Studio Arts Unit 4 Outcome 3 & SAC 2

exhibition focus

Marimekko: Design Icon 1951-2018

3 March – 11 June 2018

Considerations of curators in the preparation, presentation, conservation and promotion

of specific artworks from 2018 exhibitions

Students should analyse and evaluate the following:

• Specific artworks and their presentation to gain an understanding of the intentions of the artist and

the curator.

• Curatorial considerations, exhibition design and promotional methods in preparing and presenting

artwork for display.

• Methods and considerations involved in the conservation of specific artworks related to exhibitions

visited this year.

Curatorial consideration

Exhibition theme Established during the golden age of post-war modernism, Marimekko is the Finnish textile and

fashion company that achieved international fame in the 1960s and 70s with its bold screen prints

and pop-art style graphics. Coinciding with the emerging liberation of women, the founding of

Marimekko, or ‘Mary dress’ as the name literally translates, represented a pure concept; free from

rules and constraints.

The exhibition traces Marimekko’s meteoric rise from the 1950s to the present, and explores the

dualities that define its aesthetic. Its iconic fabric patterns and unconventional ready-to-wear outfits

brought colour and informality to an otherwise self-conscious fashion world. With more than 60

outfits, swathes of original fabrics, homewares, sketches and other archival materials, the exhibition

focuses on the work of the talented individuals who defined this local textile practice and created its

internationally recognisable designs.

Preparation Textile exhibitions require significant preparation – a minimal style mannequin was selected to suit

the fabric designs and the curator worked closely with the Design Museum, Helsinki, to select

additional objects to supplement the exhibition content for an Australian audience, and to develop

options for display of the fabric lengths. Considerable planning was required in advance for

appropriate methods to display the fabrics – suspended from the walls and ceilings, and inside cases

– and specialised fittings sourced.

The fabrics, garments and archival materials are from the collection of the Design Museum, Helsinki,

The Bendigo Art Gallery curator requested additional garments to bring the exhibition content up to

2018. These items were requested from Marimekko Finland, who provided them via the Design

Museum. The objects have since been donated to the Museum’s collection. A thin barrier of mylar –

an approved conservation material – has been placed below any object or garment which would

directly touch the painted surface of the plinths ensure that no paint transfer would occur.

The dressing for the exhibition began a number of weeks in advance, to allow ample time for careful

handling.

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Garments packed flat in acid-free tissue and textile boxes then packed in travel crates.

Mannequins prepared for the exhibition.

Presentation

An exhibition designer was contracted to assist with the overall layout of the exhibition. The curator

worked closely with the exhibition designer to layout the exhibition themes/content and work on

different aspects of the exhibition build. The designer was tasked with developing ways to display

the various garments to create an interesting and user-friendly design which also ensured the safety

of each object. Where possible the Gallery prefers to reuse exhibition furniture and cases to save on

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costs and prevent wastage. This exhibition utilises the casing system owned by the Gallery – Tascho

cases which can be configured in a variety of ways - and also repurposed plinths already owned by

the Gallery. A contractor was commissioned to produce some additional plinths and exhibition

furniture.

Considerations for presentation

- Potential touching of garments and fabrics

o All objects on open display (ie not in cases) have been placed a reasonable distance

from the edges of the plinths in order to discourage touching. Signage also reminds

visitors not to touch objects, and supervising staff are employed (Gallery attendants)

- Lighting

o Light levels must be kept low (max of 50 lux) to prevent damage to the fabrics

Other design elements were also included by the exhibition designer such as the use of large-scale

images of garments being worn, images of interiors with Marimekko fabrics and other contextual

images. A moving image component was included to provide an overall introduction to Marimekko’s

style and a glimpse behind the scenes of fabric production.

Labels were added to the display utilising existing labels stands. These label stands bring the label

text up to a more suitable height for reading, and a suitable font size was selected. The label stands

also add a visual barrier to remind visitors not to touch the objects. ‘No touching’ symbols were also

included in the signage throughout the exhibition.

Installation view

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Additional information about the exhibition

Exhibition design

• The exhibition design was restrained and minimal, as the content had so much colour

• Garments and fabrics were in both open and cased displays, barriers were also used

• Archival material and fabric swatches/smaller items are displayed in frames and flat in cases

• Projected moving image added an overall visual introduction to the style of Marimekko

• Large-scale vinyl images of designers, models wearing garments, interiors were included

• Simple colour scheme – black and white

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Exhibition design – examples of draft layouts

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Conservation:

• Lighting: lux level: max 60

• Attendants based throughout exhibition spaces

• Do not touch signage throughout

• Regular checks for insect activity

• Flow through – adequate space for viewers to move through and around artworks

• Security cameras in place

• Storage and travelling textile boxes, acid-free tissue, crating

Preventive and remedial

Each object is handled carefully to avoid damage, using nitrile gloves. Garments were transported

flat in textile boxes with acid-free tissue. Upon removal from textile boxes garments were laid flat on

tables covered with acid-free tissue to assess installation requirements. The fabric lengths travelled

on padded rolls also in crates. A minimum of two people were required when handling the fabric

lengths. The garments were dressed on mannequins after unpacking.

Lux and humidity levels are measured and monitored. Textiles are extremely sensitive to light and it

is critical to retain low light levels at all times.

Each object is examined upon arrival and assessed to ensure no damage has occurred. A condition

report is completed for each object, checked by the representative of the Design Museum.

Handling

Works are always handled with conservation appropriate materials – nitrile gloves or in some cases

cotton gloves. Works are protected from damage with bubble wrap and acid-free tissue.

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Promotion

The Marketing Officer developed a campaign for the exhibition working with a pre-arranged budget.

An exhibition brand was developed utilising the iconic Marimekko deisgn of Unikko (poppy) in

consultation with Marimekko.

The Gallery promoted the exhibition via social media and print and online advertising. The Gallery

also promoted the exhibition via its printed brochure, and media releases. Additional marketing

activities include: street banners, a Unikko vinyl on the face of the Gallery building, train station

banners, branding an Audi car, TV advertising and more.

Gallery branding

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Gallery shop

Car/sponsorship with Audi

Gallery front wall - vinyl

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Cover of Where Magazine Print advertisement with sponsors listed

Sponsorship/logo tree

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Specific artworks Select two objects from the exhibition and discuss how they have been displayed.

Consider the following:

Intentions of the artist and the curator, for example:

o Do you think the curator displayed the artwork alongside others to suggest that the

work fits into a particular theme? Discuss.

o Explain the height of the artwork e.g. eye level, above eye level

o Does the colour of the wall or lighting create a particular mood or effect?

o If relevant, how do you think the curator liaised with Marimekko to ensure that the

artwork was displayed in line with the Marimekko’s intention?

Title:

Artist: Date:

Medium

Thumbnail sketch:

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Title:

Artist: Date:

Thumbnail sketch: