Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience

Kate Holmes*

*Corresponding author for this work

    Research output: Contribution to journalArticle (Academic Journal)peer-review

    Abstract

    Taking an interdisciplinary approach to information-led exhibitions focused on performance can be considered practice-as-research historiography if curation is engaged with as praxis. Approaching exhibition curation as research praxis is a knowledge-making process, reconfiguring exhibitions as far more than a ‘pathway to impact’ designed at securing a grant. In the curation of two linked exhibitions on nineteenth-century popular entertainments at the Bill Douglas Cinema Museum and University of Bristol Theatre Collection, which were stunted due to COVID-19, I developed an argument for the shared ground of exhibitions and performance. If archival objects can perform, the exhibition space itself is a stage through which they communicate embodied meanings to audiences. I explore how exhibition curation generates different epistemologies to written research by putting museum studies, performance history, audience studies and performance practice-as-research in conversation. I demonstrate how museum studies could benefit from performance in developing epistemological arguments, and how performance studies can more significantly privilege the audience in the knowledge production process. I conclude my findings by discussing how planned activities and lessons learnt from these exhibitions could provide a blueprint for practitioners interested in using the exhibition form and format to conduct historically relational practice-research inquiries in conversation with audiences.
    Original languageUndefined/Unknown
    JournalStudies in Theatre and Performance
    Early online date26 Jul 2022
    DOIs
    Publication statusE-pub ahead of print - 26 Jul 2022

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