Why like that? Miró @ Tate

This blog, ideally, should explore the culture of museology.  That's why I'm focusing on the staging of the Miró exhibition, because it will help me to understand the use of space for the showing of art.  The three questions I've chosen to ask of the exhibition go some way towards starting this in a more structured way.  This is what I suppose I want to get at with the first question What narrative or narratives does the show's curation seem to imply?  Have the curators tried to construct a single exhibition story, or a series of stories?  Whatever answers emerge from this will help to assess the extent to which the exhibition is a learning experience.  That interaction between the art in the space and the story or stories the show organisers intended causes a learning event since it is where spectators develop knowledge.  The final question, How does the staging of Miró here compare with the staging of Cy Twombly: Cycles and Seasons? encourages further discussion about the curatorial space, with special regard to Tate Modern.  After all, they are both Tate special exhibitions; Miró has been called the forefather of expressionism, a movement which Twombly is also considered to have influenced and been influenced by; and it broadens the appeal of the overall blog-project, which gets me thinking about museology and invites others to help me think about it.

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