Clémentine Deliss. Clémentine Deliss
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Название: Clémentine Deliss
Автор: Clémentine Deliss
Издательство: Ingram
Жанр: Изобразительное искусство, фотография
isbn: 9783775748018
isbn:
I am grateful to the many friends, colleagues, and allies who supported me both during and after my time at the museum. In particular, I would like to thank Michael Oppitz most warmly for having faith in my approach and for accompanying me when my professional world fell apart; Paul Rabinow for his friendship since the mid-eighties when we were both in Paris, his guidance from afar, and his incisive and inspiring work around the concept of remediation. From the perspective of art practice, I thank all the artists and writers who trusted me as a curator, keen as I was to divert them from any banal orthodoxy of institutional practice by drawing them into unforeseeable situations and encouraging conceptual work with these sensitive and vital collections. In particular, I would like to highlight the stimulating and inspired collaborations that took place in the museum with Buki Akib, A Kind of Guise, Marie Angeletti, Farzanah Badsha, Benedikte Bjerre, Rut Blees Luxemburg, Peggy Buth, CassettePlaya, Marc Camille Chaimowicz, Sunah Choi, Hamish Clayton, Clegg & Guttmann, Minerva Cuevas, Mathis Esterhazy, Patricia Falguières, Heather Galbraith, Bryce Galloway, Gabriel Gbadamosi, Matthias Görlich, Werner Herzog, Pramod Kumar KG, David Lau, Armin Linke, Antje Majewski, Tom McCarthy, Tina Makereti, Markus Miessen, Shane Munro, Gabi Ngcobo, Otobong Nkanga, Peter Osborne, PAM (Perks and Mini), Francis Pesamino, Simon Popper, Ciraj Rassool, Olivier Richon, El Hadji Sy, Syafiatudina, Luke Willis Thompson, David Weber-Krebs, and the many art students of the Städelschule who exhibited in the Weltkulturen Labor’s Green Room.
Lothar Baumgarten, James Clifford, Hans-Jürgen Heinrichs, Peter Pakesch, Dan Peterman, Issa Samb, Teimaz Shahverdi, Sebastian Schellhaas, and Richard Sennett were trusted interlocutors who accompanied me while I tried to fine-tune new relations between museum collections and contemporary meanings. Finally, I would like to show my respect to the many friends in Frankfurt who helped me through various phases of this journey, in particular Ann Anders, Rüdiger Carl, Konstanze Crüwell, Jutta Ebeling, Uwe Fischer, Susanne Gaensheimer, Bärbel Grässlin, Tamara Grčić, Raphael Gross, Wolfgang Günzel, Nikolaus Hirsch, Phyllis Kiehl, David Hofferbert, Michael Hofferbert, Stefan Mumme, Yvette Mutumba, Alexandra Papadopoulou and very Frankfurt, Philippe Pirotte, Tobias Rehberger, and Bernd Vossmerbäumer.
Manifesto for the Post-Ethnographic Museum
Frankfurt/New York, October 2013
Anomalous and anachronistic:
It’s about working with a collection
that belongs to another time
that belongs to other people
that is deeply connected to the histories
of European colonialism and trade
that is contested and will continue to be contested
whose potential for referentiality is far from expended
whose restitution is undeniable.
Domestic research:
It’s about working with existing architecture not against it
moving between apartments, studios, archives, and labs
finding structural solutions for the installation of artifacts
repositioning collections both conceptually and physically.
It’s about rethinking possibilities
of research inside a museum
through self-critical and recursive inquiry
slow, prone to change, not always visible
reintroducing a laboratory into the practice of a museum
developing new assemblages based on historical collections
building a workshop for the production of prototypes
constructing an exhibition out of this continuing procedure.
Remediation over time:
It’s about daring to change
the anthropological classification of the collection
suspending the logos of ethnos
and earlier organizing principles:
region, religion, ethnic group, culture, society, and function
developing alternative metaphors through dialogical research
healing a deficient situation
shifting medium, enabling interpretation.
Curating neighborhoods:
It’s about inviting artists, designers,
lawyers, writers, historians,
and anthropologists in residence
those who connect to the original source of the collection
those who come from elsewhere
rubbing shoulders through their engagement with the collection.
It’s about making rooms available to visitors
encouraging the public to usurp the museum
to shelter in it, study, and meet
taking in exhibits through the corner of one’s eye
fully deploying the educational brief of the museum
checking the open access digital studio.
The Museum-University:
It’s unequivocally collection-centered
working outward from actual exhibits
deconstructing earlier archives
and histories of ethnographic museums
introducing external impulses,
an epistemological generalism
a democratic intellect
a non-standardized education
as independent as possible
providing a new platform for professional development
connecting the next generation of global cultural protagonists
from curatorial studies, cultural studies, postcolonial studies,
contemporary art, design, performance, art history, anthropology,
creative writing, law, ecology, mathematics, and more,
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