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2017, Untie to Tie: On Colonial Legacies and Contemporary Societies (ifa Digital Platform)
Gallery reflections is a series of public discussions on art, institutions, and curatorial practices convened by anthropologist Jonas Tinius. The encounters take place in the ifa-gallery Berlin once per chapter, crisscrossing the overall themes and decentring the focal points of the one year programme ‘Untie to tie: Colonial Legacies and Contemporary Societies’ (2017-2018) curated by the gallery’s director Alya Sebti. This second column in the series reflects on how traces, legacies, and futures - as concepts and as practices - allow us to think about the relation between anthropology, art, and temporality.
Traces, Legacies, and Futures: A Conversation on Art and Temporality
Traces, Legacies, and Futures: A Conversation on Art and Temporality2020 •
The departure for this publication and the conversation on which it is based is a series of public encounters that I conceived and curated at the gallery of the institute for foreign cultural relations (ifa) in Berlin in 2017 and 2018. Entitled ‘Gallery Reflections’, these encounters took place in between each of the four chapters, or exhibitions, that constituted curator and director Alya Sebti’s long-term programme ‘Untie to tie: On Colonial Legacies and Contemporary Societies’, which inaugurated the discursive and political reorientation of the institution under her guidance. The series was originally conceived as a form of critical collaboration between an anthropologist (Jonas Tinius) and a curator (Alya Sebti), which formed part of a bigger research project based at the Centre for Anthropological Research on Museums and Heritage (CARMAH) and funded by the Alexander von Humboldt Foundation at the Humboldt-Universität zu Berlin. Seating the white anthropologist as a marked sparring partner amidst artists, curators, activists and scholars, we sought to think about ethnographic research as a form of instigation of situations; an interlocutor rather than an observer or audience member, and thus unable to withdraw from critique and debate. The series soon served a broader interest, however, which, borrowing from the metaphor of a reflection, tried to refract, break and divert both our and a wider public’s perspective onto curatorial engagements with colonial legacies and contemporary art today.
The departure for this publication and the conversation on which it is based is a series of public encounters that I conceived and curated at the gallery of the institute for foreign cultural relations (ifa) in Berlin in 2017 and 2018. [1] Entitled ‘Gallery Reflections’, these encounters took place in between each of the four chapters, or exhibitions, that constituted curator and director Alya Sebti’s long-term programme ‘Untie to tie: On Colonial Legacies and Contemporary Societies’, which inaugurated the discursive and political reorientation of the institution under her guidance. The series was originally conceived as a form of critical collaboration between an anthropologist (Jonas Tinius) and a curator (Alya Sebti), which formed part of a bigger research project based at the Centre for Anthropological Research on Museums and Heritage (CARMAH) and funded by the Alexander von Humboldt Foundation at the Humboldt-Universität zu Berlin. Seating the white anthropologist as a marked sparring partner amidst artists, curators, activists and scholars, we sought to think about ethnographic research as a form of instigation of situations; an interlocutor rather than an observer or audience member, and thus unable to withdraw from critique and debate. [2] The series soon served a broader interest, however, which, borrowing from the metaphor of a reflection, tried to refract, break and divert both our and a wider public’s perspective onto curatorial engagements with colonial legacies and contemporary art today.
2020 •
How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised ‘elsewhere’ and ‘otherwise’. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland – and through conversations that expand these geographies and genealogies of contemporary exhibition-making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. Across Anthropology charts new ground by analysing the convergences of museums, curatorial practice, and Europe’s reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies. Preface by Arjun Appadurai. Afterword by Roger Sansi Contributors: Arjun Appadurai (New York University), Annette Bhagwati (Museum Rietberg, Zurich), Clémentine Deliss (Berlin), Sarah Demart (Saint-Louis University, Brussels), Natasha Ginwala (Gropius Bau, Berlin), Emmanuel Grimaud (CNRS, Paris), Aliocha Imhoff and Kantuta Quirós (Paris), Erica Lehrer (Concordia University, Montreal), Toma Muteba Luntumbue (Ecole de Recherche Graphique, Brussels), Sharon Macdonald (Humboldt-Universität zu Berlin), Wayne Modest (Research Center for Material Culture, Leiden), Bonaventure Soh Bejeng Ndikung (SAVVY Contemporary, Berlin), Margareta von Oswald (Humboldt-Universität zu Berlin), Roger Sansi (Barcelona University), Alexander Schellow (Ecole de Recherche Graphique, Brussels), Arnd Schneider (University of Oslo), Anna Seiderer (University Paris 8), Nanette Snoep (Rautenstrauch-Joest-Museum, Cologne), Nora Sternfeld (Kunsthochschule Kassel), Anne-Christine Taylor (Paris), Jonas Tinius (Humboldt-Universität zu Berlin) The book is funded by Sharon Macdonald's Alexander Von Humboldt-Stiftung Professorship, the Humboldt-Universität zu Berlin, and the Leuven University Open Access Fund.
Panel discussion at School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi. Panelists: Monica Juneja, Parul Dave-Mukherjee, and Sandip K Luis Date: 15 September 2023 The paper concludes with a brief analysis of the works of artists Amar Kanwar and Jonas Staal at the Kochi Muziris Biennale.
Decentring the Museum. Contemporary Art Institutions and Colonial Legacies
DECENTRING THE MUSEUM. Contemporary Art Institutions and Colonial Legacies. Chapter 1 / First published in 2023 by Lund Humphries2023 •
Nina Möntmann’s timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that to play a crucial role within increasingly diverse societies museums and galleries of contemporary art have a responsibility to ‘decentre’ their institutions, removing from their collections, exhibition policies and infrastructures a deeply embedded Euro-centric cultural focus with roots in the history of colonialism. In this, she argues, they can learn from the example both of anthropological museums, which are engaged in debates about the colonial histories of their collections, about trauma and repair, and of small-scale art spaces, which have the flexibility to initiate different kinds of conversation and collective knowledge production in collaboration with Indigenous or local diasporic communities from the Global South. For the first time, this book identifies the influence that anthropological museums and small art spaces can exert on museums of contemporary art to initiate a process of decentring.
British Academy Blog
State of the art relations: New approaches to the anthropology of art2015 •
In 2014, the Louvre and the Tate Modern between them received over 12 million visitors. In November of the same year, Christie’s contemporary art sale raised an astonishing $852.9m. Not only has the widely forecast ‘end of art’ (Belting 1987, Danto 1986, 1995) failed to materialise, but art has increasingly spilled beyond the refined spaces of the Tuileries, the Southbank, and the auction houses for the super-rich. Whether it’s Banksy’s murals being torn off walls by ‘ignorant’ council officials in Clacton-on-Sea, the Occupy movement’s ‘bat signal’ being projected onto the Verizon building in New York, or the launch of Paul McCarthy’s ambiguously sexual Parisian ‘Tree’ sculpture, new forms and engagements with art generate fierce debate in all spheres of social, economic, and political life. Are these controversies still about ideas of beauty? Or has art succumbed to spectacle and money? And what, if any, is the relation of contemporary art to the political?
American Anthropological Association
The Post-Anthropological: Convergences Across Museums, Art, and Colonialism (AAA Panel, Vancouver BC 2019)2019 •
In recent years and especially across European postcolonial contexts, the renaming, reform, and even reconstruction of anthropological museums is embedded within and reinforced by a fierce broader debate about the legitimacy, location, and expertise of anthropology itself. This 'climate' is marked by multivocal struggles including challenges to the institutions of anthropology from within, as well as by different communities and (indigenous) activists. Fundamentally, therefore, particularly regarding issues of restitution and ownership, this debate is not just about institutional change, but about transnational and transcultural reparation, repair, and justice. These climates of change have, however, also facilitated new kinds of collaborations and translations, such as between museums and artists, activists and scholars, that have, we observe, taken the debate about the legitimacy of anthropology beyond itself. In this panel, we interrogate the meaning and consequences of this, as we call it, 'post-anthropological' dynamic. Inflected by our own research of these developments in anthropological museums, and their convergences with contemporary art and debates on colonialism in Europe, we have observed that three areas of debate-current transformations of anthropological museums, contemporary art, and postcolonial critique-have arguably become the most productive and vibrant 'post-anthropological' fields. We take the tension implied in the 'post' not to represent a crisis of identity for anthropology, but a productive moment that may open up new ways of negotiating anthropological representation beyond itself. This debate is thus not just one within anthropology, but also and perhaps more significantly, about the elsewhere and otherwise of anthropology. The discussion on the post-anthropological is situated in current debates in museum studies, anthropology, and curatorial studies as well as linking discussions on colonial legacies with those on contemporary art. This panel responds to and challenges the notion of the 'post-anthropological' and the fields and debates associated with it: current transformations of anthropological museums, contemporary art, and post-colonial critique. It does so in particular by exploring case studies, both contemporary and historic, that extend this debate beyond European institutions and fields. In particular-and by way of a discussion led by Anthony Shelton (director of the Museum of Anthropology at UBC), we link these debates on the post-anthropological grappling with the legacies of the European colonial project with the changing climates in Canadian, Indian, and South Pacific contexts. These contributions also reflect on the ongoing struggles, and the limits as well as possibilities, afforded by calls for the decolonisation of anthropology and its related institutions. Co-sponsored by: Council for Museum Anthropology and Society for the Anthropology of Europe
PhD thesis / University of Amsterdam / Faculty of Humanities (FGw) / Amsterdam School for Heritage and Memory Studies (AHM) Contemporary art challenges the traditional idea of a musealium as well as institutional procedures related to collection care and preservation. Conventionally, visual artworks have been perceived as fixed, unique, material entities created and finished at a particular time, and museum approaches to collecting and preserving them were established accordingly. Nevertheless, contemporary art often resists this definition and undermines dogmas of material authenticity and artist’s intent, as well as the conviction that an object’s integrity resides in its physical features. Taking as its focus the triangle of relationships between an artist, a museum and a contemporary artwork as collectible, this study investigates how contemporary artworks by Mirosław Bałka, Danh Vo and Barbara Kruger are collected, documented and conserved in today’s institutions. It looks at how (and whether) new methods developed in the field of contemporary art conservation, such as the artist’s interview, are adopted by museums, and attempts to identify factors undermining their effectiveness. By looking at contemporary art as a new paradigm of artistic practice and building on notions such as musealisation, art project as art form and art object as document, this study works towards a theoretical model that address the incompatibility between a traditional museum approach to collecting and preserving and the features of contemporary art. By employing and extending concepts introduced by conservation theorist Hanna Hölling and the notion of ‘anarchives’ by media theorist Siegfried Zielinski, this study adopts the model of the ‘artwork-as-(an)archive’. Starting from the premise that our future understanding of contemporary artworks can only be constructed through traces of documentation, this model grants documents a status equal to that of art objects and obliges institutions to care for them on a similar basis. Besides its capacity to facilitate conservation, the artwork-as-(an)archive model is here considered as a space for collaboration between artists and museums, a space to be collectively shaped, filled and nourished that fosters transparency and inclusiveness.
Nowa funkcja a dawna struktura. Archeologia o Drugim Przedzamczu w Człuchowie w czasach nowożytnych / NEW FUNCTION VERSUS OLD STRUCTURE. ARCHAEOLOGY ON THE SECOND OUTER BAILEY AT CZŁUCHÓW IN THE EARLY MODERN TIMES
Nowa funkcja a dawna struktura. Archeologia o Drugim Przedzamczu w Człuchowie w czasach nowożytnych / NEW FUNCTION VERSUS OLD STRUCTURE. ARCHAEOLOGY ON THE SECOND OUTER BAILEY AT CZŁUCHÓW IN THE EARLY MODERN TIMES2023 •
Journal of Literary Education
Teaching Children's Literature in the University: New Perspectives and Challenges for the FutureA.-M. Guimier-Sorbets, M.B. Hatzopoulos et Y. Morizot (eds.), Rois, Cites, Nécropoles, Institutions, Rites et Monuments en Macédoine, Actes des Colloques de Nanterre (Décembre 2002) et d’Athènes (Janvier 2004), ΜΕΛΕΤΗΜΑΤΑ 45, Athènes 2006, 321-330.
M. Tsimbidou -Avloniti, La tombe macédonienne d’Hagios Athanasios près de Thessalonique.DE MARX A LAS LUCHAS ACTUALES EN UNA AMÉRICA LATINA
El trabajo más allá de Marx. Miradas críticas y feministas de mujeres sobre la reproducción de la vida en clave comunitaria2023 •
Arte Individuo Y Sociedad
El módulo constructivo y la orientación del Palacio de Carlos V de Granada: arte, geometría y símbolo2020 •
2018 •
2020 •
European Journal of Surgical Oncology (EJSO)
One hundred years of curative surgery for rectal cancer: 1908–20082009 •
International Journal of Rheumatic Diseases
Rheumatology News and Views from APLAR Region2014 •
Indian Journal of Ophthalmology
Spectrum of Eye Disease in Diabetes (SPEED) in India: A prospective facility-based study. Report # 4. Glaucoma in people with type 2 diabetes mellitus2020 •
Die Mysterien der Zeichen: Johannes Reuchlin, Schmuck, Schrift & Sprache (herausgegeben von Matthias Dall'Asta & Cornelie Holzach)
Johannes Reuchlin (1455–1522): ein philosemitischer öffentlicher Intellektuelle2022 •