Evaporation

Monday, December 28th, 2015

Evaporation is a new art exhibit to come to the Museum of Science and Industry, commissioned for the Manchester Science Festival by Cape Farwell’s Lovelock Commission, named and inspired after scientist James Lovelock. The exhibition of sculptures and drawings has been created by artist Tania Covats. The works are a response to the worlds seas and oceans, influenced by James Lovelocks Gaia Theory.

There are two main pieces within the exhibition. All the Seas in the first space, and Atlantic, Indian and Pacific in the second. All the Seas is collection of over 200 seas, collected by volunteers across the world and displayed within bottles on a shelf, untreated to reflect their differences, yet also their similarities. Atlantic, Indian and Pacific are large-scale metal bowls, in the shape of the oceans. Each bowl had been filled with salt solution water, leaving a rust mark of the evaporation process.

The exhibition is an insight into global climate change, the ways in which this affects the sea levels, and the ways in which this affects the globe and the human experience of the world.

As a visitor experience, the exhibition is flawed. As a family museum, the instillation is out of place. If the pieces were in an art gallery, or art museum, the exhibition would be experienced and enjoyed in a much different manner. This is apparent in the visitor figures of the exhibition, compared to other temporary exhibitions that Museum of Science and Industry puts on, and even the Cravings exhibition downstairs, the space hasn’t had many visitors or much visitor interaction and engagement.

In a time of growing concern and consideration of climate change and the global environmental situation, the exhibition is poignant. The exhibition is designed beautifully, with a strong flow around the pieces for visitors to follow. Yet, the pieces are simply out of place in a family-focussed, primarily industrial museum.

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Cravings: Does Your Food Control You

Wednesday, November 11th, 2015

Astronaut’s poo, an artificial gut, and a table of smells. A sentence I never thought I’d say, but a few things to see at Museum of Science and Industry’s new Exhibition, Cravings. Coming from the London Science Museum for Science Festival Week, and staying until 2016, Cravings is an exciting addition to the otherwise lacking 1830’s Warehouse building. Brightly coloured, with just the right amount of interactives, the exhibition is a firm balance between inviting, fun, and educational. When you walk around the exhibition, you realize you are in fact a lot more interested in biological science than you first thought. The shape of the tables and displays has been designed to make the visitor follow it in a similar pattern to, wait for it, an intestine, lovely.

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Innovation Race

Friday, July 10th, 2015

Gender boundaries, interactives, war, Manchester, science, inventions. A lot to have in a gallery space no bigger than a standard sized bedroom. Yet, the Innovation Race at the Museum of Science and Industry somehow fits it all in, without overcrowding. Innovation Race is a temporary exhibition about inventions during the Second World War, specifically focusing on Manchester’s involvement and the Ferranti family. Set in dark paint with dim lighting, the space sets the tone for sombre, yet the narrative is surprisingly a celebration of the scientific and social advances made in Manchester during the war era. Equally surprising is the sheer amount of interactives in such a small space. Centred is the Stand and Stare desk, used to tell the oral history narratives of six individuals. The exhibition, despite its size, is engaging, rich in information, stylishly designed and interactive.
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PRINTING THE FUTURE

Tuesday, November 18th, 2014

3D printing is the future, and increasingly the present. The Museum of Science and Industry have curated and displayed an exhibition highlighting the current and potential uses of this new technology, with interesting results. I’m sure to those interested in science and technology, this exhibition is a invaluable first hand view of this almost unimaginably futuristic development. Yet, I am not interested in this exhibition for its addition to science. What fascinates many in this exhibition is the social and ethical implications of the wide scale use of this technology, and MOSI has created a space to discuss this. Of course, the most pivotal debate in this discussion is the questionable ethics of printing organs. Cloning is widely agreed to be unethical, yet is printing organs the next best thing? In curating a space for this debate, as well as simply displaying this technology, the popularity of this exhibition is both understandable and inevitable.

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