Re-visiones #7

Guest Researchers

Curating Neighbourhoods: Manifesto for the Post-Ethnographic Museum

Clementine Deliss

Independent curator and publisher
Visiting Professor, École Nationale Supérieure d’Arts de Paris-Cergy
Visiting Researcher, Institut National d'Histoire de l’Art, Paris

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 referentiality is far from expended
Whose restitution is undeniable

It’s about working with what you have
With the existing architecture and not against it
Doing domestic research in villas
Moving between apartments, studios, archives, and lab rooms
Finding structural solutions for the installation of artefacts
That are neither in storage nor exhibited
Repositioning collections both conceptually and physically
Making new assemblages

It’s about reintroducing a laboratory into the museum
A lab of renewed interpretation
Of self-critical and recursive enquiries
Slow, prone to change, and not always visible
Developing a centre for thought as yet undervalued by market concerns

It’s about the possibility of production inside a museum
A place of embodied institutional critique
A workshop for the production of prototypes
Unfinished, incomplete, tentative and generous
Building a new collection out of the collection
A research collection for today’s emergent investigations
Constructing exhibitions out of this recursive procedure

It’s about remediation over time
About working with a deficient situation
Daring to change the anthropological classification of objects
Suspending the logos of ethnos
Developing different metaphors and interpretations
Through dialogical and visual inquiry
Exhibiting unfinished models, test works, exercises
Rethinking the exhibition as an instrument of remediation
Engaging different publics in the process

It’s about curating neighbourhoods
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
Adjacent and responsive
Rubbing shoulders through their engagement with the museum
Forging new alliances and contemporary geographies

It’s the seed of a new museum-university
Unequivocally collection-centred, working outwards from actual exhibits
Deconstructing earlier archives and the histories of ethnographic museums
Working with virtual open labs to enable greater access
Providing a new platform for professional development
Associating artists as curators and custodians
Interconnecting the younger generation of protagonists
Those from curatorial studies, cultural studies, post-colonial studies, museum studies, contemporary art, design, performance, art history, anthropology, music, literature, law, architecture, ecology, informatics…
At global locations of education, in South Africa, Nigeria, Senegal, Brazil, New Zealand…
Constantly working with external impulses
Redrafting the concept of generalism
And the democratic intellect
Towards a non-standardised education
Independent and self-organising
A subjective, porous, critical institution.


Guest resident artists and researchers at the Weltkulturen Museum between 2010–2015: A Kind of Guise (DE), Buki Akib (NIG), John Akomfrah (GB), Bruce J. Altshuler (US), Marie Angeletti (F), Farzanah Badsha (IRN), Lothar Baumgarten (DE), Alf Bayrle (DE), Helke Bayrle (DE), Thomas Bayrle (DE), Christin Berg (DE), Benedikte Bjerre (DK), Rut Blees Luxemburg (DE), Friedrich von Bose (DE), Peggy Buth (DE), Andreas Bülow Cosmus (DK), Oscar Carlson (SE), CassettePlaya (GB), Marc Camille Chaimowicz (F/GB), Sunah Choi (COR), Hamish Clayton (NZ), Clegg & Guttmann (US), Ruairiadh O’Connell (GB), Minerva Cuevas (MEX), Elvira Dyangani Ose (E), Mathis Esterhazy (A), Patricia Falguières (F), Michael Fehr (DE), Timothy Furey (IR), Heather Galbraith (NZ), Bryce Galloway (NZ), Gabriel Gbadamosi (GB/NIG), Matthias Görlich (DE), Ros Gray (GB), Hans-Jürgen Heinrichs (DE), Oliver Heinzenberger (GB), Werner Herzog (DE), Theresa Kampmeier (DE), Danny Kerschen (GB), Michael Kraus (DE), Tonio Kröner (DE), Pramod Kumar KG (IND), David Lau (US), Mira Lau (A), Armin Linke (DE), Natasja Loutchko (SE), Antje Majewski (DE), Tina Makereti (NZ), Tom McCarthy (GB), Markus Miessen (DE), Dana Munro (GB), Shane Munro (GB), Renée Mussai (GB/A), Otobong Nkanga (NIG), Gabi Ngcobo (SA), Sam Nhlengethwa (SA), Michael Oppitz (DE), Peter Osborne (GB), Perks and Mini (NZ), Francis Pesamino (SAO), Simon Popper (GB), Paul Rabinow (US), Ciraj Rassool (SA), Dan Rees (GB), Olivier Richon (CH), Willem de Rooij (NL), Markus Schindlbeck (DE), Manon Schwich (F), Mark Sealy (UK), Richard Sennett (US), Eric Sidner (US), John Skoog (SE), Giovanni Sortino (IT), Marcello Spada (IT), Wukir Suryadi (INO), El Hadji Sy (SEN), Sya atudina (INO), Luke Willis Thompson (NZ/FID), Mamadou Touré dit Béhan (SEN), David Weber-Krebs (B). 

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Este obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional.


Re-visiones - ISSN 2143-0040
HAR2013-43016-P I+D Visualidades críticas, reescritura de las narrativas a través de las imágenes