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Название: Clémentine Deliss

Автор: Clémentine Deliss

Издательство: Ingram

Жанр: Изобразительное искусство, фотография

Серия:

isbn: 9783775748018

isbn:

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      The Metabolic Museum

      Clémentine Deliss

      Inside the museums, infinity goes up on trial.

      Bob Dylan, “Visions of Johanna,” 1966

       Colophon

      Managing editor

      Lena Kiessler

      Project management

      Anja Tschörtner

      Copyediting

      Kimberly Bradley

      Production

      Vinzenz Geppert

      © 2020 Hatje Cantz Verlag, Berlin, and the author

      Published by

      Hatje Cantz Verlag GmbH

      Mommsenstraße 27

      10629 Berlin

       www.hatjecantz.de

      A Ganske Publishing Group Company

      Co-produced with KW Institute for Contemporary Art

      isbn 978-3-7757-4780-6 (Print)

      isbn 978-3-7757-4801-8 (eBook)

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      Table of Contents

       Prologue

       Manifesto for the Post-Ethnographic Museum

       Walking Through

       Artists and Anthropologists

       Spatial Taxonomies

       The Archival Underbelly

       First Guests

       Laboratories and Workshops

       Agency and Collections

       Models of Inquiry

       Experiments in Transgression

       The Consequences of Remediation

       A Museum in Reverse

       The Lure of Objects

       Vital Relationships

       Models of a Museum-University

       Manifesto for Rights of Access to Colonial Collections Sequestered in Western Europe

       Notes

       Prologue

      A few years back, some close friends encouraged me to apply for the directorship of an ethnographic museum in Germany. At first, I was cautious. I had been working independently as a curator and publisher for more than twenty years, traveling from city to city to set up new projects with artists, and I was keen to retain my autonomy. At the same time, I needed to settle down and transfer my experience onto an environment I could qualify with my own model. I was selected for the job and moved to Frankfurt, where I lived for five years. This is the narrative of my endeavor to transform the modus operandi of a contentious genre of European museum and develop a post-ethnographic institution.

      Sometimes renamed museum of world cultures, the ethnographic museum is the most extreme rendition of a cultural institution that retains “colonial presence” even today.1 While I focus on the crisis of this particular museum, I hope to address other types of venue that hold collections and recognize the necessity to rethink their constitution in the twenty-first century. If museums have to be pioneering and fight against routine, habit, and conservatism, what model of critical and reflexive methodology can be deployed on existing, forgotten, soiled, or non-restituted collections?

      The subjective, dialogical activity undertaken in collaboration with artists, designers, writers, anthropologists, and lawyers at the Weltkulturen Museum between 2010 and 2015 consolidated the modus operandi of my earlier transdisciplinary curatorial practice. In Frankfurt, I sought to generate movement within the museum’s institutional structure, affecting how we worked and where the priorities lay for a museum, both internally and toward the public. Located in three nineteenth-century villas, our domestic research centered on the tens of thousands of artifacts and the vast photographic archives housed within the museum.

      This book was written in great part while I was a fellow of the Wissenschaftskolleg zu Berlin, the Institute of Advanced Study in Berlin. Practically airlifted out of Frankfurt, I was given a room of my own, safeguarded from inquisitive journalists, and encouraged to СКАЧАТЬ