Dismantling the Master’s House
Dismantling the Master’s House
复制标题
拆除主人家
DOI：
10.1080/09528822.2019.1653065
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发表时间：
2019
期刊：
影响因子：
0.2
通讯作者：
Nikki Grout
中科院分区：
文献类型：
--
作者：
J. Giblin;Imma Ramos;Nikki Grout
博物馆既是由推动欧洲帝国发展的理想产生的，也是这些理想的生产者。因此，许多在殖民时代和殖民时代以来的藏品都是这段历史的独特而有力的反映。尽管有这种潜力，但除了少数例外，博物馆中以对象为中心的帝国批判历史通常要么被边缘化，要么被庆祝性叙事、艺术历史视角或去历史化的民族志描述所取代。然而，这种情况正在改变。随着博物馆的非殖民化越来越被认为是当代博物馆工作的一个必要方面，有一个运动，对帝国在“主人的房子”更批判性的反思表示。然而，就在直面帝国历史的愿望逐渐确立之际，最近欧洲又出现了殖民幻想和怀旧情绪的复苏。作为回应，这本介绍特别编辑卷展示帝国的经验：非殖民化的对象，图像，材料和文字？概述了这些非殖民地问题和需要代表帝国的经验，其遗产，从多个角度。介绍反映了两个案例研究，从大英博物馆最近的工作，试图做到这一点，一个主要的临时展览，“南非：一个国家的艺术”，和新的殖民和后殖民显示在南亚画廊。在这样做的过程中，导言提出了四个关于展示帝国经验的关键主题，这些主题与本特刊中的其他贡献产生了共鸣，包括：需要1）策展和观众的不适，2）包括沉默的声音和历史，3）政治策展定位分散欧洲范式，揭露和挑战殖民地创造的主体性，（4）殖民地收藏和展示历史的透明再现。这些和其他主题的讨论，通过总结的贡献量。
Abstract Museums were both produced by and producers of the ideals that drove the growth of European empires. As such, many of the collections made during and since the colonial era are unique and powerful reflections of this history. Despite this potential, with few exceptions, object-focused critical histories of empire in museums have typically either been marginalised in favour of celebratory narratives, art historical perspectives or de-historicised ethnographic descriptions. However, this is changing. As museum decolonisation is increasingly being recognised as a necessary aspect of contemporary museum work, there is a movement toward more critically reflective representations of empire within ‘the master’s house’. Yet, just as the desire to confront histories of empire is becoming established, there has been a recent popular resurgence of colonial fantasy and nostalgia in Europe. In response, this introduction for the special edited volume Exhibiting the Experience of Empire: Decolonising Objects, Images, Materials and Words? outlines these decolonial issues and the need to represent the experience of empire, and its legacies, from multiple perspectives. The introduction reflects on two case studies from the British Museum’s recent work that attempted to do this, a major temporary exhibition, ‘South Africa: The Art of a Nation’, and the new colonial and post-colonial displays in the South Asia gallery. In so doing, the introduction draws out four key themes regarding exhibiting the experience of empire that resonate with the other contributions in this special issue, including: the need for 1) curatorial and audience discomfort, 2) inclusion of silenced voices and histories, 3) political curatorial positioning to decentre European paradigms and expose and challenge colonially created subjectivities, and 4) the transparent representation of colonial collecting and display histories. These and other themes are discussed through summaries of the contributions to the volume.