The recursivity of the curatorial

Tinius, Jonas; Macdonald, Sharon

doi:10.5040/9781350081970.0007

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“…Thinking against, with, and across anthropology, our conversations during fieldwork and otherwise inspired the argument to think trans-anthropologically. Hence, we accorded them positions across, in-between, around, and 'nearby' the other contributions by university-based scholars, many of whom are working themselves as curators, thus complicating these distinctions and recursive moves of the expanded curatorial field even further (see Sansi 2020;Tinius and Macdonald 2020).…”

Section: Expanding: the Contributionsmentioning

confidence: 99%

“…In addition, Larissa Förster's Transforming the Ethnographic research tackles questions of provenance and restitution, for which the Humboldt Forum has been such a focus in German debate (Förster 2018;Förster and von Bose 2018;Förster, Edenheiser, Frundt, and Hartmann 2018;and see also, Jethro 2019). As Jonas Tinius explains of his own research in this volume, the Humboldt Forum development was something about which not only he, as part of the wider research team, was thinking and experiencing but was one that his museum and gallery interlocutors, including Bonaventure Soh Bejeng Ndikung, who is interviewed in this volume, were at least partly responding to in their curatorial work (see also Tinius and Macdonald 2020).…”

Section: Making Differencesmentioning

confidence: 99%

“…The curators' invitation of my presence, perspectives, and contributions as co-author, moderator, and colleague, opened the conversations in the gallery to becoming a kind of 'para-site' and field of trans-anthropological practice. This situation arose because we understood our conversation as a form of recursive collaboration, in which curatorial and anthropological positions were not subjecting one another to an overarching position, but rather overlapped and corresponded; these aimed instead at understanding, transforming, and generating the contexts within which they operate (see Macdonald and Tinius 2020).…”

Section: Anthropology and Post-othernessmentioning

confidence: 99%

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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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Section: Expanding: the Contributionsmentioning

confidence: 99%

Section: Making Differencesmentioning

confidence: 99%

Section: Anthropology and Post-othernessmentioning

confidence: 99%

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Across Anthropology

Oswald¹,

Tinius²

2020

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“…Museums, art fields, and curatorial agents articulate national narratives and digest troubling cosmopolitan challenges against them (see e.g. Levitt 2015;Tinius and Macdonald 2020;Tinius and Zinnenburg 2020). This simultaneous export and incorporation, expansion and centralization extends to forms of artistic communication and distribution, for example through particular exhibition formats (Dimitrakaki 2012), but also means and materialities and rejections thereof (see Bishop 2012 and Fillitz, this issue).…”

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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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The recursivity of the curatorial

Cited by 2 publications

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Across Anthropology

Across Anthropology

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

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