DECOLONISING MUSEUMS

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THE INVISIBLE AND THE VISIBLE – NAV HAQ Iman Issa, Material for a sculpture recalling the destruction of a prominent public monument in the name of national resistance, 2010, from the series MATERIAL, 2009–2012. Mahogany sculpture with black tassel, white wooden pedestal, 64 points vinyl writing, 142 × 49 cm. Courtesy of the artist and Rodeo, Istanbul. Iman Issa, Material, 2010-2012, series of ten displays. Courtesy of the artist and Rodeo, Istanbul. L’INTERNATIONALE ONLINE – NAV HAQ – 20
THE INVISIBLE AND THE VISIBLE – NAV HAQ here be defined in terms of practice rather than biography. The relation of these artists to their works is not one of the figurative economy of reproduction, but something more urgent and experimental, mirroring more relational or intersectional understandings of identities formed through the interactions between biological, social and cultural spheres. The artists working with this mindset adopt a more relativistic attitude, foregrounding the self-determination of their practice, and defy traditional socially-coerced beliefs that they possess a stable, identifiable core. Rather than being stuck between the old dichotomy of the invisibility of the legitimising bourgeois art world and the strategy for attaining visibility for the traditionally marginalised subject, they have created the conditions that allow them the freedom to float between both, producing a new kind of cognitive space. There is, as always, the risk that it may only be moments before what could potentially cause broad change becomes evident and is recuperated by the neutralising-reflex of the art system, perhaps this is inevitable even, but then again it is hard to catch something without a fixed identity, especially when it is steps ahead of you. To begin to equip ourselves with a sense of progress, we must acknowledge a level of inadequacy for self-representation within the traditional context of art. And so, Phelan’s proposal—to consider the place of identities as being beyond the sole denominator of visibility in artistic practice—remains relevant and largely unresolved. Yet it should and is, allowing us to work towards a new situation. One where the current paradigm of the art system is forced to annul the existing economy of reproduction for those marginalised by addressing its unwritten, memetic rules of engagement. Thereafter, our sense of what is valued in terms of art’s relational property can be re-conceptualised, with a new sense of ownership of this value. It feels timely to raise these issues during a phase when many nations in Western Europe—such as Germany, Belgium, France, Denmark, etc.—are experiencing the early stages of their multicultural moment in the art context. Something that seems all the more complicated as it is also taking place after the advent of art’s internationalism. Of course, things change through the new perspectives brought about by subsequent generations, in both society and in art. The ‘atmosphere’ will dissipate once those from backgrounds previously considered marginalised gain broader comprehension of the art world and its meme, understand it as a form of symbolic violence, and avoid being coaxed into the trap of visibility. But, most significantly, we must acknowledge that we cannot find this progress unless we gain the belief L’INTERNATIONALE ONLINE – NAV HAQ – 21
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Page 3 and 4: TABLE OF CONTENTS 4 Introduction 8
Page 5 and 6: DECOLONISING MUSEUMS Decolonising M
Page 7 and 8: DECOLONISING MUSEUMS around colonis
Page 9 and 10: THE INVISIBLE AND THE VISIBLE - NAV
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Page 23 and 24: RESOURCES — L’INTERNATIONALE BO
Page 25 and 26: COLLECTING LIFE’S UNKNOWS - CLÉM
Page 35 and 36: THE COLLECTIONS AND ARCHIVES OF THE
Page 39 and 40: FROM THE COLLECTION OF THE VAN ABBE
Page 41 and 42: RESOURCES — L’INTERNATIONALE BO
Page 43 and 44: THE DUTCH VOC MENTALITY - MIRJAM KO
Page 55 and 56: CATCH ME IF YOU CAN! - NANA ADUSEI-
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RESOURCES — L’INTERNATIONALE BO
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“I GUESS YOU GUYS AREN’T READY
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THE CULTURE OF COLONIALITY - DANIEL
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OPINIONS - FRANCISCO GODOY VEGA The
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OPINIONS - FRANCISCO GODOY VEGA tha
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OPINIONS - FRANCISCO GODOY VEGA In
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OPINIONS - FRANCISCO GODOY VEGA as
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OPINIONS — L’INTERNATIONALE BOO
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OPINIONS - FRANCISCO GODOY VEGA bet
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OPINIONS - FRANCISCO GODOY VEGA and
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THE COLLECTIONS AND ARCHIVES OF THE
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FROM THE COLLECTION OF MUSEO NACION
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A SALT BOX AND A BRACELET CONVERSIN
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FROM THE COLLECTION OF MG+MSUM, LJU
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FROM THE COLLECTION OF MG+MSUM, LJU
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AROUND THE POSTCOLONY AND THE MUSEU
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FROM THE COLLECTION OF MACBA, BARCE
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FROM THE COLLECTION OF MACBA, BARCE
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INSTITUTIONAL FEVER IN CHINA - COLI
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OPINIONS - VIVIAN ZIHERL The ‘fro
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OPINIONS - VIVIAN ZIHERL Richard Be
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OPINIONS - VIVIAN ZIHERL questionna
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OPINIONS - VIVIAN ZIHERL is still a
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OPINIONS - VIVIAN ZIHERL all contro
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OPINIONS - VIVIAN ZIHERL overcrowde
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OPINIONS - VIVIAN ZIHERL arising fr
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OPINIONS - VIVIAN ZIHERL 2. Gayatri
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OPINIONS - VIVIAN ZIHERL armature.
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OPINIONS - VIVIAN ZIHERL VIVIAN ZIH
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OPINIONS - VIVIAN ZIHERL Citizenshi
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OPINIONS - VIVIAN ZIHERL poet, fail
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DECOLONISING MUSEUMS Nana Adusei-Po
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DECOLONISING MUSEUMS carried out re
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DECOLONISING MUSEUMS the re-opening
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DECOLONISING MUSEUMS

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