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Copyright of Journal of Information Science & Technology Association/Joho no Kagaku to Gijutsu is the property of Information Science & Technology Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article will examine the RIPPING ATOPOS project initiated by the Athens-based ATOPOS Contemporary Visual Culture Organization (ATOPOS). In this project, contemporary artists and fashion designers are commissioned to create their own works of art or garments, either inspired by specific pieces or by using duplicates of the 1960s paper dresses from the ATOPOS collection. The article describes results of the collaborations with the different artists and fashion designers. The project has enabled ATOPOS to investigate new ways of handling, managing and displaying its collection. [ABSTRACT FROM AUTHOR]

Copyright of China Pulp & Paper is the property of China Pulp & Paper Magazines Publisher and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

'Live minting' is an emerging trend in exhibition design which offers visitors the opportunity to mint an NFT memento in the exhibition. This paper examines three examples of this current trend in museums which include Play Record Mint (PRM), at Kunsthalle, Zurich, Life After Bob at Light Art Space (LAS) Foundation, Berlin, and Unsupervised at Museum of Modern Art (MoMA), New York. Using theories on the 'museum experience' drawn from scholars such as John Falk and Lynn Dierking (2011; 1992; 2008), this paper examines to what extent the NFTs in these examples contribute or challenge this idea. In doing so, this paper investigates the intersecting values associated with NFTs and argues that NFTs are a form of digital hybrid, a token that exists in a constant state of becoming a commodity, which has both potential benefits and implications for museum exhibition design. [ABSTRACT FROM AUTHOR]

This paper is an invitation and a map. It is also an exhibition, and it is a provocation. The reader is directly addressed and invited to be implicated in a "we" that is repeatedly mentioned throughout the essay. In doing so, we might imagine study as something that moves us, transports us, and finds us thinking alongside one another, above, or under some place we may never have thought we would end up. Many things are left unfigured. It was never the author's intent to figure them out, but instead, here, we might try something different, something out of grasp. [ABSTRACT FROM AUTHOR]

In 2009, the Chinese Government held the Great Sites Protection Summit Forum in Luoyang city to promote the integration of site museums into urban life. This paper has selected the Luoyang Zhouwangcheng Emperor Six Horses Carriage Museum in Luoyang as an example in order to explore the relationship between exhibition methods and the local environment. This museum has preserved the relics of the large-scale carriage and horse pit of the Eastern Zhou Dynasty at the original discovery site since 2002. It has a branch maintaining a similar discovery in 2009, which was integrated into the Tanggong Road primary school. Because the museum and its branch are located in the city center of Luoyang, they have faced many design and functional challenges shared by other urban site museums, including the limitation of space and appropriate preservation of archaeological discoveries. By identifying and analyzing these challenges, this paper suggests that the museum has developed a unique way to engage citizens, which provides a useful reference for understanding site museums in the urban area of China. [ABSTRACT FROM AUTHOR]

Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Museologica Brunensia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Muzealnictwo is the property of Index Copernicus International and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Artists have long been interested in the archival process. Their work examining and critiquing archives and archival concepts has attracted considerable scholarly attention; however, little attention has been paid to the perspectives of archivists, focusing instead on those of artists themselves, as well as critical theorists. This article focuses on how archivists consider and harness archives in their practice, examining their use of archives in exhibitions within museum and gallery settings (and, briefly, within libraries). Drawing on interviews with archivists and designers, this paper explores the display of archives through four key themes: contextualising (and, in turn, shaping) the exhibition of artworks; providing insights into the creative processes of artists and writers; enabling institutions to reflect on their collecting and curating practices; and using archives as objects for display in themselves. The discussion demonstrates a range of different perspectives that reveals the transformative possibilities of archives and their exhibition. [ABSTRACT FROM AUTHOR]

In 1849, Punjab was annexed by the English East India Company. This paper deals with the Punjab Exhibition of 1881, where along with textiles, arts and other local handicrafts of India were put on display. Claiming to revive the indigenous Indian arts, crafts and textiles, the exhibition represents the politics of selected exhibits which catered to the taste and choice of the British. The exhibition helps in understanding the objective and importance of conducting imperial exhibitions, as exhibitions were also redefining the European homes. A detailed analysis of the exhibition foregrounds how colonial rule redefined the idea and representation of indigenous handicrafts and art. The indigenous handicraft was also immensely being guided by the European market. Thus, the paper focuses on the aspects and strategy adopted by the British at promoting and preserving Indian art and textile. Moreover, efforts at preservation of the arts got institutionalised in the form of art schools. These were set up for the purpose of promoting and building taste for Indian traditional art in the British markets. The paper attempts to understand how the British shaped the notion of heritage and cultural difference between the coloniser and colonised and the 'self' and the 'other' through the exhibition. By analysing the Punjab Exhibition 1881, the paper aims to deal with some pertinent issues such as strategic organisation and representation of the exhibits, as well as the legacy of the exhibition during colonial rule. The paper argues that though the British took to organising exhibitions to promote and preserve Indian art and textile, but in reality, it was a disguise aimed at establishing imperial supremacy over the colonised and maintain a hierarchical relationship of aesthetic and traditional culture between the ruler and the ruled. [ABSTRACT FROM AUTHOR]

In this paper, the author shares some comments on the exhibition Wisła królowa polskich rzek (The Vistula River: The Queen of the Polish Rivers) organized in the National Museum in Cracow (29.03.2022-4.09.2022). The curator Iwona Długopolska gathered maps, atlases, engravings and literary works from the 16th-mid 19th centuries from the collection of the National Museum. All of them deal with the Vistula River. The author focuses on the cultural dimensions of the representations of the river. At the beginning of the paper, there are remarks about the physiology of viewing. The author stresses the fact that exhibitions can be a way of carrying out historical research. In the next parts, he puts forth a classification of the interpretations of the river as a cultural phenomenon into four major groups, i.e. the economy, the war, the city and the expressions of the Polish national identity. He also links literary works by Polish authors with the visual representations of the Vistula. [ABSTRACT FROM AUTHOR]

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyzes the first two years of operation of Marc Ferrez & Filhos (Marc Ferrez & Sons), a pioneer of film distribution in Brazil. As exclusive representative of French Pathé Frères in the country, the company oversaw the expansion of permanent movie theaters in Rio de Janeiro starting in 1907, created a national distribution network, and shaped the budding film market in Brazil. The paper shows that the increase in domestic film production after 1908, the so-called belle époque of Brazilian cinema, resulted from Marc Ferrez & Filhos’ dominance in programming at the best movie theaters in the capital of Brazil using their own original and exclusive representation model. [ABSTRACT FROM AUTHOR]

Ever since the first pieces of Great Moravian jewellery were found in early medieval burial grounds, which began to be intensively and extensively explored mainly in Moravia after 1948, it was clear that these were not only elite goods related to the highest social class in Great Moravia of that time, but also exhibition objects that bear the hallmark of exclusivity. Their artistic beauty, the expensive material from which they were made, as well as the craftsmanship with which they were created, were and still are a sure guarantee for the exhibitor that they will interest the public in some way. The paper focuses mainly on large exhibition events, which from the 1960s presented Great Moravian jewellery not only to the Czech, but also to the foreign audience. At the same time, it briefly outlines the future, which is connected with presentation of these exceptional archaeological finds, and which is in the hands of the Moravian Museum in Brno. [ABSTRACT FROM AUTHOR]

The paper introduces the exhibition, The Real Faces of the Royal Borough. This touring exhibition combines digital portraiture by artist Nevada Lynn and research on gentrification and displacement by urban geographer Sharda Rozena. By focusing on the individual lives and experiences of twelve residents from Kensington and Chelsea, we highlight the everyday impact of gentrification in this London borough, including displacement, transient community, high costs of living and unaffordable rents. The portraits help us to humanise the housing crisis and increase people's awareness of the injustices that arise from the ongoing gentrification of the Royal Borough. [ABSTRACT FROM AUTHOR]

Copyright of Information Library Magazine 'INFOLIB' is the property of National Library of Uzbekistan named after Alisher Navoi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents emergent narratives from theory on game design as a model for designing cultural heritage exhibitions and discusses how criteria of emergent narratives can support exploratory user behaviour. We propose that emergent narratives can be transferred to the design of interactive digital exhibitions, thereby removing constraints and allow for more personalized and potentially structure-breaking user experiences. Whereas exhibition design often either focuses on form or content, we propose that by designing for exploration through criteria of emergent narratives, a balance can be found between content and form that encourages explorative behaviour in the exhibition. This adds to the discourse of design principles for using principles from closed digital environments, such as games, in open physical spaces of exhibitions. This paper answers the research question of how theory of emergent narratives can be used to design for exploration. [ABSTRACT FROM AUTHOR]

This article demonstrates that making art in conjunction with story-telling is a method which can elucidate the everyday working practices of social work practitioners. To date, the relationship between art and social workers has rarely been noted, in part because visual studies have not attended to the lived experiences of social workers. In this paper, we draw on an empirical study undertaken in England which invited social workers to use art to tell their stories of being a social worker and doing social work. Their artefacts produced powerful visual and aural accounts of practice. They were displayed at the People's History Museum, Manchester, in the first social work exhibition of this kind, making visible to members of the public the hidden, lesser known and understood aspects of practice. In this paper, we demonstrate how particular social work structures can rupture relationships between social workers and the families they work with. In doing so, we build on the sociology of art, work and interaction by showing how visual narratives can challenge, and sometimes alter, previously held assumptions and beliefs. [ABSTRACT FROM AUTHOR]

Copyright of Journal of West Asian Archaeology / Nishiajia Kōkogaku is the property of Japanese Society for West Asian Archaeology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Academic Library & Information Science is the property of Anhui University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Art is a powerful tool for conveying scientific discovery. Despite the perceived gap between art and science, as highlighted by CP Snow and others, examples of art communicating science can be found in the ancient world, the Renaissance and contemporary data visualization, demonstrating an enduring and historic connection. However, much of science relies on visual elements, excluding those with blindness, low vision and diverse needs, resulting in their low representation in STEM discourse. This paper introduces a novel science and art collaboration in the form of an exhibition program exploring the concepts of Immunology and Biomedicine to blind and vision‐impaired audiences, capitalizing on the lived experience of a legally blind artist. Employing multisensory design, art and co‐creation methodologies, it transcends traditional vision‐based science communication, showcasing the potential for multisensory art to bridge the gap at the intersection of science and inclusion. [ABSTRACT FROM AUTHOR]

The main goal of the project is to create an interactive exhibition, innovative and technological in its approach, that aims to create awareness and promote the knowledge of the Sustainable Development Goals of the Agenda ONU 2030 - in particular, on the value of social and environmental sustainability. 178 Countries adopted a common agenda to preserve our planet for the first time in 1992, during the Rio de Janeiro Summit. From that moment, the concept of sustainability has changed forever and has been changing ever since. In this paper, after understanding the state of the art in the field of the interactive exhibition, it is going to be explained how the methodology is applied in order to evolve from a desk and field analysis to a concept definition. These key points will then help define the concept in the shape of an operative strategy with methodological guidelines and a structured solution. From this stage, a few considerations on the future of this proposal can be drawn. [ABSTRACT FROM AUTHOR]

Copyright of Citaliste: The Scientific Journal on Theory & Practice of Librarianship is the property of Citaliste: The Scientific Journal on Theory & Practice of Librarianship and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The intangible cultural heritage (ICH) concept has been operational in China for almost 20 years. One integral part of China's ICH landscape is a range of exhibition spaces and museums that specialise in the display, performance, and transmission of ICH. Based on two years of ethnographic fieldwork at different exhibition sites, this paper provides insights into what these exhibition spaces look like, how they function, how ICH is exhibited within them, and what exhibitions mean to different heritage actors. The article shows how ICH exhibitions have themselves become a sociocultural phenomenon, bringing together a variety of actors who experiment with different forms of display and types of exhibitions in an ad hoc, spontaneous, and unregulated way. The paper also contributes to the broader discussion on ICH as a political intervention that transforms the cultural practices and expressions it normatively sets out to safeguard. [ABSTRACT FROM AUTHOR]

This paper explores the construction of the identities of Philippe Curtius and his protégé Marie Grosholtz, known as Madame Tussaud, as providers of medical and health services, body workers, and entrepreneurs in key works that charted their experiences during the volatile period of the French Revolution. As purveyors of entertainment that derived its attraction from perceived close rendering of the likenesses of noteworthy individuals, modellers in wax required attentive discernment of bodies, or at least the capacity for imaginative descriptive skills, establishing a professional language for body work. Moreover, Tussaud's account explicitly foregrounds complex gender dynamics as a young woman interacting with the bodies of male and female clients. This essay explores how important eighteenth‐century gendered conceptualizations of body work are revealed in the body texts produced in this period. [ABSTRACT FROM AUTHOR]

Rural arts events (triennials/festivals) are mainly aimed at local and regional revitalization. This exhibition-driven tourism (unlike traditional festivals, conferences, and exhibitions) has existed for more than 20 years in Japan. The curators of exhibition-driven tourism hope that these events can promote the economy and stop population decline as a result of the aging population. Therefore, this paper attempts to evaluate the effects of urban and rural arts event tourism in local and neighborhood areas in Niigata, Japan from the perspective of SDG 8.9. The Echigo-Tsumari Art Triennial and Water and Land Niigata Art Festival were chosen as case studies. Panel data (1997–2019) concerning tourists, income, and population in Niigata were evaluated using multiple empirical methods with descriptive correlation statistics (simple linear regression (SLR) and one-way ANOVA) and spatial analysis (Moran's I). Through multiple-method analysis, the positive impacts of urban and rural arts event tourism in local and neighborhood areas in relation to Sustainable Development Goal 8.9 were evaluated. The findings presented herein have meaningful implications for tourism academia and the industry in general. [ABSTRACT FROM AUTHOR]

In this paper I focus on a case study concerning Nemere Kerezsi's artistic approach presented in the exhibition Nemere Kerezsi: Thiemann-Etüde (Quadro Gallery, Cluj-Napoca, 13th of May - 24th of June 2022). The aim of this article is to analyze the close relationship between memory and image, starting from the way the artist observes and researches the memory and narratives created around places, which he claims as the central resource for the creation of his works present in the Thiemann-Etüde exhibition. The artist systematically starts from the micro framework of personal memories and narratives, which are then recorded and reproduced, through suggestive images, for the macro framework of the Anthropocene topic of the current history. Thus, the theoretical debates on the issue of the Anthropocene are relevant in this context, because the artist captures through a diversified visual language (video, photography, sculpture, installation etc.) the cultural-artificial intervention of man on nature and the consequences of this intrusion. Starting from the premise that the natural environment and history present themselves more and more as a result built on the basis of the interconnection of people who fabricate communities, Nemere Kerezsi developed his artistic approach similar to anthropological research. Namely, the artist collects subtle data about the personal memory of different places he's visited, in order to generate the "image of an experience". [ABSTRACT FROM AUTHOR]

Copyright of Matica Srpska Journal for Fine Arts / Zbornik Matice Srpske za Likovne Umetnosti is the property of Matica Srpska, Department of Visual Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: This study proposes a literature review and, based on the findings, the authors develop a conceptual framework, attempting to explain how technology may influence visitor behavior and eventually trade show performance. Design/methodology/approach: The present research explores the role of visitors in the trade show context. The analysis specifically focuses on the variables that influence visitors' participation at business-to-business trade shows and how their satisfaction and perception can be related to exhibition performance. The authors also take into consideration technological trends that prior to COVID-19 pandemics were slowly emerging in the trade show industry. Findings: The findings highlight a continuity between pre-, at and postexhibition phases. Visitors' behavior represents a signal of how a trade show is perceived as postexhibition purchases and next visit emerge as signals of an exhibition evaluation in relation to visitors' perception. Besides being urgent tools for the continuity of the sector due to the pandemics, emerging technological trends can be key elements in understanding visitors' behavior and in boosting their interest and loyalty toward trade shows. Originality/value: The paper proposes a conceptual model including top notch and innovative technological trends to improve the understandment of visitors' behavior. Both practitioners in companies and academics might find the study useful, given the digital uplift generated by the pandemics. [ABSTRACT FROM AUTHOR]

This paper examines the preservation and curatorial approaches explored for the exhibitionSilent Explosion: Ivor Davies and Destruction in Artat Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects. [ABSTRACT FROM AUTHOR]

This paper clarifies the intention behind the design of the exhibition 'Urbanism Places Exhibition 2018' (UPE2018), and analyzes evaluations of exhibition visitors. It aims to develop a methodology for planning history exhibitions. UPE2018 was an exhibition that focused on plazas in the context of planning heritage. The 55 HIROBA of the Shinjuku Mitsui Building was selected as a venue so that people could experience a high-quality plaza, which is an example of planning heritage in itself. In addition, the organizer prepared content about the history of public spaces in both Japan and the Shinjuku area, as well as on contemporary methods of creating public spaces, and the exhibition featured talks about public spaces. The exhibition method was based on the following principles: 1) an exhibition should be woven into the everyday use of space and 2) the exhibition itself creates a plaza. The evaluations revealed that non-experts especially tended to appreciate the talk-type program. Planners tended to see the planning history exhibition as a source of knowledge that could be useful in urban planning, while non-experts reported the exhibition increased their awareness of surrounding urban spaces. [ABSTRACT FROM AUTHOR]

Copyright of Pamukkale University Journal of Social Sciences Institute / Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi is the property of Pamukkale University, Social Sciences Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the continuing relevance to education of ideas about art and resistance that Jean-François Lyotard signalled in his curated exhibition in 1985 at the Centre Georges Pompidou in Paris entitledLes Immatériaux. The exhibition was for Lyotard the ‘staging’ of a resistance at the dawning of an information age that challenged the prioritisation of computerised ‘data’ through the very deconstruction of data as presented in artistic form. While the implications of this event for art exhibitions are still being theorised and debated, it is the insightLes Immat​ériauxprovides as pedagogical encounter that is the focus of this article. The paper explores the exhibition in the context of the immateriality of art and develops this argument towards a notion of artistic testimony that then culminates in an analysis for the pedagogical significance of the exhibition in the information drenched, highly networked context of contemporary education. [ABSTRACT FROM AUTHOR]

Copyright of New Architecture is the property of New Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper explores how indigenous knowledge and hybridity were displayed at the exhibition to celebrate the fourth centennial of São Paulo city in 1954. The exhibition was curated by the Portuguese scholar Jaime Cortesão, who spent seventeen years exiled in Brazil and actively participated in intellectual controversies about territorial exploration and colonial encounters. Considering Cortesão's mobilities and his dialogues with Brazilian scholars, the paper proposes a critical and decolonial gaze to texts, images and objects selected to depict encounters in São Paulo exhibition. Drawing on sources from the National Library of Portugal and media reports published in the Brazilian press, the paper explored two categories incorporated in Cortesão's curation work to reconcile local, national and colonial identities: Tupi and Bandeirante. By exploring how Cortesão used these categories to reinforce Portuguese colonial agency in Brazilian territorial exploration, this paper suggested that critical studies of hybridism could provide essential insights for contemporary postcolonial and decolonial scholarship. • Highlights the display of encounters and hybridity at São Paulo exhibition in 1954. • Examines mobilities as an essential aspect to investigate Cortesão's curation work. • Explores how local categories were displayed to support national and colonial claims. • Demonstrate how controversies with Brazilian historians were silenced in the display. • Shows that critical studies on hybridisms provide insights for decolonial approaches. [ABSTRACT FROM AUTHOR]

Copyright of Knowledge: International Journal is the property of Institute for Knowledge Management and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Liño: Revista Annual de Historia del Arte is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the paper is that, through research of scarce and rare documentation and memories collected from the artist‘s daughter, primaballerina Ivanka Lukateli, to illuminate the life, ideological principles and creative poetics of Anton Lukateli, an insufficiently studied and unjustly neglected artist who dedicated his enitre opus to anti-fascism and National Liberation War. Anton Lukateli was a participant in the National Liberation War from 1941, a versatile cultural worker, one of the founders of ULUCG (The Association of Fine Artists of Montenegro) its first secretary, initiator of Montenegrin cinematography, author of the first ‚‘Pobjeda‘‘ logo where he worked as an illustrator, and author of the first social dinar in Montenegro, together with the painter Milan Božović. He was one of the first representatives of social realism in Montenegro, and his most successful works were linocuts with a war thematics, on which he manifested resistance to injustice and violence through convincing artistic expression. He was the author of the first post-war map of graphics with which he participated in the Pan-Slavic Exhibition of Graphics in Prague in 1946, and one copy is preserved in the National Museum of Montenegro. Because of his beliefs, he was imprisoned on Goli Otok from 1952 to 1954. After Goli Otok, he moved to Belgrade, where he withdrew from public life in a certain way and was engaged in scenography and film work. [ABSTRACT FROM AUTHOR]