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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

A successful exhibition cannot be separated from the proper arrangement of the exhibition space. A good exhibition space arrangement will generate interest from exhibition visitors. Moreover, what if the exhibition is a museum exhibition. The arrangement of museum exhibitions requires a more complex arrangement. South Sumatra Province held a joint exhibition which various state museums throughout South Sumatra attended. Because various museums attend it, a good exhibition space arrangement is needed to present an optimal exhibition space so that it is attractive to visitors and is not inferior to other museums in the exhibition. Therefore, this service aims to assist dr.AK.Gani Museum as a partner to organize its exhibition space to make it more optimal. The community service activities offered at this activity are assistance in designing informative brochures and showing off collections. Exhibition activities went well and safely following health protocols during the COVID-19 pandemic, attended by various students and the general public. The activity method includes focus group discussions, exhibition room design, and effective exhibition space design implementation to produce the dr.AK.Gani Museum exhibition design has been implemented at the 2020 Joint Exhibition at the South Sumatra State Museum

Traditional museum space design is generally limited to cost and engineering volume, and follows the conventional unified design process of large-scale space fixtures, isolating the design contents of space hard decoration and internal soft decoration and display, and even flood lighting intelligence, lacking unified overall consideration and response. The disjointed design in the early stage led to a large number of space contradictions in the exhibition placement and actual use and operation after the completion of the hard installation and delivery. The intervention of new media art changes the traditional exhibition form. At the same time, the traditional public space design process also begins to change because the exhibition activity of new media art forms has many requirements such as technology, process, material, sound and light, and even environmental psychological effect on the space form and scale. Based on case studies of different characteristics, this paper summarizes the systematic design methods of new media art's involvement in the hard installation of museum exhibition space from three dimensions of spatial layout, spatial form and spatial scope.

The Westminster Menswear Archive, housed at the University of Westminster held an exhibition in 2019 entitled ‘Invisible Men’. The purpose of this show was to “shine a light” on men, or more accurately menswear which had been hitherto neglected by scholarship and exhibitions featuring dress (Groves and Sprecher, 2019). This article draws on research conducted at this exhibition to ask anthropological questions as to the nature of menswear both in the gallery space and beyond. Fundamentally this will question the invisible nature of menswear and whether such invisibility really exists. In order to accomplish this, this article will suggest a new theory of the gaze that exists in the gallery or exhibition space – the gallery gaze – and use it to provoke analysis of the ethnographic material presented. This article acknowledges a distinction between intellectual, semiotic and symbolic invisibility but suggests a different approach, arguing for an (in)visibility of progressive degrees.

Abstract: Augmented reality (AR) is a prevalent topic in the museum space as it promises to bridge the gap between the physical exhibition space and digitised information. The present paper introduces a framework of four distinct experience-based categories that outline which kind of AR applications are possible inside the museum: 1) object annotation, 2) object visualisation, 3) guiding, and 4) data visualisation.   Liitreaalsus (LR) on muuseumides levinud, kuna see lubab ületada lõhe füüsilise näituseruumi ja digiteeritud teabe vahel. Vastav tehnoloogia on nüüdseks küpsuse saavutanud ja muutunud tootmisvahendiks mitmetes tööstusharudes. Käesolevas artiklis vaadeldakse, millised on muuseumides rakendatavad konkreetsed kasutusviisid.             Muuseumides kasutatava LR-i põhjalikuks mõistmiseks on mitmeid teoreetilisi ja tehnoloogilisi lähenemisviise. Käesolev artikkel täiendab olemasolevat kirjandust, ühendades LR-i teoreetilisi kontseptsioone ja selle tegelikke rakendusi. Selleks võetakse kasutusele neli liitreaalsuse kategooriat, mis ei tulene mitte tehnilistest kirjeldustest, vaid hoopis kasutajakogemuse seadistustest muuseumides. Need kategooriad on 1) objekti annotatsioon, 2) objekti visualiseerimine, 3) vaataja suunamine (LR giid) ja 4) andmete visualiseerimine. Artiklis järgneb kategooriate lühikirjeldustele analüüs, milles vaadeldakse nende rakendamist eri riikide muuseumides.             Peale nende nelja kategooria rakendamist eri riikide muuseumide parimatele rakendustele väidame, et iga kategooria sobib ideaalselt konkreetsete narratiivsete eesmärkide saavutamiseks: 1) objekti annotatsioon – pidev, 2) objekti visualiseerimine – eraldiseisev, 3) vaataja suunamine – dialoogipõhine ja 4) andmete visualiseerimine – ühendav narrativiseerimine.             See parimate rakendustega seotud kategooriate kogum aitab muuseumispetsialistidel ja otsustajatel paremini mõista LR-i kasutusvõimalusi ning saavutada vahendamise ja narrativiseerimisega seotud soovitud eesmärke.

Summary The main subject of this paper is the Jewish artists of interwar Lithuania and their efforts to unite. It analyses the aspirations of Jewish artists to unite into groups, to represent and present their art, and to maintain their national identity. The article introduces the main organisers, participants, circumstances and goals of the artists’ gatherings. It discusses three cases: the cultural policy pursued by National Jewish Council’s Section of Culture at the institutional level; Jewish artists who gathered on a social basis; and the Art Gallery of Neemiya Arbit Blatas as a unique exhibition space in inter-war Lithuania, which mainly exhibited the works of Jewish artists. The paper focuses not on the artistic legacy or its value, but rather on the processes of cultural life of Jewish artists in interwar Lithuania.