 to 15 minutes. The exercise stemmed from a constructivist approach to learning, giving students time to consciously reflect on their experience while unconsciously learning as they were immersed in the museum environment.
Once the docents arrived, we began a guided tour of all three exhibitions. The difference in experience became evident almost immediately, with our very helpful guides pointing out connections between various artworks and telling us stories behind paintings.

Bourbaki Panorama

The next day we took a detour from our planned itinerary to visit the Bourbaki Panorama Luzern. As Peter Samis commented, essentially it was the equivalent to multimedia in the 19th century. Commissioned by entrepreneur Benjamin Henneberg and created by a team of painters led by Geneva artist Edouard Castres in 1881, the panorama depicted the internment of the Bourbaki Army in Switzerland. As a circular painting set up in a rotunda, the panorama used optical tricks and technical innovations of its time to give visitors the illusion of being at the center of the event. To heighten a sense of immersion, the painting also extends into a faux-terrain where visitors can see a realistic set with figures and props, such as a group of soldiers gathering around a fire, or guns on the snow-covered ground as soldiers lined up at the internment. In addition to the fascinating sight of a panorama, there was also a museum located underneath. With dioramas, videos and a lot of wall text, the museum supplemented the panorama with historical contexts and facts of the Franco-Prussian War, the Bourbaki Army, and the Panorama in Lucerne.

Swiss Transport Museum

After our visit to the Bourbaki Panorama, we went to the Swiss Museum of Transport, a completely different museum environment compared to the rest of our trip. The Swiss Museum of Transport celebrates the technological achievements in all modes of transportation and communications. It is a venue dedicated to families, especially those with young children, with many interactive features designed to entertain and educate young audiences.

One particularly engaging example of the exhibitions at the Swiss Museum of Transport was the Auto Theatre, featuring various ground vehicles displayed on a multilevel parking garage. Visitors in the theatre can vote for the vehicle of their choice, from the car, motorcycle, to even a baby carriage, and then they can watch the winning result being retrieved from the garage, followed by a brief presentation about the historical contexts of the vehicle. The sheer scale and the mechanism were magnificent sights to watch, and the competitive element in the votes really captured visitors to stay and follow through the narratives of the theatre.

Auto-Theatre at the Swiss Museum of Transport

Image Source: flickr (Peter Samis @ ICM2009)

Hans Erni Museum

Our final stop, the Hans Erni Museum, was at the same site as the Swiss Museum of Transport. It was dedicated to one of the most popular Swiss artists of its time, Hans Erni, whose work included a wide range of styles and themes.

During our visit at the Hans Erni Museum, Kris Wetterlund led a VTS (Visual Thinking Strategies) session with the group, where we simply looked at a painting and spent time to think about what we have seen: symbolisms, who were the people depicted and what they were doing, and many other studies into the painting’s details. The session sparked much curiosity about the painting amongst students, and many also pointed out that VTS would be effective in creating an interest in interpreting artworks and historical artifacts. While the results of a VTS session may or may not be accurate, it has definitely created a lingering sense of curiosity that leads participants to find out more.

More Information About the Trip and ICM2009

All of our photos from the field trip can be found at flickr, under group name ICM2009. We also had Twitter presence during lectures, hash-tagged #ICM2009. Further, our final student presentations were live-blogged and the complete transcripts are available here.

Museums, Social Awareness and Sustainability

Just stumbled across an excellent online exhibition on the London Transport Museum website called the Future Generator. Beginning with a video that discusses global warming and its effect on the city of London, the exhibition introduces four possible scenarios of the future. By answering up to 16 questions about your daily routines and lifestyle, the exhibition will generate a likely scenario of your future too. 

The future generator called for an awakening to the environment around us and the carbon footprint that we create by simple daily routines such as transportation and even kettle-boiling. While it is interesting in itself, it provokes a re-evaluation of our daily lives and environmental consciousness. 

I always feel that this is how a museum exhibition should be, especially for large institutions. Considering that it is a venue that invites the public to receive messages that it has to deliver, there is a social responsibility for museums to raise and discuss issues that impact the population and the world that it lives in.

Exhibition Display: A Technological Perspective

In response to our loyal blog reader S.'s request, I have researched on display technology in museums and am here to offer my two cents.

Display is one of the most vital aspects in the existence of an exhibition, as "show-and-tell" is the core idea of how museum learning occurs in the most traditional sense. With objects, interpretive schemes and curatorial knowledge, an exhibition display combines and compacts a multitude of knowledge into one concentrated dose of information that visitors can see, touch, hear, smell and/or even taste, and bring home the memories of "a museum visit" and hopefully new things that they do not already know. With the invention of various display technologies, it enhances the amount of information that can be packed into a museum exhibition and presents them in manner that is wondrous and resonates with the technology-enhanced lives of modern day. Considering that the topic is extremely broad and has many implications, this post will focus on the most interesting (yes it is as subjective as it sounds) uses of technology in recent exhibitions, in an attempt to shed some light on the potential uses of such medium.


The above video is demonstration of a project at the Vienna University of Technology called The Virtual Showcase. Quote from project website: "The Virtual Showcase allows for three-dimensional graphical augmentation of real objects placed inside a glass housing similar to a traditional showcase. The Virtual Showcase has the same form factor as a real showcase, making it compatible with traditional museum displays. Scientific or cultural artefacts are placed inside the Virtual Showcase, allowing to add additional virtual objects, explanations, reconstructions or virtual characters used for storytelling. The virtual (and the real) part of the showcase can react in various ways to a visitor, enabling intuitive interaction with the content displayed."

By allowing interactions with a virtual object, the showcase offers an augmented experience for visitors without risking damage for the original artifact. In addition, visitors can also access interpretive information and interact with an object that is usually off limits in a tactile sense. However, I wonder, does the interaction that visitors gain with an object's 3D rendering compensate for the loss of experience with the original artifact?

On this note, it is interesting to think about what happens if a museum completely relies on digital and virtual displays, without owning any permanent collections. This was the initial idea of architect Kisho Kurokawa when the National Art Center, Tokyo was built.

Besides the obvious fact of huge money savings, the lack of a permanent collection also allows a constant change of temporary exhibitions, including blockbusters that tend to attract visitors as well as more experimental work that pushes the boundaries of the art world. Kurokawa intended the museum to use cutting-edge technology in displaying images of artwork of flat-screen panels, instead of showing original artworks that are fragile and unclear. However, due to copyright issues, the plan was shelved indefinitely.

This also begs another question, should cultural institutions be exempted from certain copyright restrictions for the sake of public good? And should digital displays replace the exhibition of original art/artifacts?

The Youth Brand. An ethnography of youth looked upon by the ethnographic object

Two years ago, in december 2006, we have visited the exhibition Figures de l’artifice, at the Ethnographic Museum of Neuchâtel (MEN), together with prof. Sabelli (teacher of the TEC-CH course Exhibits and museum scenography), who collaborated with the Museum for many years in the design of its thematic exhibitions. Last Saturday we made our long 4-hour way to Neuchâtel again, to see the exhibition La Marque Jeune (The Youth Brand). What is it that makes this small museum so attractive and worthwhile having a trip longer than the actual stay inside the museum? (indeed, we have only spent inside slightly more than 3 hours, lunch and post-visit discussion included)

The exhibiting policy of the MEN bears the mark of Jacques Hainard, who became museum curator in 1980. Departing from the classical position of the ethnographic museum, where objects from other cultures are displayed in juxtaposition, Jacques Hainard reverted the look from the Other to the self, and changed the exhibiting practice into a critical deconstruction of our own society, taken for granted knowledge and assumptions (what he called “anthropology of the self”). This approach, named by Hainard “museographie de la rupture” (free translation into “break-off museography”), invites the visitor to critical reflection on himself and his or her society. Perhaps the exhibition that marked the break-off with past exhibiting techniques after timid attempts over 10 years of experiments was Le trou (The Hole, 1990), a free incursion in the realm between real and imaginary based on mythical, sociological, artistic and literary considerations on the role and interpretation of the hole. Other exhibitions have been staged as open critiques on museological practices and the cannibalizing role that museums play in exhibiting the cultures of other people; for instance in Le musée cannibale (The cannibal museum, 2002), the promotional poster depicted an ethnographic object sliced by a butcher knife; in the exhibition Figures de l’artifice, which we visited back in 2006, in the opening room an ethnographic object was placed on a surgery table. Marc-Olivier Gonseth commented in an interview taken in 2006, “The ethnographic objects that come here are subjected to a surgical operation, parts are suppressed”.

Exhibitions at the MEN are built on a discourse, which plays at the same time the role of driving force of the whole exhibition, and of thread that connects the exhibition sub-themes and gives coherence to the exhibition narrative path. This discourse can be specifically built for an exhibition, but also a historical piece of literature, such as a myth (Figures de l’artifice was staged following the Myth of Daedal), or a poem (the exhibition La grande illusion was done based on the poem Après le Déluge, by Arthur Rimbaud).

The museographic experiments done at the MEN consist not only into the choice of peculiar objects for display – faithful to the museum philosophy of using objects as “slaves” to the discourse, ranging from ethnographic to everyday life objects, Coke cans, cheap souvenirs, plastic dolls, .. – but also through the exploration of unthought-of associations between text, images and objects. What MEN excels in is the recreation of environments, with a particular attention to detail. In the exhibition Remises en boîtes, 2005-06, themed on death and the persistence of memory, the first room was the recreation of a frozen moment: an ordinary living-room, with the traces of someone who has just been there living an ordinary moment, slippers under the armchair, a cake half-eaten, a coffee half-sipped, and the persistent small of old, deadly. One line of text introduced the main exhibition theme: “We all think that the unexpected (death, trauma, accident) happens only to others..”.
From the exhibition Figures de l’artifice, which we saw back in 2006, I have the flash back of a plastic doll placed near a pair of Ibeji statuettes (Note: Ibeji statuettes are commissioned in the Yoruba culture by a family upon death of one or both of their twins), and of a life-sized wooden female statue in a physician’s dress, near a surgery table where an ethnographic object is to be dissected. When thinking about the exhibitions at the MEN, these are the kind of images that appear in one’s mind, rather than the classical display of wooden sculptures and ritual masks, in a row, with labels underneath. Unusual association of objects, commonly used in MEN exhibitions, are meant to produce, in Marc-Olivier Gonseth’s words, an iconoclastic choc.

La marque jeune, which we have visited last Saturday, is an exhibition staged upon a notable coherence of discourse. The iconoclastic choc does not abound, and is not specific of a single scenographic arrangement, but is used consistently throughout the entire exhibition. In a nutshell, La marquee jeune is an ethnography of youth, looked upon by indigenous icons of youth and initiation in youth. Indigenous statuettes have been placed in key places, from the 1970’s bookshelf, to a garbage bin near a young girl’s disorderly boudoir, over a graffiti-walled gang’s nest, or in the remains of a burnt up car wreck..
The MEN team propose this exhibition as a reflection on the youth phenomenon and its social evolution. Central is the relationship between youth, rebellion/anti-social attitude, and their social re-integration, especially through branding/commercialization/consumerism. What starts as an ethnography, done literally through recreated environments (from the 21st century neat and minimalist Ikea home, to the depiction of the evolution 1950’s-1970’s reflected in books read, TV screen, music listened and the couch design, to the 1990s and nowadays’ gangsters neighbourhoods, ..) reaches the boiling point in the staging of the purification and re-integration of youth rebellion and violent behavior through branding and commercialization. The passage from the zone Le salaire de la peur (The paycheck of fear) to La révolte purifiée (The purified rebellion) is done through a circular curtain, which opens at given moments, shedding tons of light into a semi-obscure zone. The gangsters nest is darkened, the atmosphere is heavy, metal fences, graffiti walls, a car wreck. When the curtains open, light spurts in from inside the redeeming area. I can see now a pair of sneakers hanging on a chord, a basketball net, and a wooden head under the front seat of the car wreck. Inside the purification zone, everything is neatly arranged, tidy and clean. Two baseball bats appear peaceful and seemingly innocent in the hands of two teenagers looking straight ahead from a clean picture, in a neat and orderly neighbourhood. Car wrecks are miniaturized and neatly packaged for sale. Marilyn Manson leans head from a poster with silver paint spurting all over. And in the middle of it all, driving away all reminiscence of a disorderly and too sweetly perfumed rebel girl’s boudoir, a glamorous display of women cosmetics and perfumes.
The last exhibition room closes in circular fashion the message put forward at the beginning of the exhibition path: “youth” as a life stage is an invention of the modern society, having been in fact considered for ages just a transitory phase towards adulthood. Inside a circular space, a Fang reliquary, guardian of ancestral skulls in initiation rites towards adulthood of the Fang ethny in Gabon, is surrounded by paper skeletons caught in peculiar acts around an earthquaque disaster - part of the collection ordered to the Linares family by the Mexican Museum of Popular Arts and Crafts to commemorate the earthquake in 1985.

Photos from visit to La marque jeune (2008)

Photos from visit to Figures de l'artifice (2006)

Photo20simo

Despite the first snowstorm of this season, five members of TEC-CH braved the weather last Friday to visit the Museo d'Arte of the City of Lugano, in order to see the Photo20simo (pronounced: fo-to-ven-TAY-si-mo) : maestri della fotografia del XX secolo exhibition. With over 300 photographs from the private collection of Torino's Marco Antonetto, the exhibition is a comprehensive look at the various concepts and genres that inspired masterpieces from artists such as Lucien Clergue, László Moholy-Nagy, Robert Mapplethorpe, Cindy Sherman, and many more.

In eight different themes: Abstraction, Portraiture, Art and Artists, Body, Landscape, Reportage, Still Life, and Fashion, the exhibition introduced a variety of ideas with archetypal examples that are signficant over the history of 20th-century. From Moholy-Nagy's photograms in the 1920s to the controversial Mapplethorpe nudes in the 1980s, further to latest photographic works by artists such as Robert Rauschenberg, the exhibition leads its visitors to a world of immortalised memories, fantastic techniques and innovation.

One warning, however: with a traditional white-cube gallery approach, the exhibition assumes previous knowledge in art history or history of photography. If possible, a pre-arranged guided tour is highly recommended. Our wonderful and knowledgeable docent, Tiziana, introduced us to unspoken stories and deep meanings of these masterworks that are otherwise unknown to visitors.

Enigma Helvetia Tales

The exhibition Enigma Helvetia has been organized jointly by the two art museums in Lugano: the Cantonal Art Museum and the Art Museum of the City of Lugano. This is one of the first initiatives of the emerging Polo culturale (the to-be cultural center of Lugano). If you are around until 18 August, a visit is worth while.

For who cannot see the live exhibition, USI's TEC-Lab (Technology-Enhanced Communication Laboratory) has prepared a multimedia narrative which goes through the main themes of the exhibition: Enigma Helvetia Tales. The narrative is also available as downloadable podcast episodes (see the Download page for the Italian or the English version).

Visit to exhibition "Urban Manners" next week

This year, as part of the course on museum scenography, held by prof. Sabelli, we are going to visit the exhibition Urban Manners at Hangar Bicocca in Milan. The exhibition displays the works by 15 contemporary artists from India - sculptors, painters, video-artists; the thematic revolves around the contradictions present in the contemporary Indian society. The visit is planned for next Sunday, December 16th.

Exhibition "Patong" at the Gottardo Gallery

From May 23rd to August 25th, The Gottardo Gallery in Lugano houses the exhibition "Patong". The patong are the big sculptures of the native people in the Borneo island (the dayak). Sculptures represent ancestors, priests, spirits, anthropomorphic and zoomorphic motives. Some of them were created purposefully for housing the spirit of a deceased person. The dayak believe that each human being has two souls: one that dies with the body and one that remains for a while near the deceased before heading for the House of the Souls.
All the sculptures are part of the collection Serge Brignoni, at The Museum of Cultures in Lugano. This exhibition is part of a project of collaboration between the Museum and the Gallery, which has in plan the organisation of several other exhibitions in the following 3-4 years.

Exhibition "This landscape, so calm and so eternal" at the Hermann Hesse Museum in Montagnola

Giosanna Crivelli is an Italian-Swiss photographer. She has known Hesse as a child and later on rediscovered him with fascination. The exhibition opened at the Hermann Hesse Museum on April 4, 2007, "This landscape, so calm, so eternal", displays Giosanna's photos of landscapes "seen through Hesse's eyes". Regina Bucher, the curator of the Hesse Museum insisted that this exhibition is not merely an association of photos with Hesse's quotes, but a vision of nature built on Giosanna's understanding of Hermann Hesse's vision. "Giosanna would go on a mountain and wait for hours until she finds the right light for the photo she wants to take", explains Regina.

The photographs are objects of contemplation, each unique and each in surprising consanance with Hesse's words, displayed near it. What strikes, on entering the exhibition is the cumulated effect of colours, deep blue, violet, red, reddish orange, mineral yellow. As some colours seem un-naturally deep, Regina readily underlined that the photos are not worked with any image-editing program.

The challenge for the artist and for the curator has been to arrange the photos in the small room that the Museum uses for temporary exhibitions. This is the second temporary exhibition I see at the Hesse Museum (the first one was "Rifugio Monte Verità") and every time I am amazed about how simplicity and imagination can exploit a small space. The size of the photos ranges around A4-A3; two photos are enlarged to poster-size, hanged in the middle of the room. Information about the exhibition and the artist is displayed outside, in the hall, so that the room is entirely dedicated to images and Hesse's words.

Kutlug Ataman’s “Küba” installation at Hangar Bicocca, Milan

After traveling through the UK, Austria, Belgium, Australia, Germany and USA, the installation Küba, by famous Turkish film-maker Kutlug Ataman is now staged in the exhibition “Not Afraid of the Dark”, at Hangar Bicocca in Milan. A spatial representation of a neighborhood in Istanbul, populated by fundamentalists, outsiders, Kurds and Turkish people with particular life stories. 40 old TV sets of all shapes and all sizes, playing at moderate volume, placed on TV tables, all different, and a chair in front of each. Taken by surprise, especially for someone that does not know the story of the installation, a visitor might be attracted by a face or by the comfort of a particular chair. I had the curiosity to watch two interviews without knowing what the story around them was. I got immediately struck by the violence that sprouted through the person’s story, but also by a feeling of alienation, common to the handful of interviews I watched. A young man speaks about friendship and how friends have particular ways of manifesting themselves in Küba: one day someone might be invited to drink a tea, eat something at a friend’s house, he is well-treated, particular attention is dedicated to his having a good time, then out of a sudden he is taken off the chair and beaten savagely. Next day, they are friends again. Friends in Küba, confesses the young man, understand that friendship is also about beating, but because of this, it is not less of a friendship. A woman in her fifties recalls the good times, when Küba was free and you could beat policemen on the street and bear no consequences. A middle-aged woman narrates her life story from the beginning, with coming to leave in Küba, getting married, being unhappy all along but moving on and refusing divorce for the sake and pride of her family. She would have liked to study, but she could never afford it. Now she is cleaning houses and does her best to convince her husband to go the right way, take a job, take care of his family. She has just born a son and hopes he will change her husband to the better.
You can move around the TV sets and select a story to watch, driven by a face, a phrase or the comfort of a chair (indeed, attention has been paid to this not neglectable detail). Each visitor leaves with his own impression of the neighborhood, the people, life of an outsider community. He operates his own selection. The path in this installation takes the form of a curve from the collective to the individual, from the generalized loudness of all the stories heard at once, to concentration on one particular story. Even when listening to an interview, you catch glimpses of other stories, you may leave one unfinished and head towards another one.
It took Kutlug Ataman three years to gather all the interviews. The inhabitants are men, women of all ages, children, most of them have a secure tone of voice and a single-pointedness in dealing with hard issues, even for the very young ones. It takes an attentive eye to find, between all these hard stories, a sensitive perspective on daily life moments.
Erol: “Birds give my eyes pleasure. Their beauty, their colours, their gentleness… there’s a yellow bird. A very pleasant yellow. It seems to be laughing with its mate.”

Interactive art and the making of an experience: Spiritual De-Krypt at Museo Cantonale d’Arte

On Saturday I have been to an interactive art exhibition, INnet HUB 11.0, at Museo Cantonale d’Arte in Lugano, part of the INnet Project with media artists in focus Maurice Benayoun and the couple Vasulka. The Vasulkas are legends of media art, they have been active with video installations since the seventies. As for Maurice Benayoun, he has a history of himself with media and virtual reality installations, if you check his website, you might wanna read about his virtual reality installation Is God flat? (“first metaphysical videogame”, Le Monde 1994)

However, the exhibition was developed with little care of masking technology into a true experience. Altogether, technology was just as obvious as the interactive experience itself and left little space for the visitor to be immersed. The So.So.So. installation of Maurice Benayoun is based on a powerful concept – visitor controls the perspective of what is being viewed and dives into the image projected with the help of VR binoculars, getting closer and closer to a detail of interest, while images keep changing in the very moment he focuses on a specific detail. Less powerful was its staging, the environment was cold like a scientific lab, no climax apart from the Aha of figuring it out. Another installation with a motion-capture system triggered attention, but the experience stopped there, at seeing my projection on the screen and at the fact that there was indeed a mathematical precision to the way my movements corresponded to the sounds generated. I see a huge potential for the association between movement and sounds, and for systems that can provide a synchronous reproduction of units corresponding to different senses. Provided the environment is created for an experience to take place.

The last room had something special: a black curtain that you could just leave to fall behind you and enter a self-sufficient environment. Not here to make the definition of an environment for an experience, but this is all about it: create a world in itself, cut off from the world outside, establish different rules of interaction, exploit senses to the maximum and allow them to come together different than out here, challenge and defy perception, empower people to rediscover themselves and their actions. The installation in that last room was called SPIRITUAL DE-KRYPT, developed by Roberto Vitalini and Dante Tanzi. The room was very dark. When I moved towards a very subtle red light, my body was suddenly projected on two screens, in lightened colours, the music got stronger. If I stopped the projected "aura" slowly faded away, the music got softer. The light projection became visible again, naturally following my movements, triggering melodic sequences. The surrounding sound was leading my gestures into a circular rhythm that, if repeated, amplified the melody generated by my movements and the visual traces of my actions.

Drawing data out of my own experience and into the analytical level, there are some elements that I consider essential for changing a sum of media into an authentic experience: first, closing the environment from the gallery, the world, the people outside. This was the feeling I experienced when the curtain fell behind and the light grew dimmer. Second element can be drawn from dramaturgy rules of dosing silence and sound, the element of surprise. The visitor does not understand immediately that it is him who generates sound and the amplification of sound (even though he might read the informative panel at the entrance, the text is cryptic and incites curiosity rather than explaining). The same applies for projections: he realizes he is projected, but not immediately that only movement generates light, whereas stillness makes him invisible to the screen. Third element: the visitor is in control, he creates the world around him. Fourth element: powerful game with perception: you move, you project, you generate sound. Your movement is projected as light on the screens, as if movement itself is decomposing and enlightening your body. In fact, you don’t see your body anymore, you just see light projected. Fifth element: Continuity of the experience. Movements generate sounds, melodic sequences. Your movement then produces music that can inspire your subsequent movements and so on. Dancing in this room is a circle in which movement generates its projection and its musical counterpart that propels the dance and its projection again and its music again.

Many thanks to Roberto, who explained me how the system works and what the motivation behind creating this experience was.

ExhibitFiles: community site for exhibit designers

..and not only. A website where exhibit designers and developers may post reviews and case studies of exhibitions and exhibits. It is still in its early days, but there are some interesting reviews and case studies that you may already check.

See the website ExhibitFiles