Ruen-Ya Yu, Shao-Chun Wu
Ruen-Ya Yu
Taiwan, taipei
I am currently working as an Assistant Research Fellow in the Office of Digital Information Services at the National Palace Museum. My research focuses on modern East Asian art history, Taiwanese art history, and digital curation. Recently, I have been interested in the application of digital archives in museums and how traditional art history can collaborate with emerging digital technologies to facilitate exhibitions, revitalization, and interpretation.
Shao-Chun Wu
Taiwan, taipei
I am currently a Researcher Fellow in the Office of Digital Information Services at the National Palace Museum. I have previously served as an Associate Research Fellow and Section Chief in the same department and have worked in university libraries. Over the years at the National Palace Museum, I have managed various tasks including open data, digital archive, digital education promotion, digital exhibitions, digital content, academia-industry collaboration, and project management for technology plans. I have also served as an adjunct lecturer at National Taiwan University of Arts, Fu Jen Catholic University, and National Chengchi University. My academic specialties include the application of technology in museums, information organization, electronic publishing, digital learning, and library and information science.
Cross-Domain Curatorial Dialogue and Interaction, and the Integration of Multiculturalism: A Case Study of Digital Interactive Exhibitions in Multi-Museum Collaboration
This study examines the integration of digital technology in curatorial practices through the “Imaginary Taiwan” exhibition in 2020. It illustrates how digital technology can facilitate the unified presentation of diverse perspectives from multiple museums, foster a cross-disciplinary approach, and enhance multi-layered archival interpretation, thereby transforming the exhibition into a progressive and adaptable entity.
The article is divided into three sections. In the first, it brings attention to the organization of the “Imaginary Taiwan” exhibition by several Taiwan museums, highlighting the effective utilization of digital platforms, including video meetings and cloud-based collaborative writing software, during its initial phases. This integration maintained a coherent curatorial discourse while respecting each museum’s subjectivity and promoting efficient resource management and collaboration.
The second section discusses how “Imaginary Taiwan” used digital technology to make the exhibition’s content flexible, easy to edit, and capable of offering audiences a variety of interactive experiences. It also showcases complex academic theories through interactive displays, overcoming the limitations of lacking physical artifacts. Moreover, digital technologies were crucial post-exhibition, enabling the deconstruction and reconfiguration of the exhibit for future touring.
The third section analyzes how the utilization of digital technology across various stages, from planning to execution and adaptation, serves to emphasize its significance in modern curatorial practice. It supports continuity and innovation in exhibitions, while also enhancing the ability for ongoing reinterpretation. The “Imaginary Taiwan” exhibition exemplifies the dynamic adaptability of contemporary exhibitions across different museum environments, thereby highlighting their evolution into responsive cultural organisms.
digital exhibition, curatorial practices, museum collaboration, digital interactive installation