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: this collaboration engages an organisation of writers, both because of their work, and because of their positioning as Black women and their political project.24 The project emerges from the tradition of museums seeking to address groups whose voices are excluded from the museum’s dominant narrative. The educational and community work advanced in particular by the New Labour government in the UK has contributed to the broader establishment of education and outreach work not only in exhibitions, but also in long-standing cooperation and community involvement

: epistemic authority. The gesture of exposing connects these two aspects.”4 The insights of critical museology give rise to the demand to transform the museum into an arena of political action, in which conflicts can be made 1 | R. Muttenthaler & R. Wonisch, Gesten des Zeigens, p. 9. 2 | S. Offe, Ausstellungen, Einstellungen, Entstellungen, p. 62. 3 | See R. Muttenthaler & R. Wonisch, Gesten des Zeigens, pp. 38–40. 4 | M. Bal, Double Exposures, p. 2. Angeli Sachs16 visible, articulated and worked through. In practice, the task for the museum is to become more permeable

, because a socio-political or historico-didactic interest was connected with the exhibitions in the district or on-site, or because a previous exhibition had served as a model. The presentations were preceded by an explor- atory process with an open public invitation. The concept, program, process and design were jointly decided upon.11 Through incorporating its curatorial 8 | See Gerchow et al., Nicht von gestern. 9 | The concept of collaborative curation means a collaboration on exhibitions in which the dif ferent participatory forms outlined by Nina Simon (2010

Education at the Centre of the District Six Museum Bonita Bennett A museum premised on absence makes for an interesting study. It provokes thinking about what people who have very little by way of material posses- sions, socio-political influence or formal education, and shaped by a history of excision, have to offer the world through a museum dedicated to their story: that of the destroyed community of District Six. Although only formally constituted in 1994 as the first post-apartheid museum in South Africa, the District Six Museum actually has its origins

Processes: An Introduction«, in: Ethnos. Journal of Anthropology, 65/2 (2000), S. 157–171. 2 | Henrietta Lidchi: »The Poetics and Politics of Exhibiting Other Cultures«, in: Stuart Hall (Hg.), Representations. Cultural Representations and Signifying Practices. London: 1997, S. 199–219. 3 | Anthony Alan Shelton: »Curating African Worlds«, in: Laura Peers/Alison Kay Brown (Hg.), Museums and Source Communities: A Routledge Reader, London/New York: 2003, S.181–193. 4 | Raymond Corbey: »Ethnographic Showcases, 1870–1930«, in: Cultural Anthropology, 8/3 (1993), S. 338

: History, Theory, Politics. Lon- don/New York: Routledge. Berg, Eberhard und Martin Fuchs (Hg.). 1993. Kultur, soziale Praxis, Text: Die Krise der ethnographischen Repräsentation. Frankfurt am Main: Suhrkamp. Bose, Friedrich von. 2013. The Making of Berlin’s Humboldt-Forum: Negotiat- ing History and the Cultural Politics of Place. In: darkmatter 11. http://www.darkmatter101.org/site/2013/11/18/the-making-of- berlin%E2%80%99s-humboldt-forum-negotiating-history-and-the-cultural- politics-of-place/ (letzter Aufruf 19.03.2015). Black Hawk. 1833. Life of Ma

im transnationalen Frankfurt (Notizen 71). Frankfurt a.M. BIANCHINI, FRANCO 1993: Remaking European Cities: the Role of Cultural Politics. In: Bianchini, Franco/Parkinson, Michael (Hg.): Cultural Policy and Urban Regeneration. Manchester, 1-20 BLASER, WERNER (Hg.) 1990: Richard Meier. Building for Art/ Bau- en für die Kunst. Basel BLASER, WERNER 1996: Helmut Jahn- Transparency/Transparenz. Basel/Boston/Berlin BLOEDNER, MICHAEL 1976: Urbane Wohnexperimente: Geplante Integration. In: Greverus, Ina Maria (Hg.): Betrachtungen zum Bauen und Wohnen in den

Agfa Foto-Historama im Wallraf-Richartz Museum/Museum Lud- wig der Stadt Köln. Eine Auswahl von Photographien des 19. und des frühen 20. Jahrhun- dert, hrsg. v. Bodo von Dewitz, Köln 1986. Ahtila, Eija-Liisa: The Cinematic Works of Eija-Liisa Ahtila, Buch mit DVD, Helsinki 2003. Alberro, Alexander: Conceptual Art and the Politics of Publicity, Cambridge 2003. Andre, Carl: »A Note on Bernhard and Hilla Becher«, in: Artforum, Volume XI, 1972 (Number 4/December), New York 1972, S. 59. Angebauer, Marcus (Hrsg.): Momente einer Ausstellung: Menschen und Bilder auf der

and regalia. There are office-holders who swear oaths, invoking curses and punishments upon themselves if they should break their rules of office, including protecting those objects that had been handed down to them by their forebears. There are periodical rituals and annual festivals, at which these regalia are inspected, treated or clea- ned, spiritually fed, and then displayed. According to Kyerematen (1964, 1) regalia are not only symbolic and aesthetic ex- pressions; they also offer evidence of early history, religion, beliefs, social and political

/Anna Bergqvist/Gary Kemp (Hg.): Philosophy and Mu- seums. Essays on the Philosophy of Museums, Cambridge 2016 (Royal Institute of Phi- losophy Supplement 79); s.a. Lars Aagaard-Mogensen (Hg.): The Idea of the Museum. Philosophical, Artistic and Political Questions, Lewinston/Queenston/Lampeter 1988 (Problems in Contemporary Philosophy 6). Einen Überblick in den neueren Stand der Debatte im angloamerikanischen Raum bietet Ivan Gaskell: »Museums and Philosophy. Of Ar t, and Many Other Things«, 2 Teile, in: Philosophy Compass 7/2 (2012), S. 74-84 und S. 85-102. 10 | Joachim