Shakespeare, renaissance drama, performance studies, forgery, digital museology, heritage creation, vernacular historiography, vicariousness, immersion, sea spectacles.
Associate Professor at Perm State University, Russia, with 15 years of experience in the Digital Humanities field, with a focus on Digital History, Digital Heritage and Virtual Museology.
I describe myself as a cultural historian to reflect my interest in a range of practices and reflections on performing, directing, designing and writing for, and about, theatre in the 20th and 21st centuries and on arts funding, museology, curating and archiving. I am interested in many things from Shakespeare inspired performances in prisoner-of-war camps to Keith Moon’s exploding drum kit and Vivien Leigh’s wigs; from close textual analysis to close analysis of regional theatre budgets and detailed analysis of theatre costumes (see publications for more details). I can summarise my approach to, and interest in, all these areas through five questions:
These questions guide my research and my collaborations with artists, researchers and students.
Karen Schamberger is a curator and historian with a love of museums and public history. She is currently working at the National Museum of Australia as part of a team developing a new environmental history gallery. She has previously worked on the Identity: Yours, Mine, Ours exhibition (2011) at the Immigration Museum and Journeys exhibition (2009) at the National Museum of Australia. Her PhD dissertation: Identity, belonging and cultural diversity in Australian Museums examined the ways that objects mediate relations between people of culturally diverse backgrounds in Australian society and history. This included an examination of the ways that museums, through their collections and exhibitions, are implicated in processes of inclusion and exclusion. Her interests include museology, transnationalism, migration, histories of place, colonisation, whiteness, human relationships with other species and material culture.
…Museology Graduate Student…
…M.A. in Museology
University of Washington
Class of 2019
B.A. in History, Government and Art History
Class of 2015…
Kiersten F. Latham is the Director of Arts, Cultural Management and Museum Studies, as well as Associate Professor in the Department of Art, Art History, and Design at Michigan State University. Prior to this, Dr. Latham spent 9 years at Kent State University where she developed and taught in the museum studies specialization within the Master’s in Library & Information Science and ran the experimental MuseLab. She has taught all aspects of museum studies, from administration to collections management to user experience. In addition to academic work, she has worked in, on, and about museums in various capacities for over 30 years, serving as a director, educator, researcher, collections manager, curator, volunteer, and consultant. Her research interests convene around the meaning of museum objects—especially with respect to emotion, perception, sensation, and spirituality—and the conceptual foundations of museums as document systems. She has done research on numinous experiences with museum objects, imaginative touch (of museum objects), user perceptions of ‘the real thing’ in museums, museums as ecological systems, contemplative practices in museums, positive museology, and conceptual ramifications of museum object as document.
…Ionian University – Department of Archives, Library Science and Museology
Elleniko Mesogeiako Panepistemio – Department of Agriculture…
…Degree: Philosophy and Modern Literature; CertHE: Museology and Art Critic; DipHE: Creative Writing; DipHe: Social Theatre actor, screenwriter and operator….
Andrea Pagnes and Verena Stenke have been working together since 2006 as VestAndPage and gained internationally recognition in the fields of performance art, film, writing, publishing and with international community cultural projects. They have been creating live performances, performance visuals, performance-based films and poetic writings since over a decade, exploring performance art as phenomena through their collaborative creative practice, as well as through theoretical artistic research and curatorial projects. Their works have been presented in museums, galleries, theatres and a variety of sites worldwide. Their writings have been extensively published and translated for international readers.VestAndPage’s art practice is contextual and situation-responsive, conceived psycho-geographically in response to natural surroundings, social contexts, historical sites and architectures. They inquire performance art not just as a medium to express their concerns and ideals, but as an urgency to explore the physical, mental and spiritual bodies, and to interface with the ephemeral matters of art and existence. In a poetics of relations they examine notions of temporalities, memory strata, communication and fragility of the individual and the collective within social and environmental spheres, applying the themes of trust in change, endurance, union, pain sublimation and risk-taking with a poetic bodily approach to art practice and a focus on universal human experiences. Their artistic collaboration has roots in contemporary visual and conceptual art, classical, oriental and social theatre, philosophy, anthropology, anthropoetics and political science, as well as in the study of rites, myths and religions, particularly Islamic Sufism, Mediaeval alchemy as well as the ancient Greek and Christian iconology to analyse the significance of a subject’s matter within the cultures that produce it. Working with material from a personal and genetic library accessed through insightful thinking and spiritual practices, their works are accessible by a wide audience, allowing viewers to address realistic contents through fresh iconography in an otherworldly surrounding. Their durational performances are distinguished by actions and sensorial details that undermine the conventional and put the elements of logic into question. These performances have durations of 24 hours or 5 days and nights consecutively, or can be month-long, as it was for the performance walk in their latest feature-length film Plantain. Their performance cycles and films are developed consecutively and in situ. The process of making unfolds as if in absence of temporality, as if the concept of time itself had collapsed to create a setting in which the present is repeated or the past is recalled. These works face philosophical, social and political issues from multiple perspectives, for example the belief and unbelief. While encompassing a range of subtly different concepts, they primarily express VestAndPage’s Weltanschauung while adding or revealing poetic elements as a rebellion against the exercise of power and discrimination among human beings.