By Franz Simandl
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Развитию искусства, дизайна, архитектуры и живописи способствовали революционные идеи в викторианской Англии. Работы ремесленников и дизайнеров стала сердцем этой новой идеологии, которая повлияла на весь мир. В книге описания, фотографии, рисунки.
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In many cases, ethnographic exhibitions have disavowed or overlooked the political context of cultural production (Harris and Gow 1985; Platt 1987). Evidently museums are wary of confronting politics, capitalism and violence in their exhibitions. Conflicts of interest in areas like governance, patronage and funding can complicate their position and perpetuate their myth of neutrality. This conflicted status facilitated the intervention of contemporary artists in ethnographic space to critique institutional histories, imaginaries and practices.
Installation view, Lost Magic Kingdoms, Museum of Mankind, London. © The Trustees of the British Museum. These artisanal tools—adzes from Africa, the Americas and Oceania—were displayed in relation to a number of other carved figures, as well as a stylized wooden mask (Dogon, Mali) and model hands, one holding a small awl-type tool (Cheetham 1987: 75). This strategy of display was similarly exploited in Case 4, which looked at the versatility of clay as a medium of expression, through potter’s tools, images and sculptural forms, including musical instruments, such as Nazca and Moche (Peru) terracotta trumpets and panpipes.
These configurations offered a new way of seeing ethnographic matters and materialities. To conclude, in this article, I have sought to historicize and expand the context, philosophies and passions that influenced Paolozzi in his role as an artist-curator. Lost Magic Kingdoms constituted a seminal exhibition in the realm of ethnography that provoked different reactions, from creating divided opinions among the British Museum staff, through delighting and surprising visitors, to offending other critics and publics.
30 Etudes for the String Bass by Franz Simandl