Between Bodies: Activating the space in between museum visitor and objects on display

This article investigates the idea of activating the space in between museum visitors and objects on display through a design approach that integrates spatial and material aspects of museum vitrine design. The article begins with an analysis of contemporary artworks by Damien Hirst and art duo benandsebastian that critically explore museum vitrine aesthetics and then proceeds to an analysis of experimental vitrine designs made for the purpose of the present study. The primary spatial logic of the conventional museum vitrine reflects the need to keep curious fingers and dust away from precious objects and regulate objects’ exposure to climatic conditions. The experimental designs challenge this basic function of separating visitor from display object, however they do so without simply eliminating this separation, as suggested by many museum scholars who advocate direct touch and object handling in the museum. Rather, the experimental vitrine designs work with the productive tension between separation and continuity, vision and touch, and the resultant senses of distance and proximity. Through this experimental work, Merleau-Ponty’s concept of flesh has served as the main conceptual driver. “Flesh” is described as a “thickness” and “a means of communication” between body and world and will be used to capture and talk about how vitrines can activate the space in between museum visitor and objects on display. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 8.0px Helvetica} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Helvetica} span.s1 {color: #ffffff}