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引用次数: 0
摘要
摘要在本文中,我们考察了印度艾哈迈达巴德的冲突博物馆(Conflictorium——Museum of Conflict)是如何应对空虚和缺席这一复杂而相互关联的现象的。我们探索了博物馆空间中的空虚是如何同时出现、消失和重现的,以及围绕展览制作和社区参与的积极策展选择如何与国家行为者微妙地强制执行的禁令(即精心策划或计划缺席)相融合。因此,我们将空虚视为一种空间挑战和话语挑战,它调动了人们对博物馆“是什么”、博物馆发生了什么以及谁采取了这些行动的紧张情绪。尽管我们注意到由于新冠肺炎大流行,全球博物馆出现了前所未有的空虚现象,但我们认为,无论是传统的大型博物馆,还是其他(例如社区组织、自筹资金、临时或小型)机构,都一直存在空虚现象。空虚可以通过各种方式被感知,但通常表现为将某些叙事置于其他叙事之上,排除某些声音、身体和故事,同时在基座和展览墙上给其他人足够的空间。Conflictorium与现有的博物馆定义进行了批判性的接触,认为博物馆“无非”是其艺术家、策展人和不同观众对它的看法,从而将空虚作为更具结构性缺失的一种表现置于其核心。根据这种对博物馆的“消极”态度,我们将冲突和对抗的政治理论(Landau et al.2021;Marchart 2018)与批判性博物馆研究对“激进民主”(Sternfeld 2018)和“活动家”博物馆(Janes和Sandell 2019)的描述交织在一起,以概念化空虚如何作为使博物馆成为激进主义场所的关键组成部分。最后,本文对激进博物馆的政治参与进行了概念性讨论,探讨了疫情生存策略之外的空虚。
Articulating a Museum from Absence: Emptiness in the Conflictorium beyond Pandemic Times
Abstract In this paper, we examine how the Conflictorium – Museum of Conflict in Ahmedabad, India, grapples with the complex and interrelated phenomena of emptiness and absence. We explore how emptiness at once appears, disappears, and reappears in museum spaces, and how activist curatorial choices around exhibition-making and community engagement intermingle with subtly enforced prohibitions (i.e., orchestrated or planned absences) from state actors. Accordingly, we discuss emptiness as both a spatial and discursive challenge, which mobilises tensions around what a museum ‘is’, what takes place in museums and who undertakes such actions. While we take note of the unprecedented phenomenon of emptiness in museums around the globe due to the Covid-19 pandemic, we nevertheless argue that emptiness has always existed in both traditional, larger-scale museums and in alternative (e.g., community-organized, self-funded, temporary or smaller) institutions. Emptiness can be perceived in various ways, but often manifests in privileging some narratives over others, excluding certain voices, bodies, and stories while granting others ample space on pedestals and exhibition walls. Forging a critical engagement with existing museum definitions, the Conflictorium considers a museum to be ‘nothing’ more than what its artists, curators and diverse audiences make of it – thus placing emptiness, as one manifestation of more structural absence, at its core. In accordance with this ‘negative’ approach to museums, we interweave political theories of conflict and antagonism (Landau et al. 2021; Marchart 2018) with critical museum studies’ accounts on the ‘radical democratic’ (Sternfeld 2018) and ‘activist’ museum (Janes and Sandell 2019) to conceptualise how emptiness can operate as a crucial component of (un)making museums as places for activism. In conclusion, the paper offers a conceptual discussion of activist museums’ political engagement with emptiness beyond pandemic survival strategies.
期刊介绍:
In its new revised form Museum International is a forum for intellectually rigorous discussion of the ethics and practices of museums and heritage organizations. The journal aims to foster dialogue between research in the social sciences and political decision-making in a changing cultural environment. International in scope and cross-disciplinary in approach Museum International brings social-scientific information and methodology to debates around museums and heritage, and offers recommendations on national and international cultural policies.