DECOLONISING MUSEUMS

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AROUND THE POSTCOLONY AND THE MUSEUM – RASHA SALTI The International Art Exhibition for Palestine was intended as the seed collection of a museum in exile for Palestine. Until it could be repatriated to a free and just Palestine, it would take the form of an itinerant exhibition touring the world. After Beirut, it travelled to Norway, Japan and Iran from 1979 to 1982. The building where the artworks and the exhibition’s archives and documentation were stored was shelled by the Israeli army during the Israeli siege of Beirut in 1982. Everything relating to this exhibition seemed to be lost. But little by little, scattered duplicates and copies were found in the personal archives of those who contributed to its realisation. For five years, Kristine Khouri and I tried to reconstitute the story of the making of this exhibition. It all started by coincidence when we discovered a copy of the catalogue in the reference library of an art gallery in Beirut. Needless to say, we were highly intrigued. The International Art Exhibition for Palestine embodies a unique initiative in the Arab world, in scale and scope. It surpasses all the exhibitions that took place in the region during that period and even a couple of decades after. Astonishingly, it took place amidst Lebanon’s Civil War, and opened only a week after a UN-brokered truce was implemented between Israel and Lebanon, and a UN peace-keeping force was deployed in South Lebanon to prevent armed confrontations between the Israeli army and Palestinian factions and their Lebanese allies. Eventually, the exhibition’s reconstructed history revealed an unwritten or scarcely documented, shared history of politically-engaged artists and initiatives, that links grassroots artist collectives in Paris, Rome and Tokyo, artist unions in Damascus, Baghdad, and Casablanca, seminal biennials in Venice, Baghdad and Rabat and museums in Santiago de Chile and Cape Town. We were commissioned by Bartomeu Marí to present our research as a documentary and archival exhibition at the MACBA. Indeed, it intersected with two of the museum’s programmatic leitmotivs under his mandate, namely staging exhibition histories are a means to interrogate the historiography of art and production of Eurocentric, or Western-centric canons and foregrounding ‘decolonising the museum’ is an overarching creed that informed the museum’s various departments. To revisit the conceits that guided our research and curatorial approach, I will draw on Achille Mbembe’s notion of ‘postcolony’. He does not propose this term to undermine the interpretive framework of postcolonial theory but because it suits his interrogations best: L’INTERNATIONALE ONLINE – RASHA SALTI – 138
AROUND THE POSTCOLONY AND THE MUSEUM – RASHA SALTI Exhibition installation. Courtesy: Claude Lazar. Jamil Shammout (Palestine) and Michel Najjar (Palestine) paint the banner of the exhibition. Courtesy: Claude Lazar. Exhibition installation. Courtesy: Claude Lazar. L’INTERNATIONALE ONLINE – RASHA SALTI – 139
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DECOLONISING MUSEUMS
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TABLE OF CONTENTS 4 Introduction 8
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DECOLONISING MUSEUMS Decolonising M
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DECOLONISING MUSEUMS around colonis
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THE INVISIBLE AND THE VISIBLE - NAV
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RESOURCES — L’INTERNATIONALE BO
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COLLECTING LIFE’S UNKNOWS - CLÉM
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THE COLLECTIONS AND ARCHIVES OF THE
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FROM THE COLLECTION OF THE VAN ABBE
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THE DUTCH VOC MENTALITY - MIRJAM KO
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CATCH ME IF YOU CAN! - NANA ADUSEI-
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FROM THE COLLECTION OF M HKA, ANTWE
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“I GUESS YOU GUYS AREN’T READY
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Page 125 and 126: A SALT BOX AND A BRACELET CONVERSIN
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Page 161 and 162: OPINIONS - VIVIAN ZIHERL The ‘fro
Page 163 and 164: OPINIONS - VIVIAN ZIHERL Richard Be
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DECOLONISING MUSEUMS carried out re
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DECOLONISING MUSEUMS the re-opening
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