by Silvy Chakkalakal
*Translated from the German by Jane Yager
On Sunday afternoon, 27 May 2018, I am watching the podium and listening to Tom Holert introduce the second day of the conference “Deep Time and Crisis, ca.1930”, which is taking place at the Haus der Kulturen der Welt in Berlin as part of the exhibition “Neolithic Childhood. Art in a False Present, ca. 1930”. The exhibition, jointly curated by Holert and Anselm Franke, engages with the feeling of the unbearability of the present, following the work of Carl Einstein, which is contextualised in a dense composition of texts and artworks.
more “Unbearable simultaneity On the correlation between mobile objects and people*“
by Felicity Bodenstein, Margareta von Oswald & Callum Fisher
It was at the recently renamed ethnography museum in Hamburg (formerly Museum für Völkerkunde, today Museum am Rothenbaum, Kulturen und Künste der Welt) that a meeting was organized on the 18th of May, 2018 by the German Ministry of Foreign Affairs and the Goethe Institut with the rather long and awkward title: From “Frosty Deposits of White Thirst for Knowledge” Towards Things and Wisdom without frontiers. Taken from an expression used by the German intellectual Carl Einstein in 1926 (“Das Berliner Völkerkunde-Museum. Anläßlich der Neuordnung”, published in Der Querschnitt), it refers to an early critique of Berlin’s ethnographic collections as trophies of white greed and it was published shortly before the author moved to Paris where he was to be famously part of the unique intellectual enterprise of George Bataille’s Documents. A policy meeting referencing transgressive critical thinking, may in itself be remarkable, but it was also designed to examine how German institutions might react to African claims for restitution by bringing together major actors from the German institutional landscape with African museum professionals mainly though not exclusively from former German colonies. It was clearly framed in the opening remarks as an effort to react to the November 2017 speech, made in Ouagadougou by French president, Emmanuel Macron and his self-imposed challenge to provide the conditions for a restitution of African heritage from French and even European museums. Invited but not present at the meeting in Hamburg was the French art historian, Bénédicte Savoy, who has spent most of her career teaching at the Technische Universität in Berlin, and who together with Senegalese intellectual Felwine Sarr has been mandated with producing a report to engage this initiative in France. After providing fuel for the lively debate on the state of provenance research in Germany’s ethnographic collections and in particular in provision of the establishment of the Humboldt Forum, her nomination by Macron is exemplary of transnational emulation and mirroring, where individual actors move between national contexts of policy making and contribute to rhizomatic resurgences of critical discourses. Such constellations also exemplify the context that the authors of this report wanted to address by organizing the workshop discussed here. By bringing together several research groups involved in considering the implications and differences in how colonial legacies are dealt with in Paris and Berlin, between the creation of Jacque Chirac’s Musée du Quai Branly (opened in 2006) and the debates concerning the Humboldt Forum (set to open in 2019), the focus was particularly but not exclusively on ethnographic collections and anthropological knowledge production.
more “From the brothers Humboldt to Jacques Chirac and back… A report from the three-day work shop: Exchanging perspectives: anthropologies, museum collections and colonial legacies between Paris and Berlin (June 6-8, 2018) held at the Centre for Anthropological Research on Museums and Heritage (CARMAH) and at the Haus der Kulturen der Welt (HKW)“
by Souad Zeineddine
*Translated by Jonathan DeVore and Julian Schmischke
7 June 2018: In the Schlüter courtyard of the German Historical Museum (DHM), I am waiting for interdisciplinary symposium “The Stone Cross from Cape Cross – Colonial Objects and Historical Justice,” to begin. I start to imagine what would happen if N’Jadaka, one of the main protagonists of the Afrofuturist Hollywood blockbuster, ‘Black Panther’ (2018), climbed through the glass dome of the courtyard. The target of his operation: the return of the Cape Cross pillar. After the (fictitious) repatriation of the Vibranium Axe, from the (fictional) “British Museum” (jhuexhibtionist 2018) to Wakanda, this would be his second ‘illegal’ repatriation. On the one hand, I am amused by the idea of looking into the faces of the 350 national and international guests (DHM 2018), whose expressions range from shocked to horrified. On the other hand, considering the symposium’s program, I start thinking about possibilities for decolonizing national and international law.
more “Imagine decolonizing the law – what would happen?*”
by Christian Kravagna
“Nothing is more galvanizing than the sense of a cultural past. This at least the intelligent presentation of African Art will supply to us.”
– Alain Locke, A Note on African Art, Opportunity, May 2, 1924
In his forward to the catalogue for the exhibition Blondiau – Theatre Arts Collection of Primitive African Art, which was shown at the New Art Circle in New York in 1927, the philosopher Alain Locke writes, in connection with a general characterization of the exhibited artworks and their significance for European modernism: “[…] it is curious to note that the American descendants of these African craftsmen have a strange deficiency in the arts of their ancestors.” Like in previous essays of his, Locke postulates that African American visual arts lag behind achievements in music, dance and literature. While a synthesis of traditionally Black and eminently modern forms of expression has already succeeded in the latter genres, he writes, the fine arts have yet to see an interpretation of the art of their ancestors that corresponds to the modern Black experience. Locke understands the political significance of this engagement with African art to lie in the empowering affirmation “that the Negro is not a cultural foundling without his own inheritance.” In emphatic disagreement with the widespread notion that Black Americans lost their African culture through centuries of enslavement, Locke argues that the African art which made such a vital contribution to the early 20thcentury European avant-garde could be taken up all the more legitimately by artists of the African diaspora and translated into an aesthetic expression of the new self-confidence of the New Negro Movement. Here he speaks unequivocally of the need to recapture the “creative originality” of African art.
more “The museum of liberation An excursion into the early history of reconquest“