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Museumsexperimente zwischen postkolonialer Revision und szenografischer Wende

Forschungsschwerpunkt zu Systemen visueller Repräsentation. Publikationen: (2002) Zeitgenössische Kunst aus Afrika, Wien: BLICKWECHSEL 194 Böhlau; (2005) Art, Culture, and Place. MESS – Mediterranean Ethnological Summer School Vol. 6: 183-202. Jens Kastner, Soziologe und Kunsthistoriker, geboren 1970, lebt als freier Autor und Dozent in Wien und Münster. Lehrbeauftragter am Institut für Soziologie der Uni Münster (1999-2004), am Zentrum für Lateinamerikaforschung (CELA) der Uni Münster (2004-2006) und an der Wiener Kunstschule. Veröffentlichungen in diversen Zeitungen und

metaphysics of presence is, for example, the “ethnological present,” the tense of the former conventional field research reports that undertook to describe the specific present of the other.12 Also of relevance here is the discussion, ignited by Michael Fried in the 1960s, about the concept of the “presence” of works of Mini- mal Art. Fried criticized as “presence” the experience of metaphysical, corporeal alienation, and thus an inappropriate—because it is “indeterminate, open-ended— and unexacting”—relation between the viewer and the work. However, “presence

, in: Bernth Lindfors (Hg.): Africans on Stage: Studies in Ethnological Show Business, Bloomington: Indiana University Press 1998, S. 1–61. Sykora 1997 Sykora, Katharina: Weiblichkeit, das Monströse und das Fremde, in: Annegret Friedrich et al. (Hg.): Projekti- onen. Rassismus und Sexismus in der Visuellen Kultur, Marburg: Jonas Verlag 1997, S. 132–149. Abbildungsnachweis Abb. 1: Khoikhoi 1993, Plate 7, S. 36. Abb. 2: Khoikhoi 1993, Plate 5, S. 33. Abb. 3: Bernt, Walther: Die Niederländischen Zeichner des 17. Jahrhunderts. Zwei Bände mit 705 Abbildungen

Annual L’Oreal China Photographer Award at the Pingyao International Photography Festival (2000). He was also involved in the Houston Photography Festival of Experts (2006) and the 2008 Daegu Photo Biennale. Gu Zheng was also a re- commending judge for the Harvard University Pi Bodi Anthropology Museum of Ethnology Robert Jia Tena Award, the Second Shafei Photography Award (2009) and served on the France Silva Rotorua Photography Festival jury (2010). He was also on the Shafei Photography Award jury for the First, Second and Third Annual Houdeng Ke Documentary

Bibliographie G. Anderson (Hg.), Reinventing the Museum. The Evolving Conversation on the Paradigm Shift, Lanham: AltaMira Press 2004. A. Appadurai (Hg.), The Social Life of Things. Commodities in Cultural Perspec- tive, Cambridge: Cambridge University Press 1986. H. Arendt, Elemente und Ursprünge totaler Herrschaft, München: Piper 2000. M. Bal, »On Show. Inside the Ethnographic Museum«, in: Looking In. The Art of Viewing; with an introduction by Norman Bryson, Amsterdam: G & B Arts International 2001, S. 117-160. E.S. Balch, »Art and Ethnology«, in

, appears to hang in a sort of borderland between ar t and science. The specimens are divided. Some are placed in ar t museums, others in ethnological museums. […] The ar t of at least half the races of the world has thus found its way into ethnological museums.«48 In Ethnologiemuseen, so Balchs Beobachtung, falle es schwer, den Kunstcha- rakter von Objekten angemessen zu würdigen und zu beschreiben. Balch ver- mutete als Ursache die Laienhaftigkeit vieler Ethnologen in Hinblick auf Kunst sowie das Desinteresse der Kunstkritik an Ethnologie.49 In Dahlem wurde auf die

- psychological self-description of ‘the negroe’ made use of ethnological conceptions of ancestry as well as totemic and astral cosmologies, all of which Richard Wright, the radical author of the African-American civil rights movement, considered—under- standably—to be obsolete. But encapsulated in this was not just Senghor’s strategy of a return to a “Graal-Négritude” already left behind in 1949.21 Only slightly modi- fied, the same theses were published the same year under the title L’esthétique négro- africaine, now directing attention more intensely on his real interest

, he refers to apartheid in south Africa, where Brownie origi nates from and, moreover, to the history of zoos, invented in the early 19th cen- tury when the first living giraffe came to europe in 1827 as a gift of the egyptian viceroy to the French king,decisively triggering the development of zoological, ethnological, and later colonial exhibi- tions. (ibid.: 185-186) 21 Hilde van gelder also speaks about a transito- ry space with regard to the production of mean- ing around Friedl’s artistic work. Although this space is primarily conceived as

reproduzieren, dass 42 | BILDER DES WANDELS IN SCHWARZ UND WEISS es in letzter Folge als Ersatz für Körpermessungen selbst galt. »[While] great numbers of ethnological photographs already exist«, so vermerkte 1869 der englische Biologe und Präsident der Ethnologischen Gesellschaft Thomas Henry Huxley, they lose much of their value from not being taken upon a uniform and well considered plan. The result is that they are rarely either measurable or comparable with one another and they fail to give that precise information respecting the proportions and the