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.
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.
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.
In the post-Soviet space, the decolonisation of the museum has not yet received all the attention it deserves due to a lack of post- and decolonial discourses and for obvious political reasons. Most curators who accentuate the self-reflexive decentring museum tactics do so in postmodernist ways, ignoring or distorting the darker colonial side of the matter.
The International Art Exhibition for Palestine (1978) was intended as the seed collection of a museum in exile for Palestine. Until it could be repatriated to a free and just Palestine, it would take the form of an itinerant exhibition touring the world. After Beirut, it travelled to Norway, Japan and Iran from 1979 to 1982.
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?
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.
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.
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.
Opinion | Vivian ZiherlWhat do we talk about when we talk about decolonisation? PART 2
Project | SALTHow 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.
Glossary of Common Knowledge | MG+MSUMFragility | Subjectivization
For the referential field Subjectivization of the Glossary of Common Knowledge Jesús Carrillo and Francisco Godoy Vega from Museo Nacional Centro de Arte Reina Sofía presented the term "fragility", which " would allow forms of the common that can activate, from below, alliances between the molecular domains and the ecosophies of the social and environmental relations..."