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- Convenors:
-
Emily C. Arauz
Bilge Merve Aktaş (Aalto University)
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- Formats:
- Panel Workshop
- Stream:
- Material Culture and Museums
- Sessions:
- Tuesday 22 June, -
Time zone: Europe/Helsinki
Short Abstract:
To break the hierarchical rules between makers and their mediums/subjects, our panel and workshop will challenge the domination of a certain group, knowledge, or practice over others. Together, we will propose new inclusive and egalitarian patterns of rules through making and dialogue.
Long Abstract:
In social and material processes of engagement, the creators and experiencers of rules are often different groups of people, or even different species. Creators expect their rules to be followed, but do not necessarily take into consideration how these rules are experienced, forcing a hierarchy between different social groups, practices, and species.
For this panel and workshop, we invite researchers and makers to share case studies of creative making processes that were affected by materials, tools, people, beings, dialogues and environments, resulting in broken rules and new conclusions. Together, we will discuss how these processes of generating and breaking rules may drive the process in a different direction and create new meaning, new interpretations, or new rules. Prior to the conference, we will ask participants to think through the "rules" of their craft practice or research. During the virtual workshop we will exchange these "rules" between participants and undertake new methods of interpretation through performative actions of walking, making and dialogue.
By combining a panel with a hands-on craft workshop through virtual platforms, we will facilitate a discussion on how personal processes, merging with external factors, impact rules that support and dismantle current hierarchical social configurations. Building a dialogue with their materials and peers, the participants will establish a collaborative platform for new inclusive, egalitarian and fluid patterns of rules.
Accepted papers:
Session 1 Tuesday 22 June, 2021, -Paper short abstract:
Sometimes, we have to break our own rules to respect someone else’s. At the Welt Museum Wien, the curator of the Latin America section found an interesting way to deal with the exhibition of objects whose vision is generally not allowed.
Paper long abstract:
Several ethnographic museums are currently dealing with their colonial heritage trying to change the hierarchical relationship of power implicit in the act of representing the others’ culture. This task, which is already difficult from an epistemological point of view, is sometimes obstructed by additional limits imposed by the institutional environment.
As an example, we could take those objects that according to their cultural system of production can be seen only by specific categories of individuals, such as shamans or initiated people. What is the proper way to deal with their exhibition, if we exclude the storage as a possible solution? How to satisfy the expectations of an audience who is attracted by the idea of the exotic – and perhaps forbidden – object? How to turn this challenge into an opportunity to stimulate new thoughts about what we have the right to do or not?
In this paper, I would like to present the way in which the curator of the Latin American section of the Welt Museum Wien faced the problem. The solution she found to exhibit some Makuna flutes shows what to decolonize should mean: being able to break our own rules to respect someone else’s.
Paper short abstract:
The “Echo of the Urals” exhibition at the Estonian National Museum is dedicated to the Finno-Ugric indigenous peoples and concentrated on gender roles. I discuss how the Finno-Ugrians participated in preparation of the display and how they later reacted to the result.
Paper long abstract:
After almost ten years of preparation, the permanent exhibition “Echo of the Urals” was opened in 2016 at the Estonian National Museum. The exhibition is dedicated to the Finno-Ugric indigenous peoples (language relatives to the Estonians) and concentrated on gender roles, revealed through ethnographic display. The exhibition presents more than twenty Finno-Ugric indigenous groups, inhabiting Russia, Finland, Norway, Sweden, Latvia and Estonia.
The exhibition team’s concern was to involve people from these Finno-Ugric areas to preparation of the display. Remoteness of many Finno-Ugric areas from Estonia limited our chances to achieve a really tight participation of these groups to our ethnographic endeavour. Still, we managed to connect many indigenous Finno-Ugric experts to the curating process as consultants, donators of ethnographic items and background narrators. Besides, our expert team included two indigenous Finno-Ugrians and was led by one of them.
After opening the ethnographic show, another dimension of this dialogue between curators and indigenous partners emerged. Because complicated travel arrangements, many Finno-Ugrians are not able to visit our exhibition. Still, as the display has gained solid coverage in conventional and social media, people have got a chance to reflect fragments of the exhibition, as available through various channels.
Paper short abstract:
My presentation will be devoted to ethnographic examination of how art can create new social encounters. In this paper I will focus on participatory art projects conducted by contemporary Polish artists (Lukasz Murzyn, Daniel Rycharski) who are interested in creating spaces for dialogue.
Paper long abstract:
My presentation will be devoted to ethnographic examination of how art can create new social encounters. In recent years political situation in Poland has changed as the new, conservative, non-liberal political order started to emerge. The process of transition caused great political divisions affecting Polish society in many dramatic ways.
In this paper I will focus on participatory art projects conducted by contemporary Polish artists (Lukasz Murzyn, Daniel Rycharski) who are interested in creating spaces for dialogue. Over the years, anthropologists of art focused primarily on studying the so-called indigenous art created by the Other or associated with the otherness. Following the footsteps of British social anthropologist Alfred Gell, I consider art mostly as a technique for transformation of social relations. For Gell, what defines an art work is neither its aesthetic qualities nor the meaning that it represents, but the fact that art objects are relational.
Drawing from the argument of Gell, I will focus on the ephemeral collective of human and non-human agents gathered in the vicinity of an art object. The aim of my presentation will be to explore how the collective and the person are animated through relationships generated by an artwork.