Dr. Stephanie Pearson
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Seeing through Colonialism — Landesmuseum Hannover

3/6/2019

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Many museums are currently asking themselves how to appropriately deal with their ethnographic collections (see links in my previous posts on the subject). Some major European museums, although notably not all, are now openly acknowledging the role that colonialism played in their acquisitions. Reading the work and watching the lectures of Bénédicte Savoy on this topic would be an absorbing job for a wonderful few months. Some museums are even putting on exhibitions about their colonial past, such as Voices from the Colonies at the National Museum of Denmark. While it has been rightly pointed out that ethnographic material is not the only site of colonialism in museums—that museums themselves are colonialist structures—it is certainly one of the most obvious. And if the museums themselves do not take action, others will: the "Guerilla, Activist-Led Tour of Looted Artifacts at the British Museum" made headlines last year.

​Against this background, the Landesmuseum Hannover has taken commendable action in its own ethnographic displays. Particularly striking is the section marked off by a decorative metal dividing wall stamped with the word "Kolonialismus" in the center. This is an imposing marker of the surrounding area, and invites a curious new way of looking through the cutout letters (see photo above). On display here are objects presented in a story of colonial interaction, from depictions of visiting Europeans made by Africans whose lands were being colonized, to a 19th-century painting titled "Smoking Moor" for which the Landesmuseum has provded a modified label: "Moor" has been crossed out and "Human" (Mensch) added instead. It is a small but effective way to reframe objects we might otherwise pass over, and to make us question the metanarratives of museum exhibitions.
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Nose Jobs gone by - Ny Carlsberg Glyptoteket, Copenhagen

5/24/2018

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Peeks behind the scenes are the best! Everyone loves a glimpse behind that institutional facade, whatever the institution. Museums are no different (see Wiseman's film on the National Gallery), and conservation in action is an increasingly popular way to give visitors a little look-see.

This case in the beautiful Ny Carlsberg Glyptoteket, Copenhagen is fondly knows as the Nasothek—the gallery of noses. (Although there are a few ears in there too.) These facial parts were once added onto ancient portrait sculptures in the modern period in order to fill in the missing parts. This was common practice in past centuries, when ancient art was considered best when flawless. Noses, as a protuberant and thus frequently knocked-off piece of sculpture, were restored by the dozens.

Nowadays, however, the principle of object care has changed. Instead of restoring ancient sculpture to make it look perfect, museums consider their primary task to preserve what they have as best they can. This means no more gluing on modern additions, rhinoplastic or otherwise. In fact, it can even mean removing those additions from previous centuries. This was the Glyptoteket's decision, resulting in a lot of loose noses rattling around in a storage box somewhere. Why not display them in a striking array and thereby tell a bit of the history of modern receptions of ancient art? Still better with a Roman portrait head next to it, its own nose and brow additions removed, thus telling most of the story at the very first glance.
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It's tiny and Indecipherable...Make an animated Video about it! National Museum, Copenhagen

5/23/2018

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Archaeological objects can feel inaccessible to museum visitors for several reasons: they might be old, dirty, tiny, or unglamorous. The National Museum in Copenhagen has a breathtaking collection of Bronze-Age objects which are very glamorous indeed for a specialist, but for the uninitiated could simply seem too small to be worth the bother. What are those scratchy lines on the surface of that metal blade, anyway—corrosion? No, they are fabulously whimsical drawings about the origin of the cosmos! But you have to peer very, very closely to make out the drawings, and even then they are hard to interpret.
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The solution is a beautiful short animated film that plays on one wall of the gallery dedicated to the spellbinding Sun Chariot (see video clip above). The decorations on the chariot itself, as well as on knife blades, safety pins (fibulae), and other artifacts in the room, are brought to life in a cartoon showing how the mythical sun rises and sets—drawn by a horse, swallowed by a fish, and vomited back up again. Isn't archaeology fun?

​The lights in the gallery change color along with the storyline, from orange in the daytime to deep blue and black at night. It's a fanciful sensory experience that really brings these objects to life again, some 3000-4000 years after they were first made.
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The sun disc depicted in the decorative pins and blades at right is repeated in a large, legible drawing in the case at left.
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The labels for some of the larger objects connect with the video by pointing out which part of this cosmogony, or origin myth, is depicted in the decoration.
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Detail of the blade at lower left in the photo above.
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    Ideas on Display
    A humble space to reflect on concepts of museum display as enacted across a wide range of subjects, countries, and approaches.

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Stephanie Pearson
steph [at] stephpearson.com