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Benvenuto Chavajay, sin titulo, 2012. Courtesy of the artist.

Benvenuto Chavajay, sin titulo, 2012. Courtesy of the artist.

Events - Talks

New Institutionalities

Coloniality and Politics of Display

31 May 2018


The Space


If museums represent one of the most effective technology through which modernity and coloniality are constituted, what is the potential of epistemodiversity to transform research methodologies and art institutions?

A conversation with Clémentine Deliss and David Dibosa, chaired by María Iñigo Clavo.

Recently the West acknowledged how museums very often are good documents of “coloniality”, leading to an important institutional identity crisis that demanded initiating a process of its reconceptualization, developing new strategies of display to promote horizontal relationships with the non-western cultures that are "represented".

The aim of this discussion is to explore the potential of contemporary art to critically interrupt the colonialist nature of its displays and historical narration that overcome colonial power relationships. Contemporary art is a nomad way of thinking that transit between different disciplines and epistemologies, as a catalyst for new creative interconnections. The curatorial tactic of mixing objects from different social spheres very often makes visible the nature of (power) relationships between means of production, disciplines, spheres of knowledge, politics and diverse cultures. This conversation between cultures and times requires the creation of a new dialogues between cosmologies and new agents of history where the main challenge is to avoid understanding then as an object of study but as a place of utterance instead. Facing a recent necessity to rethink the history of Modernity through curating, what strategies could be used to develop new museologies and new historiacal narratives?


Booking required.

For Speaker biographies click "More" below:

Speaker Biographies

María Iñigo Clavo is a researcher and curator, with a PhD in Fine Arts from the Universidad Complutense in Madrid, Spain. She is a co-founder of the independent research group Península: Colonial Processes and Artistic and Curatorial Practices which works in collaboration with Museo Nacional Centro de Arte Reina Sofía. She is Visiting Fellow of Afterall Research Center (2016-2017). Her research focuses on coloniality, curating and Museology, modernity and its inventions of otherness, and art in Latin America with special attention to Brazilian Art. She was a researcher for the AHRC project Meeting Margins: Transnational Art in Europe & Latin America 1950-1978, University of Essex and University of the Arts London and postdoctoral Fellow at the University of São Paulo (FAPESP) for three years. She is now member of research groups as “Decentralized Modernities” (Barcelona University), “Critical visualities: the rewriting of narratives through images” (Complutense University of Madrid) and “Arts visuels contemporains et anthropologie: les arts du Grand Sud et la redéfinition des musées ethnographiques en Europe et aux États-Unis” (Maison des Sciences de l'Home et de l'Environnement Nicolas Ledoux). She has also collaborated with a variety of publications, such as e-flux journal, Afterall, Stedelijk Museum Journal, Versión/sur, Concinnitas, Revista de Occidente, Bilboquet, Re-visiones, Lugar Común, and others.


Dr. Clémentine Deliss is an independent curator and cultural historian based in Berlin. She studied contemporary art in Vienna, and social anthropology in London and Paris and holds a PhD from theUniversity of London on dissident Surrealism and experimental French anthropology in the 1920s. In 2016, she was a Fellow of the Institute of Advanced Study in Berlin (Wissenschaftskolleg), and Senior Curator of IDeA Foundation in Armenia where she ran the Dilijan Arts Observatory. Between 2010 and 2015, she directed the Weltkulturen Museum in Frankfurt, where she established a new methodology for working with contested ethnographic collections and curated numerous exhibitions including "El Hadji Sy: Painting, Performance, Politics” (2015). She was the originator and publisher of the international artists’ and writers’ organ “Metronome” (1996-2007), presented at documenta X and documenta 12. Between 2002-2009 she directed the international research lab “Future Academy” with student cells in London, Edinburgh, Dakar, Mumbai, Bangalore, Melbourne, Tokyo and Yamaguchi. She is currently developing new research on future forms of museology for the Goethe Institute in South-East Asia, and co-curating the forthcoming exhibition at the Hamburger Bahnhof – Museum für Gegenwart in Berlin (“Globale Resonanzen”, opening March 2018).


Dr. David Dibosa is co-author of Post-Critical Museology: Theory and Practice in the Art Museu m (Routledge, 2013). He trained as acurator, after receiving his first degree from Girton College, Cambridge. He was awarded his PhD in Art History from Goldsmiths, University of London, for a thesis titled, Reclaiming Remembrance: Art, Shame and Commemoration. During the 1990s, David curated public art projects, including In Sight In View, a billboard project in Birmingham City, England, as well as a sculpture park in the English West Midlands. From 2004-2008, he was Senior Lecturer in Fine Art Theory at Wimbledon College of Art, University of the Arts London. He remains at UAL, where he is now Reader in Museology and Course Leader for MA Curating & Collections at Chelsea College of Arts.


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