Masters Thesis from the year 2013 in the subject Art - Miscellaneous; grade: Distinction; Kingston University London (Kingston University London; in Partnership with the Design Museum; London; U.K.); course: MA Curating Contemporary Design; language: English; abstract: In the frontier of the exhibition scene; a significant phenomenon is observed that a contemporary artistic staging practice; called scenography; has grew out from the theatre context and keeps expanding its influence in the exhibition context in recent time. Scenography has been acting as a transformative force to reform the traditional exhibitionary complex; and consequently; this has led to an unprecedented intersection where scenography meets contemporary curating; which further informs a radical ideological shift. This paper aims to exploit a new land of discussion to look into this intersection between scenographic practice and contemporary curating; its mergence and the subsequent revolution it has caused.By seeing museums and exhibition spaces as metaphorical stages; it fundamentally reconfigures the infrastructure of curating practices; in terms of a shift in authorship; architectural embodiment of ideas; field of experience; layered narrative; dramaturgy and the hybrid expressions of new media. Three case studies will demonstrate scenographyrsquo;s wide-ranged capacities and various methodologies in dealing with contemporary issues. Cases include: BMW Museum (Reopened in 2008); Cultures of the World (Opened in 2010) and Leonardorsquo;s Last Supper: A Vision by Peter Greenaway (2008; 2010). Respectively; they prove scenographys overarching influence of acting as a brandscape; as a site of cultural mediation and as interference and discourse. The whole discussion cuts through major discourses in the field; both responding to the increasing awareness of the notion of staging experiences in the rise of experience economy; and the expanding notion of curating; in parallel.
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