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– für Variabilität, Offenheit und Multifunktionalität steht und so mit der jüngeren Geschichte einer experimentierenden Szene und Szenografie verbunden scheint.«12 Kultur- 9 Bettina Messias Carbonell (Hg.), Museum Studies. An Anthology of Contexts, Oxford: Blackwell 2004, S. 2. 10 Wegweisend ist diesbezüglich das Standardwerk von Tony Bennett, The Birth of the Museum. History, theory, politics, New York: Routledge 1995. 11 Diskursbestimmend war Brian O’Doherty, Inside the White Cube. The Ideology of the Gallery Space, Berkeley: University of California Press

- punkten, ihre Dekontextualisierung beim Sammeln und Inventarisieren, ihre auratische Anordnung in Ausstellungsdisplays und die spärliche Kommentierung schaffen ein folgenreiches museales Blickregime: Die Konzentration auf objektbasierte Narrationen und die ständige Wieder- holung des Markierungslabels „Migration“ reproduzieren dabei „Poetics and Politics“29 zur Gegenüberstellung einer imaginierten nationalen „Mehrheitsgruppe“ und einem ebenso fiktiven migrantischen „Anderen“. Gerade die materiellen Ästhetiken und die Dokumentationsfunktion der vermeintlichen

a synthesis of the sound- scape approach and chronotopy with semiotic anthropology; Faudree (2012), pp.519-36 744 The political dimension implied by the lexical proximity to applied anthropology is explicitly intentional. We have learned from Levi-Strauss and others that anthro- pology nowadays cannot elude social and political entanglement, which, as argued Next World: The Way of the Mask. 384 practices as the parishara, voice masking, or other, cannot be brought across one-to-one, but by applying sound and understanding the aisthetic nature of

local initiatives – although these are often limited or subject to reversals of fortune. For instance, Silvester describes the initial impact of local lobbying efforts to initiate a mapping project so that museums in four participating southern African countries can gain a sense of where artefacts taken from their places of origin to Finland, Germany, Sweden or the United Kingdom are currently housed. | 219 Visibility of agendas Clifford (2003) maintains that contact zones serve to make the aesthetic, historical and political agendas of all the participants

.32 Gezeigt wurden je etwa 300 Leihgaben von SammlerInnen und 30 | C. Trodd: Culture, Class, City, S. 47. 31 | B. Taylor: Ar t for the Nation, S. 43. 32 | S. Koven: The Whitechapel Picture Exhibitions and the Politics of Seeing, S. 34. Carmen Mörsch184 KünstlerInnen. Die InitiatorInnen kommunizierten dieses Arrangement als für alle Beteiligten lohnend: Durch ihre Leihgaben an die Ausstellung im ›Ar- menviertel‹ sollten deren BesitzerInnen sich genauso ihrem spirituellen Selbst annähern können wie die BewohnerInnen des Viertels durch die Betrachtung der

unbewußt auf sie ein- wirken soll«12. 9 | Z.B. Manuel DeLanda: A New Philosophy of Society. Assemblage Theory and Social Complexity, London/New York 2006. 10 | Eine Übertragung der ›assemblagehaften‹ Wahrnehmung der Wirklichkeit auf so- ziale und politische Bereiche findet sich unter anderem auch bei Jane Bennett (vgl. z.B. J. Bennett: Vibrant Matter. A Political Ecology of Things, Durham/London 2010.) und Diana Coole (vgl. D. Coole/S. Frost [Hg.]: New Materialisms). 11 | Vgl. z.B. Bruno Latour: Eine neue Soziologie für eine neue Gesellschaft. Einführung in die

’s another – also potentially interesting – story. I wanted to create an exhibition about the aesthetics surrounding war and violence. At first, my ideas went in the direction of having displays, for example, of mili- tary/political leaders giving enthusiastic speeches, and then the public could push them aside and see the real horrors of war – that kind of thing. But I found this approach too moralistic and sentimental, and besides, what would the public learn from that? Nothing! Everyone would nod and say “war – it’s simply horrible.” So I wanted the public to be


. Gielen (1970) is the director of the research center “Arts in Society” at the Groningen University where he is an associate professor of the sociology of art. He also leads the research group and book series ‘Arts in Society’ (Fontys College for the Arts, Tilburg). Gielen has written several books on contemporary art, cultural heritage and cultural politics. INTRODUCTION on their benches. This scene could easily lead visitors to believe that life at that time used to be simple and peaceful and could make them forget that that same era was characterized by

‒ Interventionen« 30, 2 (2012); Amelia Jones, »Citizenship and the Museum. On Feminist Acts«, in: Jenna C. Ashton (Hg.), Feminism and Museums. Intervention, disruption and chance, Vol. 1, Edinburgh/Boston: MusumsEtc 2017, S. 74-98; Elke Krasny, »Introduction. Women’s Museum. Curational Politics in Feminism, Educa- tion, History, and Art«, in: dies. (Hg.), Women’s Museum. Curatorial Politics in Feminism, Education, History and Art, Wien: Löcker 2013, S. 10-30; Helen Molesworth, »How to in- stall art as a feminist?«, in: Cornelia Butler/Alexandra Schwartz (Hg.), Modern Women

-der-kuenste-eine-besprechung-von-on-not-knowing-how-artists-think-hg-von-eli zabeth-fisher-und-rebecca-fortnum-london-2013/ (15.02.2015). WISSEN IN BEWEGUNG – DAS WISSEN DER KÜNSTE | 161 „The idea of meaning being fixed inside an artwork seems reductive; the best art for me provokes new thoughts and meanings, again and again. The problem or weak- ness of some so-called ‚political art‘ is often in direct relation to its apparent success in communicating a clear and simple message. I find it rewarding when people read new meanings into our work, meanings that we didn’t know about.“5 Da Forsythes „choreographic objects“ sich in einem