Project | SALT
One and the Many
One and the Many is a research-based exhibition that looks into the production and distribution of things. It tackles the period 1955-95 in Turkey, by following the material results of gradual industrialization as well as its contingent infrastructural disposals. The exhibition traces a timeline through the period's material culture, setting it in relation to how it was made accessible to the public gaze.
Opinion | pantxo ramas
A Catalogue For Care
The possibility of constituting a common ground of transparency and richness for the institutional practice, a practice of critique that reinforces and affirms these experimental devices, lies in the production of a catalogue of care. This would be a collection of practices that intervenes and develops in a living world; a repertoire of inventions and instruments that can be problematised and improved.
Ecologising Museums
The e-publication Ecologising Museums explores how museums and cultural institutions can face the issue not only head-on, but from all angles. To what degree are the core activities of collecting, preserving and presenting in fact attitudes that embody an unsustainable view of the world and the relationship between man and nature?
Project | MIMA
Working with Constituents
What would happen if museums put relationships at the centre of their operations? Through this symposium we explore the possibility of a museum in which the visitor is not a passive receiver of predefined content, but a member of a constituent body who provokes, informs and co-produces programmes.
Ecosophy and Slow Anthropology. A Conversation with Barbara Glowczewski
Barbara Glowczewski, Nataša Petrešin-Bachelez, Sarah Werkmeister
Past and current struggles of Indigenous people all around the world are inspiring to ponder narratives that oppose current dehumanisation and the real threat pending on the planet. The acceleration of history, in which ongoing events become archived before being finished, is a real issue to be thought about in a slowed-down, more thought through process, both within art and within cultural institutions. A slow museum should be especially attentive to collaborating with concerned populations and artists, Indigenous or not, who create new worlds in response to traumas of the past and the present.
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Project | M HKA
Energy Flash. The Rave Movement
Rave culture from the 1980s and '90s was Europe's last big youth movement. During this period of radical social and political change which also followed the rapid decline of industrialism, rave, in its various guises, migrated around the continent from its epicentre of Great Britain, Belgium and Germany. Energy Flash will look at rave as a highly politicised phenomenon, considering it through the four key notions of 'autonomy', 'civil liberty', 'technology' and 'creativity'.
Project | Van Abbemuseum
The 1980s. Today's Beginnings?
"The 1980s - Today's Beginnings?" presents an alternative view on the 1980s from five different European perspectives: Slovenia, Turkey, Spain, the UK and the Netherlands. This collaborative exhibition comprises a diverse mix of artworks, music, TV, graphic and archival material, exploring a wide set of socio-political themes through the lens of culture. The different presentations and mediation programme present cultural production that took place against the mainstream, examining its role in moments of state structures in transformation.
Necroaesthetics: Denaturalising the Collection
Anna-Sophie Springer, Etienne Turpin
Upon entering the beloved halls of a natural history museum, a strangely naturalised sensibility seems to neutralise the scenography. Among the necroaesthetic presentation of various arrays of taxidermy specimens – from rare turtles to soaring avifauna, from skeletal cetaceans to combative Arctic bears – one rarely feels any anxiety about their origins or the violence that rendered these once live beings into museological curiosities.
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Let Us Now Praise Famous Seeds
Michael Taussig
Imagine a fantastic voyage from Norway to Istanbul in an old wooden sailing boat built for Arctic voyaging. This boat is carrying an ingeniously crafted mini-boat, like a chalice, containing a mere handful of old wheat and rye seeds found in a museum in Saint Petersburg in Russia and in the roof beams of a sauna in northern Norway. These seeds are like jewels.
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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.
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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.
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Beyond COP21: Collaborating with Indigenous People to Understand Climate Change and the Arctic
Candis Callison
Understanding what climate change means – and this is not particular to the Arctic, but perhaps most poignant there – turns on narratives of what exactly is in crisis. Alternative visions of future histories depend as much on evidence and predictions as they do on epistemologies, meaningful collaboration, articulations of what matters and why, and notions of what constitutes change and crisis.
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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.
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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 the climate issue with new eyes.
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What's the Use?
Is art only art insofar as it refuses to be useful? Or can art practices serve a wider purpose in the world? The reader "What's the Use? Constellations of Art, History, and Knowledge" starts from the premise that art is an integral part of the social, economic, and political process. Art is best understood through its dialogue with the social sphere, rather than as a 'thing in itself'. By mapping a diverse terrain of examples and ideas, this book explores the complex interplay between art, use, history, and knowledge. The contributing writers and artists demonstrate how in past and contemporary practice these relationships are set up and played out. Editors: Nick Aikens, Thomas Lange, Jorinde Seijdel, Steven ten Thije.
Decolonising Archives
The e-publication Decolonising Archives aims to show how archives bear testimony to what was, even more so than collections. Archives present documents that allow one to understand what happened and in which order. Today Internet technology, combined with rapid moves made on the geopolitical chessboard, make archives a contested site of affirmation, recognition and denial.
Glossary of Common Knowledge | MG+MSUM
Self-Management | Commons
For the referential field Commons of the Glossary of Common Knowledge taking place at MG+MSUM the narrator Bojana Piškur proposed a term self-management to look for an answer on some of contemporary dilemmas such as class struggle related antagonisms within the art institutions. She presented some of the progressive socialist cultural policies, museum models and directions as well as their emancipatory utopias, and link them to today's deliberations on the new prototypes of art institution - "museum of the commons".
Archives of the Commons: Knowledge Commons, Information and Memory
Carlos Prieto del Campo
The "archives of the commons" is based on the notion of the archive as an engine for political activation in the present. It also seeks to establish devices that do not annul or objectify the grassroots systems that gave rise to these exercises in the conservation of memory, which give the archive its value and the inventive potential of a new institutionality.
Archivos del común o los commons del conocimiento, la información y la memoria
Carlos Prieto del Campo
La línea de investigación/intervención de archivos del común piensan el archivo como motor de activación política en el presente, al mismo tiempo que pretende definir dispositivos que no cancelen ni cosifiquen las dinámicas desde abajo de las que proceden esos ejercicios de conservación de la memoria en la actualidad, que dotan al mismo de todo su valor y potencial inventivo de nueva institucionalidad.
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Decolonial Sensibilities: Indigenous Research and Engaging with Archives in Contemporary Colonial Canada
Crystal Fraser, Zoe Todd
Recently the idea of reconciliation has been brought to the forefront of the Canadian socio-political terrain. Indigenous peoples battled the federal government for access to files and documents in possession of the Government of Canada pertaining to the centuries-old history of the school system, illustrating some of the nuances and complexities inherent in the question of 'decolonising the archives'. In this short piece, we first question who controls these archives?
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H[gun shot]ow c[gun shot]an I f[gun shot]orget?
Lawrence Abu Hamdan
What would it sound like if we could hear this vast database of police gunfire rather than have it ring out only in the desensitised and terrorised communities in which it is a regular occurrence. Instead of demanding our privacy be granted and rejecting this technology, we should instead be demanding more listening, more archiving in order to reverse-engineer it's selective ears.
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