Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives

Tinius, Jonas

doi:10.4324/9781003084464-12

Cited by 4 publications

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“…By late 2017, I had conducted fieldwork for nearly a year on three galleries and project spaces in Berlin focused on German colonial legacies, migration, and constructions of difference (Tinius 2018. I was planning to conclude the official research phase when I received a text message from Bonaventure Soh Bejeng Ndikung and Antonia Alampi, the founder and one of the then co-directors, respectively, of one of my principal fieldwork partners, SAVVY Contemporary.…”

Section: Curatorial Troublingmentioning

confidence: 99%

Doing Diversity in Museums and Heritage

2022

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Diversity' is undoubtedly a key word in contemporary museum and heritage debates and practice. Numerous initiatives and developments to promote, celebrate, identify, manage, preserve and, sometimes, to contest, diversity are underway. Yet what is meant by 'diversity' in these many instances-and what it is hoped it will achieve-is itself varied. So too for terms with which it is entangled or that operate as apparent or near synonyms, such as 'variety', 'plurality' and 'difference', and the German 'Vielfalt', 'Diversität', 'Verschiedenheit', 'Mannigfaltigkeit', 'Pluralität' and 'Differenz'. This book brings together studies of the lives and workings of such terms within recent and ongoing museum and heritage contexts in Berlin. While the question of which sität zu Berlin, the Museum für Naturkunde and the Prussian Cultural Heritage Foundation for the support. I thank all members of CARMAH (the Centre for Anthropological Research on Museums and Heritage) and especially the members of the Making Differences project for sharing reading suggestions and discussing ideas over these last years. The following deserve particular thanks for comments on this text:

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Section: Curatorial Troublingmentioning

confidence: 99%

Doing Diversity in Museums and Heritage

2022

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“…Therein, we developed questions on collections, curating, and colonialism, including the very understanding of 'ethnographic', 'ethnological', 'anthropological', and related terminologies and distinctions. The conversations across our fieldsites sparked intense discussions, for instance, on the convergences of provenance and the role of policy work and the media (see CARMAH 2017;Förster 2018;Förster, et al 2018;Förster and Bose 2018); on contemporary art, diversity, and experimental forms of curatorial collaborations (Tinius 2018a(Tinius , 2018b(Tinius , 2020b; and on the contested moves of collections and the construction of 'Africa' in the Humboldt Forum (Oswald and Rodatus 2017;Oswald 2018).…”

Section: Fieldwork: Berlin Convergencesmentioning

confidence: 99%

Across Anthropology

Oswald¹,

Tinius²

2020

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understands these institutions as caught up in a temporal dilemma: being at the same time sites for the negotiation of contemporary identity politics and the recognition of colonial pasts, while remaining caught up in a paradoxical anachronism. "What, then, constitutes the contemporary at a time of anachronism?", he asks, prodding at the fraught relation between contemporary art, modernism, and post-modernism to think of a possible anthropology of the contemporary. Note1. We also do not intend to associate the concerns articulated in this book to those revolving around posthuman debates on robotics and artificial intelligence (Braidotti 2013; Atanasoski and Vora 2019). In this sense, our propositions are related to but distinct from experimental methodologies and analytics, such as the "alter-anthropological" (Hage 2012: 286), where "critical anthropological thought can generate new problematics (…)", and the "para-sitical" offered for debate by Deeb and Marcus (2011) to reflect on the creation of ethnographic situations.2. The research that led to this piece was also funded by the Alexander von Humboldt Foundation as part of the research award for Sharon Macdonald's Alexander von Humboldt Professorship. We are grateful to CARMAH and all colleagues who contributed to making our joint research stimulating and productive. Additionally and in particular, we wish to thank Sharon Macdonald, Thomas Fillitz, and anonymous reviewers for helpful comments on our introduction.

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Value, Correspondence, and Form: Recalibrating Scales for a Contemporary Anthropology of Art (Epilogue)

Tinius¹

2019

anthrovision

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In the introduction to their influential volume The Traffic in Culture (1995), George Marcus and Fred Myers note that 'art has come to occupy a space long associated with anthropology, becoming one of the main sites for tracking, representing, and performing the effects of difference in contemporary life' (Marcus and Myers 1995: 1). Published more than twenty years ago, this statement still rings true, but with some qualifications. Marcus and Myers' concern for a recast perspective on 'Western art worlds' (Marcus and Myers 1995) has laid the foundations for a set of different perspectives in the anthropology of art and visual cultures that-at once-seem to have gone a long way while making steps backwards since then. In this afterword, I try to witness some of these short, and a few longer passages that have been made since then, reviewing both a broader literature related to the theme of this special issue and convergent strands of inquiry and trajectories evoked and addressed by the papers in this publication.

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Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives

Cited by 4 publications

References 0 publications

Doing Diversity in Museums and Heritage

Doing Diversity in Museums and Heritage

Across Anthropology

Value, Correspondence, and Form: Recalibrating Scales for a Contemporary Anthropology of Art (Epilogue)

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