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Harlan Bozeman, Inside of Miss Veora’s Living Room, 2020
Within the field there is consensus that the politics of collecting, ordering, describing and curating objects in traditional GLAM institu- tions (galleries, libraries, archives and museums) are imbued with pro- cesses of governing and disciplining subjects (Bennett 1995). Recent work has even more strongly tied the politics of ‘collecting, ordering and governing’ information at these institutions with the nation-building and colonial projects of the nineteenth and twentieth centuries (Bennett et al. 2017). In short, invisible selection criteria, taxonomies and protocols in the curation of heritage objects intrinsically structure the narratives and heritage objects made available to the public. While similar cultural forces are at work in digital heritage infra- structures, the digitality adds additional challenges of technology and governmentality (see Capurro and Plets 2021; Thylstrup 2019). Complex software architectures and specialist programming languages make it incredibly difficult to reveal and understand invisible biases and choices. Therefore, research into how cultural heritage is collected, ordered and governed digitally is essential to develop a critical tool kit for understand- ing digital infrastructures. Ultimately, such a reflective lens would enable practitioners and academics to see digital technologies not just as use- ful tools, but also as powerful conceptual schemes that impact how we organise and represent the past. However, if we want to fully understand the politics, inner workings and impact of digital infrastructures, we need to examine these mechanisms on the micro-level of specific collections.
Gertjan Plets, Julianne Nyhan, Andrew Flinn, Alexandra Ortolja-baird, Jaap Verheul, “De-Neutralising Digital Heritage Infrastructures?: Critical Considerations on Digital Engagements with the Past in the Context of Europe.” Critical Heritage Studies and the Futures of Europe, edited by Rodney Harrison et al., UCL Press, 2023, pp. 243–62, p. 247
Performance by Tolulope Ami-Williams, at G.A.S Lagos for Unexpected Lessons #04
Source: instagram.com
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chris marker, {1991} théorie des ensembles
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A COLLECTION OF GREEK AND ROMAN GLASS FRAGMENTS
CIRCA 3RD CENTURY B.C.-3RD CENTURY A.D.
The late 19th century small wood collectors cabinet with glazed lid and five drawers, filled with a quantity of glass fragments including core-formed, mosaic glass vessels, bead and inlay fragments, jewellery fragments, plain and marbled glass fragments and plain glass intaglios.
Christie’s
Louis Léopold Boilly, Trompe-l'œil / Various objects, ca. 1785. The Clark Art Institute
Source: clarkart.edu
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Vintage toys and game pieces. Desktop scanner scanogram.
In the last decade or so, the lockstep incursion of flat ontologies, notions of quasi-sentient matter, slime-lined and mushroom-sprouting vitalisms, and network-everything into contemporary art discourse and exhibitions has been hard to miss. Embraced with steady fanfare, a slushy and exhilaratingly immoderate carnival of chemistry and composting across our discursive landscape has us querying the unfathomable inexhaustibility of objects, their capacity to pipeline unwieldy forces and transgress the tiny territory of the real available to human access. But as excitement for this vivacious and mud-splattered thinking spikes, ostensibly terraforming a new plateau from which to assess our cultural artifacts, skepticism tactfully summons sharpened attention. Slight misgivings we felt all along for the conceptual pirouettes encouraged by this complicity with the powers of the object or the Earth or the cosmos find some oxygen and molt their modesty. As they are elaborated, it is evident that these suspicions can’t be hastily explained by charging intellectual miserliness before new proposals or blindness to the ways in which nonhuman forces are implicated in the structuring of things. It is, rather, that the scales and temporalities, the profound entanglements of apparatus and knowledge production, on which these discourses often rely and reflect in their native conceptual neighborhoods and disciplinary enclosures become, in transit and translation, something quite minor: the supposedly intractable potency and bottomless ineffability of art objects.
Gean Moreno, Introduction, In the Mind But Not From There - Real Abstraction and Contemporary Art. 2019
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Managing the Wild
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andrea crespo-Center Stage, 2018 mahogany veneered plywood, digital prints on linen, cotton canvas, metal eyelets, metal screw hooks, cord metal brackets, screws 76.5 x 152.4 x 7.6 cm
Shenzhen Skytel Technology Co., Ltd Funny 3D PVC Mummy Shaped USB Flash Drives Memory Sticks 8GB
etc.
Harold Mytum and James Meek, The Iron Age in the Plastic Age: Anthropocene signatures at Castell Henllys Published online by Cambridge University Press: 07 January 2021
Herbert Ganslmayr, Gert von Paczensky: Nofretete will nach Hause. Europa – Schatzhaus der "Dritten Welt". Bertelsmann, München 1984
“A MoMA Collection Specialist Lives Amid Her Art in Her Brooklyn Apartment”
vs
"curators or leadership who talk all the time about going to art fairs or works in their own collection or their historical house and all that is class warfare to put us regular museum workers without the right upbringing in our place"
https://twitter.com/porchrates/status/1358786891299119106
curators or leadership who talk all the time about going to art fairs or works in their own collection or their historical house and all that is class warfare to put us regular museum workers without the right upbringing in our place
Die Intention des Sammelns und Ausstellens war auch in Berlin das Ausstellen der Primitivität der Welt. Völkerkundemuseen entstanden in einer symbiotischen Beziehung zum Kolonialismus. Sie gewinnen ihre Bedeutung aus dem Interesse des Bürgertums am Kolonialismus und sie befeuern die Überlegenheitsfantasien der Europäer, der Deutschen in diesem Fall, indem Sie Primitivität ausstellen.
Jürgen Zimmerer