Paper short abstract:
This talk will portray the problems, shortcomings and inner-contradictions that artistic interventions in ethnographic museums face, and a new model to meet these challenges, proposed by the TRACES research project - the Creative Co-Production.
Paper long abstract:
In recent years, we are witnessing an interesting phenomenon: more and more institutions of cultural heritage that hold contentious collections such as museums of anthropology or history; public and private archives; or education institutions, invite artists for short residencies, to explore their collections, meet the curators and create new artworks based on their impressions. This new museological trend, by now a prevalent modus operandi, is often referred to as an "intervention".
As an artist, I have experienced both being invited by, and have myself initiated creative engagements with such institutions.
A critical analysis of such engagements portrays a series of shortcomings, challenges and inner-contradictions, inherent and almost unavoidable in the usual settings of such hosted residencies and artistic interventions.
Based on my experiences and the above mentioned critical analysis, in 2015 I have proposed a new model for such engagements that can offer more significant and sustainable outcomes. With a team of researchers and cultural workers we have developed this model into the research project 'TRACES - Transmitting Cultural Heritages with the Arts, From Intervention to Co-production'. The new model is called 'CCP' - Creative Co-Production. TRACES, funded by the EU Horizon2020 program, is in its third year.
In my talk, I will portray the problems of the prevalent 'interventions' mode; present the experiences that encouraged the creation of the 'CCP' model; and provide an account 'from the field', looking at the five TRACES CCPs, focusing not only on this model's benefits, but also its shortcomings and future challenges.
The Future of Anthropological Representation: Contemporary Art and/in the Ethnographic Museum