Museums in Europe are, increasingly, engaging with the ‘politics of provenance’ and the
biographies of collections and collectors, acknowledging that objects have been decon-
112 | Jeremy Silvester
textualised from both the places and the intangible cultural heritage that give them depth.
Tremendous potential exists for an international dialogue that creates connections and
partnerships between museums in Europe and Namibia and between museums and com-
munities. Moreover, it is important to challenge the conceptualisation of this relationship
as one between museums
, political organisation, cultural production and entertain-
ment9. New interests in ‘lifting’ the area amongst the wealthier residents and
their Tory representatives in the Westminster Council have explicitly sought
for migrant businesses to be brought into line with the vision for the area, and
the languages of both plastic surgery and (behind closed doors) ‘hygiene’ are
5 | I. Illich, Deschooling Society, p. 56.
6 | P. Freire, Pedagogy of the Oppressed.
7 | See M. Serres, The Parasite, and the manifesto by media activist collective CAMP,
major in Ancient History
from the same university. As a research and teaching assistant in the Department
of Contemporary History at the University of Heidelberg from 2008–2009, her
focus was on the history of the Turkish Republic. Since 2009 she is a member of
the Graduate Program for Transcultural Studies within the “Asia and Europe in a
Global Context” cluster at the University of Heidelberg, where she is pursuing a
dissertation project on “Museums and memory politics in contemporary Turkey”.
Jane Klinger earned her Masters of Fine Arts in
unresolved, can and are being used and misused to create and influence nation-
al identity and how museums, like armies, are instruments and means of politics.
Kristiane Janeke presented the new Museum of the Great Patriotic War in Minsk/
Belarus. This large-scale museum project, planned for 2013, shows the important
role the liberation from the National-Socialist occupation as well as the resistance
movement play as the founding myth for a new national identity. The final paper by
Patrizia Kern showed the outstanding importance of the Turkish War of Indepen-
Serpentine Gallery, where she worked with
others to create The Centre for Possible Studies, an artistic residency, research
space and popular education programme in the Edgware Road neighbourhood
of London. Graham is also member of the 12 person international sound and
political collective Ultra-red.
Susan Kamel, Professor in the department of Design und Culture for collecting
and exhibiting in theory and practice at the HTW Berlin, Germany/project
manager, Goethe Institute Gulf Region, Abu Dhabi, United Arabic Emirates.
Works on the interface between research and
Gesellschaft. Prismen, Frankfurt am Main: Suhrkamp, 181-194.
Alpers, Svetlana (1991): The Museum as a Way of Seeing. In: Karp, Ivan/Lavine, Ste-
ven D. (Hg.), Exhibiting Cultures. The Poetics and Politics of Museum Display,
Washington/London: Smithsonian Institution Press, 25-32.
Ames, Michael M. (1992): Cannibal Tours and Glass Boxes. The Anthropology of
Museums. Vancouver: University of British Columbia Press.
Anderson, Benedict (1996): Die Erfindung der Nation. Zur Karriere eines folgenreichen
Konzepts. Frankfurt am Main: Campus.
Anderson, Gail (Hg.) (2004
Publikum entgegen. Diese ins Bild gesetzten Gesten rücken das
Gezeigte, mit Nancy gesprochen, im Sinne einer Monstranz in den Vorder-
5 Vgl. Jane Bennett Ausführungen zu legalen Aktanten in dies.: Vibrant matter. A Political
Ecology of Things, Durham/London: Duke University Press 2010, S. 8-10.
6 »Das Bild ist das, was das Ding aus seiner einfachen Vorhandenheit herausholt, um es in die
Gegenwärtigkeit, die Prae-sentia, die ins Außen gewandt ist, zu stellen.« Jean-Luc Nancy,
»Bild und Gewalt. Von absoluter Of fenbarung und dem unendlich Bevorstehenden«, in: Let
man und das Performative, in: Wulf, Christoph / Göhlich, Micha-
el / Zirfas, Jörg (Hg.): Grundlagen des Performativen. Eine Einfüh-
rung in die Zusammenhänge von Sprache, Macht und Handeln.
Weinheim / München: Juventa, S. 203–225.
Baxandall, Michael (1991): Exhibiting Intention: Some Preconditions
of the Visual Display of Culturally Purposeful Objects, in: Karp,
Ivan / Lavine, Stephen D. (Hg.): Exhibiting cultures. The poetics and
Die Ausstellung verhandeln230
politics of museum display. Washington / London: Smithsonian Insti-
tution Press, S. 33–41.
Every year a variety of different ritual, religious, political and cultural events
take place. Various Mapuche communities and institutions, having integrated
programs for indigenous groups into their policies, organise activities that
are advised upon and led by Mapuche elders. Organisations and/or Mapuche
communities meet up to coordinate the preparation for these rituals several
months in advance, for they are not simply performances. The necessary
structures are set up and preparations are carried out, such as the cleaning of
the area, the setting
have an education which conveyed rural-indigenous values,
and, especially, to prevent the discrimination of these children in the Span-
ish-speaking schools. In Ecuador there are 2,305 intercultural and bilingual
government schools. These evolved out of the struggles of the socio-political
indigenous movement, which was consolidated in the late 1980s by demanding
state recognition of autonomous indigenous education, and which attributed
a central social role to education in the debates about identity.12 Despite the
strong indigenous presence there are only 17