Suchergebnisse

"Going beyond strictly legal and property-oriented aspects of the restitution debate, restitution is considered as part of a larger set of processes of return that affect museums and collections, as well as notions of heritage and object status. Covering a range of case studies and a global geography, authors aim to historicize and bring depth to contemporary debates in relation to both the return of material culture and human remains. Defined as contested holdings, differing museum collections ranging from fine arts to physical anthropology provide connections between the treatment and conceptualization of collections that generally occupy separate realms in the museum world"--

Comment aujourd'hui interpréter, travailler, déplacer les traces du passé colonial instituées en « collections ethnographiques » au sein des musées ? À cette question, "Traces du dé/colonial au musée" apporte un éclairage multisitué et plurivoque. Restituer/rapatrier, exposer/représenter, acquérir/s'approprier, imaginer/performer ces œuvres et artefacts collectés en contexte colonial sont les problématiques qui traversent ce livre collectif. Articles inédits, traductions et entretiens visent à rendre accessibles aux personnels des musées, aux étudiants et étudiantes comme au public francophones les pensées tissées et débattues à cet égard dans d'autres contextes culturels. Un glossaire, édité par Marion Bertin et Martin Hullebroeck, complète l'ouvrage, dépliant les notions clefs de ce champ de recherche

Ausstellungstext MARKK Hamburg: Die koloniale Besetzung des Königreichs Benin durch britische Truppen im Februar 1897 markierte das Ende eines der mächtigsten westafrikanischen Königreiche. Eine der Folgen war die weltweite Verstreuung von tausenden Kunstwerken aus Bronze, Elfenbein und Holz, die aus dem königlichen Palast geraubt wurden. In Anbetracht ihrer geplanten Restitution wird die Benin-Sammlung des MARKK nun in ihrer Gesamtheit in einer Ausstellung gezeigt. Die Schau vermittelt neben Informationen zum britischen Kolonialkrieg und zur aktuellen Restitutionsdebatte verschiedene Perspektiven auf die ursprüngliche Bedeutung der Objekte, ihre herausragende künstlerische Qualität und ihren Stellenwert in der afrikanischen Kunst- und Kulturgeschichte. Besonderes Augenmerk wird dabei auf die Provenienz der Sammlung und ihre Verflechtungsgeschichte mit den Hamburger Handelsnetzwerken gelegt. Der Ausstellungskatalog gibt einen umfassenden Überblick über den Stand der Forschung zur Kunst- und Raubgeschichte der Benin-Bronzen und zum Thema der Provenienz der Hamburger Sammlungen und der Restitutionsgeschichte.

This is the summary policy report of the Eunamus project. Drawing together findings from all of the other project reports and conferences, it reflects upon the way histories are constructed and deployed in Europe's national museums. It sets out to address two questions: In what ways do national museums, and the histories they display, contribute to social division and cohesion? How might national museums be a force for greater social cohesion in Europe in the future? The report discusses how national museums perform, interpret and narrate meaningful pasts and how these acts of communication are perceived by visitors and citizens. The report concludes with eight policy implications: National museums need to be autonomous creative institutions National museums need to understand and be open about their performances National museums need to overcome national constraints National museums need to develop and share tools for establishing bridge-building narratives National museums need to review their impact on perceptions of citizenship National museums need to reach new audiences Regional and local museums hold great potential for international bridge building National museums can act as forums for contested issues The three-year research programme, EuNaMus – European National Museums: Identity Politics, the Uses of the Past and the European Citizen, is coordinated at Tema Q at Linköping University (www.eunamus. eu). EuNaMus explores the creation and power of the heritage created and presented at European national museums to the world, Europe and its states, as an unsurpassable institution in contemporary society. National museums are defined and explored as processes of institutionalized negotiations where material collections and displays make claims and are recognized as articulating and representing national values and realities. Questions asked in the project are why, by whom, when, with what material, with what result and future possibilities are these museums shaped.

This is the summary policy report of the Eunamus project. Drawing together findings from all of the other project reports and conferences, it reflects upon the way histories are constructed and deployed in Europe's national museums. It sets out to address two questions: In what ways do national museums, and the histories they display, contribute to social division and cohesion? How might national museums be a force for greater social cohesion in Europe in the future? The report discusses how national museums perform, interpret and narrate meaningful pasts and how these acts of communication are perceived by visitors and citizens. The report concludes with eight policy implications: National museums need to be autonomous creative institutions National museums need to understand and be open about their performances National museums need to overcome national constraints National museums need to develop and share tools for establishing bridge-building narratives National museums need to review their impact on perceptions of citizenship National museums need to reach new audiences Regional and local museums hold great potential for international bridge building National museums can act as forums for contested issues The three-year research programme, EuNaMus – European National Museums: Identity Politics, the Uses of the Past and the European Citizen, is coordinated at Tema Q at Linköping University (www.eunamus. eu). EuNaMus explores the creation and power of the heritage created and presented at European national museums to the world, Europe and its states, as an unsurpassable institution in contemporary society. National museums are defined and explored as processes of institutionalized negotiations where material collections and displays make claims and are recognized as articulating and representing national values and realities. Questions asked in the project are why, by whom, when, with what material, with what result and future possibilities are these museums shaped.