A platform for research: civil engineering, architecture and urbanism
A platform for research: civil engineering, architecture and urbanism
Using the example of the exhibition Capturing Iran’s Past, which was displayed in the Museum of Islamic Arts in Berlin, in 2019, I discuss problems that arise when contemporary art is exhibited in historical museums. By drawing on critical curatorial theory, analysis of exhibitions, and my own reflections as a co-curator of Capturing Iran’s Past, I argue that these problems are grounded in the ignorance of contemporary art museums toward artists who are operating outside the geographical canon. Therefore, works of artists who are not based in Europe/North-America are often presented in ethnographic or Islamic museums, which work primarily with historical artifacts rather than contemporary art. However, these museums are practicing curatorial activism by providing space for these very artists.
Using the example of the exhibition Capturing Iran’s Past, which was displayed in the Museum of Islamic Arts in Berlin, in 2019, I discuss problems that arise when contemporary art is exhibited in historical museums. By drawing on critical curatorial theory, analysis of exhibitions, and my own reflections as a co-curator of Capturing Iran’s Past, I argue that these problems are grounded in the ignorance of contemporary art museums toward artists who are operating outside the geographical canon. Therefore, works of artists who are not based in Europe/North-America are often presented in ethnographic or Islamic museums, which work primarily with historical artifacts rather than contemporary art. However, these museums are practicing curatorial activism by providing space for these very artists.
„Capturing Iran’s Past“
Rameder, Agnes (author)
2024
439–456 Pages
21: Inquiries into Art, History, and the Visual, Vol. 5 No. 2 (2024): 21: Inquiries into Art, History, and the Visual. Beiträge zur Kunstgeschichte und visuellen Kultur
Miscellaneous
Electronic Resource
German
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