Kunsti dekoloniseerimine

[Castellum]

Kes tahab, läheb järgmisel nädalal EKA-sse kuulama kellegi norralase ingliskeelset loengut "Põhjamaade muuseumide dekoloniseerimine".
https://www.artun.ee/et/kalender/kvi-av ... iseerimine
Muuseumikunsti kallale minek pole tegelikult Eestis midagi uut, KuMu katsetas vahepeal sellega, et dekoloniseeriti kunstis juute, mustlasi ja neegreid.
https://www.delfi.ee/artikkel/92644151/ ... rumaluseks
Ülejäänud rahvaid, keda on kunstis tõesti samuti halvustavalt kujutatud (sh ka baltisakslaste poolt eestlasi), unustati paraku küll dekoloniseerida...

[Kriku]

Ei adu seost foorumi temaatikaga.

Juhtumianalüüsidest:

Regularly credited as the richest man in Norway’s history, John Fredriksen is a Cypriot citizen who resides in London and relinquished his Norwegian citizenship in 2006. Accordingly he avoids paying taxes to his country of birth. His companies include: oil tankers, dry bulkers, LNG carriers and deep-water drilling rigs, with capital made moving Iranian crude oil during the Iran-Iraq war in the 1980s, as well as shipping oil to South Africa during apartheid.41 As the largest shareholder in MOWI, one of the world’s biggest salmon farming companies, Fredriksen’s greatest assets today are in fish farming.42 Might the destructive environmental consequences of salmon farming and Fredriksen’s use of tax avoidance strategies present key issues of ethical accountability? Then again, how accountable are museums for the activities of their private sponsors?

This essay presents a decolonial analysis of the French painter François-Auguste Biard’s Le Pasteur Laestadius instruisant des Lapons (1840). A highlight at Nordnorsk Kunstmuseum (Northern Norway Art Museum) in Romsa/Tromsø, Biard’s work represents the pastor Lars Levi Laestadius (1800–1861) preaching to a group of Sámi people outside their goahtis in winter. Exhibited in 1841 at the Salon (1667–present) in Paris, the painting originates in sketches Biard did during his travels with the French expedition La Recherche to Scandinavia and Spitsbergen in 1839. Taking this centrepiece from Nordnorsk Kunstmuseum’s collections as a reference point, I discuss the original colonial context in which it was painted, with particular focus on Laestadius’s role in assisting the French explorers with the collecting of Sámi human remains in the name of science. I then make a leap in time to the museum’s acquisition of the work in 2002 and its subsequent display in Romsa.

In this section, I provide a background on Betzy Akersloot-Berg (1850–1922) to enable a better understanding of the starting point for NNKM's critical pedagogical practices and ground their relevance. European art academies in the 1870s and 1880s did not accept female students. Akersloot-Berg studied privately with established male painters in Central Europe. She exhibited her work at art institutions, had ties to society's elites, and sold her paintings well. This activity indicates that she was an important and perhaps a well-known artist of her time. However, she had rarely been mentioned up to the 1980s in Norwegian art history. Today, she is more renowned in the Netherlands than in Norway. [...] It was important for Akersloot-Berg to paint the world at that time, and get as close as possible to her subject matter. Her desire to paint outdoors and employ a realistic style emerged early in the mid 1870s when she started her studies in drawing and painting. One of her signature tools was a wooden crate that she sat inside when painting in the open air (Figure 3). The idea of the crate and its image became key components of the intervention. The crate contained an easel, bench, and space for equipment—everything she needed to remain outdoors for extended painting sessions. She raised a flag to signal that she needed assistance to move the crate to another location. By creating its presence in public spaces in ways that are not normally granted permission, NNKM conducted interventions on heroic male monuments. In this way, NNKM creatively experimented with identifying systemic problems for a broader audience, the general public.

Viimase tegevuse raames siis pandi monumentide külge punaseid lipukesi ja artiklis mõtiskletakse selle üle, kui muuseum võtab endale aktivisti rolli.