Opinion | Clémence Seurat
Post 1
The 21st COP was meant to be accompanied by a strong and long-awaited mobilisation of citizens with a desire for transformation, but the November attacks in Paris have made us slip into a state of emergency that bans expression and commitment to defend our future. Rather like a double penalty, the establishment of strict security measures instills an emotional register based on fear that paralyses our actions and stifles our demands. It delivers a vision of the world at war, with no nuance.
Climate Risks, Art, and Red Cross Action. Towards a Humanitarian Role for Museums?
Pablo Suarez
What can museums and artists do to help address the humanitarian consequences of climate change? The best answers, of course, can only emerge from the art community itself. At the practical level there can be new or revised disaster management plans and the obvious task of reducing the carbon footprint of art-related endeavours. At a deeper level, museums, artists and other stakeholders in the world of culture could help humanity by creating exhibits, installations, and other initiatives aimed at helping us all see with new eyes on the climate issue with new eyes.
Imagining a Culture Beyond Oil at the Paris Climate Talks
Mel Evans and Kevin Smith of Liberate Tate
Museums have a specific role to play in opening up dialogue around our active response to the prospect of climate change, which would be to try and prevent the worst impacts from unfolding. Museum directors hold the key to significant decisions around buildings, curating, learning programmes – and funding. Right now, too many large cultural institutions around the world allow oil sponsors to brand their entranceways, their catalogues and their events. For the oil companies this provides a valuable social licence to operate, a guise of social acceptability masking the harmful impacts of the fossil fuel industry.
Theorising More-Than Human Collectives for Climate Change Action in Museums
Fiona R. Cameron
Museum scholars, professionals and artists can progress real-world and scholarly change by undertaking what I call a series of "ecologising experimentations" that have the potential to re-work the possible relations between things and people via new types of museum practices and ways to conceptualise artworks.
Late Subatlantic. Science Poetry in Times of Global Warming
Ursula Biemann
Art has a role to play in making these processes perceptible in a way that scientific data cannot. Art can send imaginative narratives across the abstract register of the scientific voice. How weather, ice and microorganisms mediate the world is turned into something visible and audible, and hopefully comprehensible.
Glossary of Common Knowledge | MG+MSUM
The Contemporary | Historicization
For the referential field Historicization of the Glossary of Common Knowledge, Beatriz Herráez, Jesús Carrillo and Francisco Godoy Vega presented the term 'the contemporary'. They "claim the disruptive potential of the term: anachronism or antagonism versus 'the ecstasy of the present'. The contemporary is thus what refuses to relate to its own time, in terms of adjustment or belonging. [...] there is "a present moment which does not exist".
Opinion | Gigi Argyropoulou
Questions of Care. Politics of Solidarity. PART 1
Throughout September I began this article many times and failed to find a way forward. I felt I had nothing new or interesting to offer. Then in late September I met Mohammed, who was coming from Afghanistan passing through Athens on his way to Germany. Born in 1992 Mohammed has two children and a wife that he left behind as he set off for this long journey.
Aesthetics of the State? A report on the conference NSK from Kapital to Capital at Moderna galerija, Ljubljana
Nick Aikens
In Slovenia and Eastern Europe, Neue Slowenische Kunst (NSK) has come to be identified, or over-identified to use Slavoj Žižek's term to describe how NSK positioned itself in relation to state ideology, with the 1980s and the break up of Yugoslavia. Specifically the work, reception and subsequent historicisation of NSK should be considered in the context of the proliferation of alternative culture in former Yugoslavia, the emergence of the concept of civil society and its complex relation to the state.
The Noise of Silence or ¿Por qué no te callas? (Why don't you shut up?)*
Ines Doujak
This censorship of this work constituted a denial of the history which the work explores: the continuum of colonialism from the past to the present, specifically that of Spain in Latin America, and the involvement of Nazis in the sub-continent's era of dictatorships. In Spain, history itself is still repressed. Demanding to be heard, the voices of the dead of the Civil War demanding to be heard were in effect censored by the right wing People's Party government in 2011 when it abolished the Office of Victims of the Civil War and the Dictatorship, which coordinated the exhumation of the remains of those who disappeared.
Opinion | Vivian Ziherl
Notes from the 2015 Federal Senate Inquiry on the Arts, Brisbane
Vivian Zihierl sat in on the Australian Senate Inquiry into the Impact of the 2014 and 2015 Budget decisions on the Arts and discovered why it is that artists and 'individuals' can and should make policy their business. She was keen to understand what was to become of the proposed $104million cut to the Australia Council for the Arts, and the establishment of a controversial new Arts Ministry discretionary fund titled the National Programme for Excellence in the Arts (NPEA).
Decolonising Museums
L'Internationale Online
Decolonising Museums is the second thematic publication of L'Internationale Online; it addresses colonial legacies and mindsets, which are still so rooted and present today in the museum institutions in Europe and beyond.
Project | SALT
How Did We Get Here
How Did We Get Here traces the origins of the current context of Turkey at this turning point, in relation to the recent past and via elements of popular culture and social movements that took hold after the coup d'état. Works in the exhibition by Halil Altındere, Serdar Ateşer, Aslı Çavuşoğlu, Barış Doğrusöz, Ayşe Erkmen, Esra Ersen, and Hale Tenger deal with the political and cultural climate of the 1980s, to contribute a broader understanding of the national struggles and social dynamics it entailed.
The Invisible and the Visible. Identity Politics and the Economy of Reproduction in Art
Nav Haq
The discourse of 'identity politics' in art for a long time has looked highly redundant, and for very good reasons too. With some exceptions, it was something that had rather stifled aesthetic limitations, with its clichéd images of the self or the body holding forth a marginalised status – a kind of figurative portraiture of one's "otherness" if you like. 'Identity politics' art, arguably, may even have caused more problems than it set out to resolve.
Opinion | Gigi Argyropoulou
Questions of Care. Politics of Solidarity. PART 2
How might we exercise solidarity as care, as actions we simply can not not do? Modes of diverse and ongoing implication in relation to our surroundings, as Judith Butler says, implicate us in a struggle with both "love and aggression" by constantly negotiating various borders spatially and socially in the here and now.
The Dutch VOC mentality. Cultural Policy as a Business Model
Mirjam Kooiman
Around 2010 Dutch institutions as the Rotterdam's Wereldmuseum and Amsterdam's Tropenmuseum and National Maritime Museum (Scheepvaartmuseum) that have a collections with links to the Dutch colonial history, all suffered severe budget cuts. These cuts appear to be linked to a renewed insistence on defining Dutch identity and a disquieting indifference towards some of the darker moments in the country's history.
Catch Me, If You Can!
Nana Adusei-Poku
For the past two decades, educational and cultural institutions have tried to counter white privilege by initiating diversity policies aimed at "inclusion" and "equal opportunities". In this text Adusei-Poku points out the role of time as a political tool to reproduce a hegemonic education system. The argument she makes is that there is no "catching up" which calls the decolonisation of state institutions and their education system into question.
The Culture of Coloniality
Daniela Ortiz
The fact that cultural institutions do not express any resistance to culture being used to reinforce xenophobic and racial segregation practices by means of the discourse of integration makes it impossible to imagine how a process of decolonisation could take place simply through exhibitions, debates and talks that regularly appear in their programmes of activities.
"I guess you guys aren't ready for that yet... but your kids are gonna love it" - PART 1
Ana Bigotte Vieira
Through an investigation in three works this text investigates the limits of public space and collective agency in Portugal's 1980s, having the public sphere as an imagined community and inquiring into something that can be thought of as commons: common memories of common practices, memories and practices that can become part of a common imaginary and help illuminate a certain repertoire of actual practices.
Institutional Fever in China
Colin Siyuan Chinnery
Of all art forms, visual art is the most marketable while being censored the least. That means contemporary art enjoys the most creative freedom while providing the biggest financial reward for supporters. In contrast, cinema is censored heavily by the government, music has no copyright protection, and experimental theatre and dance have no way to pay back supporters.
Collecting Life's Unknowns
Clémentine Deliss
If, today, mass collecting for ethnographic museums has necessarily come to a standstill, which institutions today are still able to place a purchase on life's unknowns? What might a contemporary ethnographic collection look like? Has the acquisition of life's unknowns shifted from the earlier speculative and occult interests of ethnographers and their museums to the rising market in globalising collections of contemporary art?