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This book provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao's discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.

Ce survol de l'art contemporain indigène, qui connut un succès retentissant dès son ouverture en novembre 2019, a été prolongé jusqu'au 4 octobre au Musée des beaux-arts du Canada. Àbadakone permet de découvrir des œuvres de plus de 70 artistes qui revendiquent leur appartenance à quelque 40 nations, ethnies et tribus de 16 pays, dont le Canada. Traitant des thèmes de la continuité, de l'activation et de l'interdépendance, Àbadakone explore la créativité, les préoccupations et la vitalité qui marquent l'art indigène de presque tous les continents. L'exposition est organisée par les conservateurs du Musée des beaux-arts du Canada Greg A. Hill, Christine Lalonde et Rachelle Dickenson, conseillés par les commissaires Candice Hopkins, Ariel Smith et Carla Taunton, ainsi que par une équipe d'experts du monde entier. .

Anthropologists of the senses have long argued that cultures differ in their sensory registers. This groundbreaking volume applies this idea to material culture and the social practices that endow objects with meanings in both colonial and postcolonial relationships. It challenges the privileged position of the sense of vision in the analysis of material culture. Contributors argue that vision can only be understood in relation to the other senses. In this they present another challenge to the assumed western five-sense model, and show how our understanding of material culture in both historical and contemporary contexts might be reconfigured if we consider the role of smell, taste, touch and sound, as well as sight, in making meanings about objects.

Art, performance, and spoken or now written text, all belong to the same register of cultural practice in the First Nations I am familiar with or belong to: ceremony. This ceremonial register takes place in a set of spaces created to enact cultural responsibilities to place, people and balance. Galleries and museums, as sites of cultural production and presentation, have the potential to nurture new ceremonies and new working methods.

Playing back to the Empire, in videogames, is rife with tensions. The imperialist sentiment inherent in reverse-colonist discourse featured in most strategy-based videogames like Europa Universalis IV, where the player could conquer Europe playing for the Marathas, has been noted by Souvik Mukherjee (2017) as playing into the colonial logic while futilely trying to challenge it. Studio Oleomingus, an Indian two-man game studio, is one of the few involved in a different experiment. Their mythical game Somewhere, chronicling a postmodernist search for identity and narrative in the forgotten city of Kayamgadh, has generated significant spin-offs into its universe. With attention to one such spin-off, I will focus critical attention on the issue of the postcolonial gaming of the Museum in A Museum of Dubious Splendors. I will examine the New Museological implications of A Museum of Dubious Splendors, keeping in mind Museologist Eilean Hooper-Greenhill’s assertion of museums embodying “the power to name, to represent common sense, to create official versions, to represent the social world, to represent the past” (Hooper-Greenhill 2001: 2). Oleomingus’ own description of A Museum, as an adaptation of edited, mangled, contested short stories by a fictional Urdu writer, Mir Umar Hassan, eschews the linear narrative production of the colonial museum for a game of meanings, where the player enters rooms according to his choice and constructs his/her own “quiet game about prosaic objects and spurious histories.” ("A Museum" 2018) The paper would take this into account and examine the reconceptualization of the museum space with respect to James Clifford’s sense of museums being “contact zones”: A Museum’s lack of any curator, with its curious blend of colonial and native tales and banal objects defamiliarised by “spurious histories” lends itself to questions of playing the Empire back according to a different episteme, through subaltern histories that the colonial museum space silenced. Paying close attention to the question of postcolonial spatiality in this game, I will analyze the historiographical implications of these identity-scatterings and recuperations at constant play in the structure of the game. Keywords: Museum Studies, Thing Theory, Game studies, Marginal identity, Postcolonial Studies

L’exposition Öndia’tahterendih, oubliées ou disparues : Akonessen, Zitya, Marie et les autres, créée par la Boite Rouge Vif, une OBNL autochtone du Québec, et la commissaire wendate Sylvie Paré, présente 10 artistes rendant hommage aux femmes et aux filles autochtones touchées par le féminicide autochtone, tout en cherchant à mobiliser le public. Je souhaite dans le cadre de cet article explorer les stratégies mises en place au sein de l’exposition, telle qu’elle a été présentée au musée de la Civilisation du Québec en 2018. Je conclurai en explorant l’inscription de l’exposition dans le développement d’un commissariat engagé autochtone au Canada.

This article aims to answer two questions. The first is: What is a Sámi art museum? The second question considers whether there is no Sámi art museum, as assumed by the Nordnorsk kunstmuseum (NNKM) as the title of a museum performance and exhibition in 2017. To answer the first question, it is necessary to tell the long story of the Sámi cultural-historical museum in Karasjok, Samiid Vuorká-Dávvirat (SVD). This museum was inaugurated in 1972 as an act of resistance against the increasing assimilation politics towards the Sámi population in the post-war period. The building that was erected became a cultural and political centre, and a living cultural institution that housed the increasing Sámi ethno-political movement and its energy. Furthermore, as I will argue, the activity that took place at the site became a part of Sámi cultural heritage. The museum has also collected art since 1972 - a collection that today comprises 1400 artworks. Since the 1980s, various plans have been made for a Sámi art museum in a separate building, somehow connected to SVD, however, none of these plans have yet been realised. The article discusses the different reasons for this, and points to the connotations embedded in the SVD building as a cultural and political centre as one of the contributing factors. To answer the question of whether there is no Sámi art museum, a critical reading of the Nordnorsk kunstmuseum’s 2017 museum performance There Is No is necessary. My answer to the question is that NNKM, unfortunately, fell into several traps in their attempt to focus on the fact that there is no physical building. One such trap, that is very common in Western museums displaying indigenous art, is their use of traditional art-historical models as interpretive lenses when displaying indigenous art. A different concept of what an art museum could be today, as a place where things happen, where we could meet counter narratives, or Sámi art and culture could be presented as being part of the present as well as the past and future, would have been closer to a Sámi art museum. I offer this conclusion both through the deeper understanding of Sámi cultural and ethno-political movements as offered in the story of SVD, and through my reading of the theories of the indigenous American scholar John Paul Rangel. While there may indeed be no physical building claiming to be a Sámi art museum, it does in fact exist through the Sámi concept of árbevierru.

"D'horizons et d'estuaires. Entre mémoires et créations autochtones est une collection d'essais réunissant les voix de 16 artistes, commissaires, historien·ne·s de l'art et travailleur·se·s culturel·le·s autochtones, tant francophones qu'anglophones, œuvrant dans les territoires que l'on nomme Québec. Faisant suite à des expositions, des performances, des résidences d'artistes et des discussions mises en place lors du Projet Tiohtià:ke (2017-2019) du Collectif des commissaires autochtones, ces textes honorent les relations et les affinités qui sont au cœur de ces pratiques en arts visuels. Quelle place occupe actuellement les créations visuelles autochtones dans la société québécoise? Comment les créateur·trice·s imaginent-iels le futur de leurs expressions culturelles? Par la diversité des points de vue et les enjeux soulevés par ces écrits, ce livre pose des questions cruciales sur l'avenir des arts autochtones et ouvre la porte à des dialogues longtemps attendus au Québec qui, nous l'espérons, permettront de créer de réels changements positifs. Il est maintenant temps de plonger dans ces imaginaires collectifs éblouissants et de nager dans les eaux ondulantes de ces mémoires résilientes. Le texte est accompagné de 28 photographies d'œuvres d'artistes autochtones."-- Fourni par l'éditeur

"This book investigates international Indigenous methodologies in art curatorial practice from the geographic spaces of Canada, Aotearoa (New Zealand) and Australia. From a perspective of Indigenous peoples important place within society, this collection explores how Indigenous art and culture operate within and from a structural framework that is unique and is positioned outside of the non-Indigenous cultural milieu. Through a selection of contributions, Becoming Our Future articulates this perspective, defines Indigenous curatorial practice and celebrates Indigenous sovereignty within the three countries. It begins to explore the connections and historical moments that draw Indigenous curatorial practices together and the differences that set them apart. This knowledge is grounded in continuous international exchanges and draws on the breadth of work within the field. With contributions by Nigel Borell, Nici Cumpston, Freja Carmicheal, Karl Chitham, Franchesca Cubillo, Léuli Eshraghi, Reuben Friend, Jarita Greyeyes, Heather Igloliorte, Jaimie Isaac, Carly Lane, Michelle LaVallee, Cathy Mattes, Bruce McLean, Kimberley Moulton, Lisa Myers, Julie Nagam, Wanda Nanibush, Jolene Rickard, Megan Tamati-Quennell, and Daina Warren."-- Provided by publisher.

"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation fthat have always been foundational to the art of Native women."--Page 4 de la couverture.

En esta charla conversaremos sobre las luchas históricas por la reivindicación de los derechos del pueblo afro que están detrás de su estética, específicamente en dos de sus expresiones femeninas: el turbante afro y el pelo natural, los cuales han servido como elementos de resistencia para la pervivencia de las prácticas y costumbres ancestrales. Como parte de la exposición temporal del Museo del Oro 'A bordo de un navío esclavista, La Marie-Séraphique' (que se presentó en Bogotá del 7 de octubre de 2018 al 7 de abril de 2019) hablamos en el museo sobre algunos peinados ancestrales, como la espina de pescado, las tropas, el hundidito, el ciempiés y la vicha, y sobre los usos, significados y modelos de los turbantes afro, como la cadena del esclavo, la autoridad, el kitambala, el enkeycha y el doek. El termino mata ‘e pelo surge de las expresiones propias de nuestras ancestras, que se referían al pelo afro cómo una gran mata (árbol), frondosa, incontrolable y rizada, que requería unos cuidados particulares por su condición crespa, abundante y diversa. El cuerpo de la mujer negra, raizal y palenquera ha estado históricamente ligado a las luchas por la reivindicación de los derechos del pueblo afro, siendo la mata ‘e pelo el elemento estético que más las ha transmitido. Entre las personas de ancestros africanos, la estética del pelo afro se remonta a un pasado cargado de lucha y resistencia, pues las trenzas fueron usadas para la elaboración de mapas que marcaban el camino a la libertad de los cimarrones. Las mujeres se reunían en el patio para peinar a las más pequeñas. Diseñaban en su cabeza un mapa lleno de caminitos y salidas de escape, en el que ubicaban los montes, ríos y árboles más altos. Así, al verlas, los hombres sabían cuáles rutas tomar. Su código, desconocido para los amos, les permitía a los esclavizados huir. El balance humano de la trata de cautivos africanos a través del Atlántico es dramático: con una inmensa brutalidad, desplazó a 13 millones de hombres, mujeres y niños entre la segunda mitad del siglo XVI y finales del siglo XIX. #ElMuseoDelOroTambiénEsAfro Producción Banco de la República Realización Santiago Martínez

Résumé livre : 4e de couv.: Les mutations qui se sont amorcées à partir de la fin de la Seconde Guerre mondiale et qui connaissent une accélération rapide avec les crises sociales, culturelles, économiques et environnementales contemporaines ont transformé le paysage muséal et les visions dont les musées se soutiennent et qu'ils entretiennent. La plupart des travaux produits au cours de ces années ont été portés par ces transformations et y contribuent : la recherche en muséologie s'est elle-même dissociée de la recherche dans les musées dans les années 1980. De plus, quelque chose s'est noué entre un tournant communicationnel dans les musées et un développement de la réflexion théorique et critique sur la communication. Dans une approche résolument pluridisciplinaire, cet ouvrage se propose d'analyser ces évolutions dans leurs dimensions institutionnelles, culturelles, communicationnelles, historiques, patrimoniales. Les perspectives réunies ici contribueront, sans aucun doute, à mettre au jour les mouvements de fond actuels, les tendances qui travaillent les institutions elles-mêmes, et le poids de ces changements dans la formulation des enjeux théoriques en muséologie.

De 2003 à 2017, le jardin des Premières-Nations du Jardin botanique de Montréal a été le lieu d'exposition de 12 œuvres d'artistes autochtones dans le cadre du Concours d'œuvre murale éphémère lancé par Sylvie Paré. Ce mémoire rassemble l'ensemble de cette exposition afin d'en relever le discours général et les liens que les œuvres entretiennent entre elles, avec le Jardin et avec les territoires

El siguiente artículo es una respuesta a la exposición de arte indígena contemporáneo Gran Chaco Gualamba. Arte, Cosmovisión, Soberanía (Chaco, Argentina; Julio de 2013). Sin desviarse de los propios objetivos de la muestra, problematiza la práctica curatorial como una forma de ver y mostrar a la producción artística de las poblaciones originarias como artefactos significantes íntimamente enlazados con sus formas de vida comunitaria -y no meramente obras de arte autónomas y asépticas de toda función social-. Contrastando las definiciones del equipo de curadoras, el corpus de obras expuestas y el discurso de pobladores originarios, se muestra que este intento por recuperar el nexo orgánico entre arte, cosmovisiones y vida en comunidad resulta trunco, dado que los propios pobladores originarios consideran esta vinculación como una circunstancia históricamente pretérita, previa a los procesos de colonización. Recuperando las luchas presentes de las comunidades, que a falta de ese pasado armonioso plantean su identidad como resistencia necesaria para un futuro distinto – mejor-. This work is a response to a contemporary indigenous art exhibition titled «Gran Chaco Gualamba - Arte, Cosmovisión, Soberanía» (Chaco, Argentina; July 2013). Consistent with the purposes of this exhibition, the article problematizes curatorial practice as a way to present the artistic production of the indigenous populations as significant artifacts intimately involved in the daily community life, and not merely as autonomous artistic objects with no social function. By contrasting the definitions provided by the curatorial team,the corpus of artworks exhibited and the native peoples’ speech, the article shows how the exhibit fails to recover the link between art, cosmovisions and community life because the native populations themselves consider these three spheres as an outdated historical circumstance, previous to the colonization processes. Finally, the current struggles of the communities are mapped which, in the absence of that harmonious past, pose their identity as a necessary resistance for a better future.

An exhibition at Mexico City's Museo Jumex argues that from 1960 and '85, artists across Latin America created a "decolonial" cultural history. However, the use of the term is largely unclear.

Enunciando el delinking de la matriz moderna/ colonial, este artículo imagina un territorio crítico teórico creativo partiendo de la aesthesis decolonial con el fin de dialogar con una serie de hacedores culturales que emplean estrategias creativas decoloniales en proyectos creativos. Un acercamiento a la exposición Haceres Decoloniales (2015) realizada en Bogotá, ofrece la oportunidad de conversar sobre el hacer creativo de Benvenuto Chavajay, Rosa Tisoy Tandoy y Marco Alonso Roa. Los efectos de la colonialidad sonora conllevan a dialogar con la artista maya k´iche Sandra Monterroso y el creador maya yucateco Isaac Carrillo Can. Discursamos sobre el proyecto Espejo Negro (2010) de Pedro Lasch y el mural Las Aguas Sagradas de La Llorona (2004) de la artista xicana Juana Alicia. Terminamos con una interpretación crítica sobre el proyecto Mariposa Memoria Ancestral (2013-2015), y el performance multidisciplinario Whip It Good (2013) de la artista danesa trinitobaguense Jeannette Ehlers. En reliant la déconnexion de la matrice moderne / coloniale, cet article imagine un territoire créatif- théorique-critique à partir de l’aesthésis décoloniale, afin de dialoguer avec une série d’acteurs culturels qui utilisent des stratégies décoloniales créatives dans des projets créatifs. Une approche de l’exposition Haceres Decoloniales (2015) tenue à Bogotá, offre l’occasion de parler du travail créatif de Benvenuto Chavajay, Rosa Tisoy Tandoy et Marco Alonso Roa. Les effets de la colonialité sonore impliquent un dialogue avec l’artiste maya k’iche Sandra Monterroso et le créateur maya yucatècque Isaac Carrillo Can. Nous parlons du projet Espejo Negro (2010) de Pedro Lasch et de la peinture murale Las Aguas Sagradas de La Llorona (2004) de l’artiste chicane Juana Alicia. Nous terminons avec une interprétation critique du projet Mariposa Memoria Ancestral (2013-2015) et la performance pluridisciplinaire Whip It Good (2013) de l’artiste danois né en Trinité-et-Tobago Jeannette Ehlers.