Archival Future: Pacific Artistic Interventions in the Contemporary Museum of Ethnography

档案的未来：当代民族志博物馆中的太平洋艺术干预

• 批准号: 2575211
• 金额: --
• 依托单位: University of East Anglia
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2575211
• 关键词: Archival; Future; Pacific; Artistic; Interventions

This project will study interventions by Pacific artists in European 'contemporary museums of ethnography' by drawing on recent scholarship on archives and archiving. Three case studies have been chosen because they are timely projects which address these issues: the artistic response of the Wiradjuri (Australia)/Celtic artist Brook Andrew to the exhibition L'Effet Boomerang (2017-18) at the Musée d'Ethnographie de Genève (Switzerland) which consisted of reworking historical ethnographic photography in a broad Indigenous Australian exhibition; the exhibition Voyage Autour du Monde, l'Aventure Maorie de Dumont D'Urville (2021), a solo exhibition by the Maori (New Zealand-Aoteaora)/Scottish/German artist George Nuku at the Musée Hèbre de Saint-Clément, Rochefort-sur-Mer (France) who responded to lithographs produced during Dumont D'Urville's exploration of New-Zealand in 1826-29; and the forthcoming work (2021-22) of Michel Tuffery, an artist of Samoan, Cook Islands and Ma'ohi Tahitian heritage, which will feature digital projections of photographs of Samoan barkcloth at the Humboldt Forum, Berlin. The artists' works are positioned on a continuum in the practice of printmaking with Nuku working with reproductions of 19th-century lithographs, Andrew with 20th-century photographs and Tuffery exploring the digital techniques to 'print' the barkcloth images on the façade of the museum, through mapping. In all three case studies, artists employ and challenge archival techniques which enable the museums to move forward with decolonisation as is necessary. Their practices provide means for the de-classification, re-contextualization and re-humanization of colonial representations of Pacific cultures in European museums and archives. By giving room and therefore a voice to artists from Australia and New Zealand to intervene in such spaces, institutions allow alternative stories to be told. While such ventures are happening globally, Europe is currently at the centre of the discussion, with multiple projects dealing with these questions: SWICH (Sharing a World of Inclusion, Creativity and Heritage, 2018), RIME (International Network of Ethnographic Museums, 2008-13) and READ-ME (European Network of Diasporas Associations and Ethnographic Museums, 2007-10).My methodology will be interdisciplinary and will combine library-based research with interviews, study of archives and collections, of museum curatorial practices and comparisons of the three artists' previous projects based on archival work. Through the concept of 'contemporary museum of ethnography' and my interdisciplinary approach, I want to understand the complex legacies of ethnography in museums today: how they perpetuate colonial histories, but also how they provide material for contesting them and questioning colonial dynamics.

该项目将研究太平洋艺术家在欧洲“当代民族志博物馆”的干预措施，借鉴最近的档案和存档奖学金。选择了三个案例研究，因为它们是解决这些问题的及时项目：（澳大利亚）/凯尔特艺术家布鲁克·安德鲁（Brook Andrew）参加日内瓦民族志博物馆（Musée d 'Ethnographie de Genève）举办的“L' Effet Boomerang”展览（2017-18）（瑞士），其中包括在一个广泛的澳大利亚土著人展览中重新制作历史人种学摄影;展览Voyage Autour du Monde，l 'Aventure Maorie de Dumont D' Urville（2021），毛利人的个展（新西兰-Aoteaora）/苏格兰/德国艺术家乔治努库在圣克莱门特博物馆，Rochefort-sur-Mer（法国），他对杜蒙·德·于维尔在1826年至1829年对新西兰的探索中制作的石版画做出了回应;以及萨摩亚，库克群岛和Ma'ohi大溪地遗产艺术家Michel Tuffery即将推出的作品（2021-22），将在柏林洪堡论坛上展出萨摩亚树皮布照片的数字投影。艺术家的作品被定位在版画实践的连续体上，Nuku使用19世纪石版画的复制品，Andrew使用20世纪的照片，Tuffery探索数字技术，通过映射在博物馆的立面上“打印”树皮图像。在这三个案例研究中，艺术家们运用并挑战了档案技术，这些技术使博物馆能够在必要时推进非殖民化。他们的做法为欧洲博物馆和档案馆中太平洋文化的殖民表现形式提供了去分类、重新背景化和重新人性化的手段。通过给澳大利亚和新西兰的艺术家提供空间，从而让他们有发言权介入这些空间，机构允许讲述其他故事。虽然这样的冒险在全球范围内发生，但欧洲目前处于讨论的中心，有多个项目涉及这些问题：SWICH（分享一个包容，创造力和遗产的世界，2018），RIME（国际民族志博物馆网络，2008-13）和README. COM（欧洲侨民协会和民族志博物馆网络，2007-10）。我的方法将是跨学科的，并将结合联合收割机图书馆为基础的研究与访谈，研究档案和收藏，博物馆策展的实践和比较三位艺术家以前的项目的基础上档案工作。通过“当代民族志博物馆”的概念和我的跨学科方法，我想了解今天博物馆中民族志的复杂遗产：它们如何延续殖民历史，但也如何为质疑殖民历史和质疑殖民动态提供材料。