Framer Framed http://framerframed.nl/en/ RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. en Copyright 2009 Woest Producties. All rights reserved. Wed, 16 Jun 2010 14:39:00 +0000 Wed, 16 Jun 2010 14:39:00 +0000 Woest Producties Joris Landman .com Framework http://blogs.law.harvard.edu/tech/rss/ http://framerframed.nl/apple-touch-icon.png Framer Framed http://framerframed.nl/en/ RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Gillion Grantsaan - Artist, Curator http://framerframed.nl/en/documents/gillion-grantsaan/?referer=rss Gillion Grantsaan was born in 1968, Paramaribo, Suriname. He grew up in the Netherlands and graduated from the Gerrit Rietveld Academy of Fine Arts (Amsterdam) in 1996. In his work he often uses his Surinam roots in humorous way. In 1996 he received a grant for young artists and took part in the group show Mothership Connection in the SMBA (Stedelijk Museum Bureau Amsterdam, Netherlands). (Other participants where Chris Ofili and The Black Audio Film Collective.). In 1997 Grantsaan had his first solo exhibition in Middelburg (Netherlands). While he was nominated for the NPS Culture Award, he won the Charlotte Köhler prize in 1998. Isn’t there anyone out there genuinely hot for the real black thing? And am I, a black visual artist, capable of generating that drive that gave birth to Calypso, Funk, Hip-Hop, Bleus, Mambo and of translating this drive into visual art?. Black Art. Black art is a product of black consciousness. Black art is elitism and there to be judged on its quality. Black in Black art means to be political. Black art is an innovative synthesis of two or more Welanschauungen. Black art is not the exclusive domain of people of African origin. As A fact Black art has nothing to Do with skin Pigment of the artist. But with the dreams that keep following me:. Dream A, B, and C. Dream A is for producing images for my political ideals and black socio-cultural information. Dream B stands for shocking the world with innovative images. Dream C wants to inscribe my fellow immigrants in the course of European history. from Wakaman, p. 24, 2009. Visit OgriGillion. Visit the Wakaman project. http://framerframed.nl/en/documents/gillion-grantsaan/?referer=rss Wed, 16 Jun 2010 14:39:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Gillion Grantsaan was born in 1968, Paramaribo, Suriname.
He grew up in the Netherlands and graduated from the Gerrit Rietveld Academy of Fine Arts (Amsterdam) in 1996. In his work he often uses his Surinam roots in humorous way.
In 1996 he received a grant for young artists and took part in the group show Mothership Connection in the SMBA (Stedelijk Museum Bureau Amsterdam, Netherlands). (Other participants where Chris Ofili and The Black Audio Film Collective.)
In 1997 Grantsaan had his first solo exhibition in Middelburg (Netherlands). While he was nominated for the NPS Culture Award, he won the Charlotte Köhler prize in 1998.

Isn’t there anyone out there genuinely hot for the real black thing? And am I, a black visual artist, capable of generating that drive that gave birth to Calypso, Funk, Hip-Hop, Bleus, Mambo and of translating this drive into visual art?

Black Art.
Black art is a product of black consciousness.
Black art is elitism and there to be judged on its quality.
Black in Black art means to be political.
Black art is an innovative synthesis of two or more Welanschauungen.

Black art is not the exclusive domain of people of African origin. As A fact Black art has nothing to Do with skin Pigment of the artist.

But with the dreams that keep following me:
Dream A, B, and C.
Dream A is for producing images for my political ideals and black socio-cultural information.
Dream B stands for shocking the world with innovative images.
Dream C wants to inscribe my fellow immigrants in the course of European history.

from Wakaman, p. 24, 2009

Visit OgriGillion
Visit the Wakaman project

]]> Daniel Browning - Radio Presenter, Producer http://framerframed.nl/en/documents/daniel-browning/?referer=rss Daniel Browning is a graduate of Queensland University of Technology and the Producer-Presenter of the celebrated weekly radio program AWAYE on the ABC (Australian Broadcasting Commission). Browning is guest editor of the Australian art magazine Artlink, the special issue Blak on blak (Vol 30, nr. 1, 2010). AWAYE on the ABC (Australian Broadcasting Commission). Artlink's Blak on blak. ABC Radio National on Blak on blak. http://framerframed.nl/en/documents/daniel-browning/?referer=rss Wed, 16 Jun 2010 14:39:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Daniel Browning is a graduate of Queensland University of Technology and the Producer-Presenter of the celebrated weekly radio program AWAYE on the ABC (Australian Broadcasting Commission).
Browning is guest editor of the Australian art magazine Artlink, the special issue Blak on blak (Vol 30, nr. 1, 2010).

AWAYE on the ABC (Australian Broadcasting Commission)
Artlink's Blak on blak
ABC Radio National on Blak on blak

]]> Gordon Hookey - Artist http://framerframed.nl/en/documents/gordon-hookey/?referer=rss Gordon Hookey is an Indiginous artist form Queensland, born in Cloncurry Queensland and belongs to the Waanyi people. He has exhibited widely in Australia. Hookey's work has come to prominence in the last 10 years as an outspoken critic of racism, who makes his points through his searing and witty lampooning of symbols of authority—from politicians to the justice system and religion. Hookey is a member of the ProppaNow artists collective in Brisbane. Hookey locates his art at the interface where Aboriginal and non-Aboriginal cultures converge. In his work he combines figurative characters, iconic symbols, bold comic-like text and a spectrum of vibrant colours. Through this idiosyncratic visual language he has developed a unique and immediately recognizable style. Presented in an explosion of raw emotion and frustration, Hookey brings to the foreground a number of historical and contemporary political issues, from deep seeded matters on Indigenous injustices, to the war in Iraq, the relationship between Australia and other Western Countries, immigration, and federal politics. Art was part of Hookey's upbringing; he has been painting since Grade 2 at school but would get frustrated because he always saw things differently. He was encouraged to learn a trade and, after completing his school certificate in 1977, Hookey embarked on a course in bricklaying which he completed in 1984. He saw his trade experience as an advantage because his favoured medium is sculpture. He states: Painting is like a waltz, sculpture is like heavy metal: sculpture is more active and physical, it enables me to get my hands dirty. Hookey then began an Arts degree at the University of Queensland, which he discontinued to pursue a career as an artist. Hookey joined Boomalli Aboriginal Artists Cooperative in 1992. while attending College of Fine Arts, Paddington, completing a BA in Fine Arts. Hookey has exhibited work in solo and group shows in Australia, New Zealand, Germany, France and New Caledonia. His work was featured in the major exhibition Beyond the Pale: Contemporary Indigenous Art (2000, Adelaide Biennial of Australian Art); the Raka Award: Places that name us, The Potter Museum of Art, 2003 and the 2004 Biennale of Sydney at the Museum of Contemporary Art (Sydney). Even though Hookey returned to live in Queensland in 2002, he remains a member of Boomalli Aboriginal Artists Cooperative and in 2006 he became an active member of the Brisbane-based Aboriginal arts group, ProppaNOW. Multi-award winning Hookey has completed residencies at [strong]Otago University[strong], Dunedin, NZ, Banff Centre, Banff, Canada, and at Gertrude Street Contemporary Art Space (Melbourne, Australia), and has received several Australia Council grants. His work is held in the public collection most major Australian galleries as well as public collections in the United Kingdom, Japan, New Zealand and Canada Hookey is currently enrolled in the PhD program at Queensland College of Art. Gordon Hookey on DAAO. presentation by Gordon Hookey on video. artists collective ProppaNOW. http://framerframed.nl/en/documents/gordon-hookey/?referer=rss Wed, 16 Jun 2010 14:39:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Gordon Hookey is an Indiginous artist form Queensland, born in Cloncurry Queensland and belongs to the Waanyi people.
He has exhibited widely in Australia. Hookey's work has come to prominence in the last 10 years as an outspoken critic of racism, who makes his points through his searing and witty lampooning of symbols of authority—from politicians to the justice system and religion.
Hookey is a member of the ProppaNow artists collective in Brisbane. Hookey locates his art at the interface where Aboriginal and non-Aboriginal cultures converge. In his work he combines figurative characters, iconic symbols, bold comic-like text and a spectrum of vibrant colours. Through this idiosyncratic visual language he has developed a unique and immediately recognizable style. Presented in an explosion of raw emotion and frustration, Hookey brings to the foreground a number of historical and contemporary political issues, from deep seeded matters on Indigenous injustices, to the war in Iraq, the relationship between Australia and other Western Countries, immigration, and federal politics.

Art was part of Hookey's upbringing; he has been painting since Grade 2 at school but would get frustrated because he always saw things differently.
He was encouraged to learn a trade and, after completing his school certificate in 1977, Hookey embarked on a course in bricklaying which he completed in 1984. He saw his trade experience as an advantage because his favoured medium is sculpture. He states: Painting is like a waltz, sculpture is like heavy metal: sculpture is more active and physical, it enables me to get my hands dirty.
Hookey then began an Arts degree at the University of Queensland, which he discontinued to pursue a career as an artist.
Hookey joined Boomalli Aboriginal Artists Cooperative in 1992
while attending College of Fine Arts, Paddington, completing a BA in Fine Arts. Hookey has exhibited work in solo and group shows in Australia, New Zealand, Germany, France and New Caledonia. His work was featured in the major exhibition Beyond the Pale: Contemporary Indigenous Art (2000, Adelaide Biennial of Australian Art); the Raka Award: Places that name us, The Potter Museum of Art, 2003 and the 2004 Biennale of Sydney at the Museum of Contemporary Art (Sydney).

Even though Hookey returned to live in Queensland in 2002, he remains a member of Boomalli Aboriginal Artists Cooperative and in 2006 he became an active member of the Brisbane-based Aboriginal arts group, ProppaNOW.

Multi-award winning Hookey has completed residencies at [strong]Otago University[strong], Dunedin, NZ, Banff Centre, Banff, Canada, and at Gertrude Street Contemporary Art Space (Melbourne, Australia), and has received several Australia Council grants. His work is held in the public collection most major Australian galleries as well as public collections in the United Kingdom, Japan, New Zealand and Canada Hookey is currently enrolled in the PhD program at Queensland College of Art.

Gordon Hookey on DAAO
presentation by Gordon Hookey on video
artists collective ProppaNOW

]]> Margo Neale - Senior Research Fellow, Adviser, Adjunct Professor http://framerframed.nl/en/documents/margo-neale/?referer=rss Margo Neale is Senior Research Fellow of the NMA (National Museum of Australia) and principal adviser to the Director on Indigenous Matters. She is also an Adjunct Professor in the Australian National University's Centre for Indigenous History. An Indigenous person from Queensland, she has published widely: co- editor of The Oxford Companion to Aboriginal and Torres Strait Islander Art & Culture; Urban Dingo: the Art and Life of Lin Onus and Emily Kame Kngwarreye – Alhalkere -–Paintings from Utopia 1986; Emily Kame Kngwarreye: Utopia: the genius of Emily Kame Kngwarreye 2008. Neale is a distinguished curator including as Senior Curator at the Queensland Art Gallery through the 1980s and 1990s where she curated dozens of major exhibitions and worked as a key team member on the Asia Pacific Triennials. Since taking up the position at the NMA in Canberra Dr Neale has worked with the Australian National University's Centre for Cross Cultural Research on projects including Art & Human Rights in the Asia-Pacific: The limits of Tolerance; Unsettling history: Australian Indigenous modes of historical practice; and The other within, examining Indigenous and multicultural displays in contemporary museums. The exhibition of Emily Kame Kngwarreye paintings curated by Margo Neale which toured to Osaka and Tokyo in 2008 is the biggest most comprehensive single artist exhibition to travel internationally from Australia. A film, Emily in Japan was made about this project. It is the story of the making of this landmark exhibition, with all of the complex cross-cultural transactions that were involved - from the red desert of central Australia where Emily lived, to the National Museum of Australia in Canberra, where the exhibition was curated, and to the high end of the art world in Japan. Visit the National Museum of Australia website. http://framerframed.nl/en/documents/margo-neale/?referer=rss Wed, 16 Jun 2010 14:39:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Margo Neale is Senior Research Fellow of the NMA (National Museum of Australia) and principal adviser to the Director on Indigenous Matters. She is also an Adjunct Professor in the Australian National University's Centre for Indigenous History.

An Indigenous person from Queensland, she has published widely: co- editor of The Oxford Companion to Aboriginal and Torres Strait Islander Art & Culture; Urban Dingo: the Art and Life of Lin Onus and Emily Kame Kngwarreye – Alhalkere -–Paintings from Utopia 1986; Emily Kame Kngwarreye: Utopia: the genius of Emily Kame Kngwarreye 2008.
Neale is a distinguished curator including as Senior Curator at the Queensland Art Gallery through the 1980s and 1990s where she curated dozens of major exhibitions and worked as a key team member on the Asia Pacific Triennials.

Since taking up the position at the NMA in Canberra Dr Neale has worked with the Australian National University's Centre for Cross Cultural Research on projects including Art & Human Rights in the Asia-Pacific: The limits of Tolerance; Unsettling history: Australian Indigenous modes of historical practice; and The other within, examining Indigenous and multicultural displays in contemporary museums.
The exhibition of Emily Kame Kngwarreye paintings curated by Margo Neale which toured to Osaka and Tokyo in 2008 is the biggest most comprehensive single artist exhibition to travel internationally from Australia.
A film, Emily in Japan was made about this project. It is the story of the making of this landmark exhibition, with all of the complex cross-cultural transactions that were involved - from the red desert of central Australia where Emily lived, to the National Museum of Australia in Canberra, where the exhibition was curated, and to the high end of the art world in Japan.

Visit the National Museum of Australia website

]]> Tess Allas - Researcher, Editor, Curator http://framerframed.nl/en/documents/tess-allas/?referer=rss Tess Allas is Indigenous Editor with the DAAO (Dictionary of Australian Artists Online) and is currently employed as an Associate Lecturer in the School of Art History & Art Education at COFA. Allas has a Bachelor of Creative Arts from the University of Wollongong and a Masters in Curatorship and Modern Art from the University of Sydney. She has worked in the field of Aboriginal arts since the early 1990s including working as the Aboriginal Arts Development Officer for the Illawarra, Regional Arts Cultural Officer for NSW, Assistant curator at the Art Gallery of NSW and as a tutor in Art History and Theory for the University of Sydney’s Power Institute. Allas has also curated a number of exhibitions around Wollongong and Sydney including Looking into Aftertime at the Project Centre For Contemporary Art, Djalarinji: Something that Belongs to Us at [strong]Manly Regional Art Gallery and Museum[strong], In The Interest Of Bennelong (co-curated with Aaron Ross), at Government House (Sydney) and Access All Areas at Customs House (Circular Quay). In mid 2006 Tess secured employment with the University of NSW working as a researcher for the Storylines project which researches Aboriginal artists from across the nation. In this role she interviews and writes biographies of these artists for inclusion onto the Dictionary of Australian Artists Online. More than 500 biographies of Aboriginal artists have been included in this project. Allas is also known as one half of the comedy duo The Ladies of Bigotbri Concerned Women’s Association and as such has performed at The Dreaming Festival, The Deadly’s, Campbelltown Arts Centre and various conferences and gatherings around the country. Visit the Storylines website. Visit the DAAO (Dictionary of Australian Artists Online) website. http://framerframed.nl/en/documents/tess-allas/?referer=rss Wed, 16 Jun 2010 14:39:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Tess Allas is Indigenous Editor with the DAAO (Dictionary of Australian Artists Online) and is currently employed as an Associate Lecturer in the School of Art History & Art Education at COFA.
Allas has a Bachelor of Creative Arts from the University of Wollongong and a Masters in Curatorship and Modern Art from the University of Sydney. She has worked in the field of Aboriginal arts since the early 1990s including working as the Aboriginal Arts Development Officer for the Illawarra, Regional Arts Cultural Officer for NSW, Assistant curator at the Art Gallery of NSW and as a tutor in Art History and Theory for the University of Sydney’s Power Institute.

Allas has also curated a number of exhibitions around Wollongong and Sydney including Looking into Aftertime at the Project Centre For Contemporary Art, Djalarinji: Something that Belongs to Us at [strong]Manly Regional Art Gallery and Museum[strong], In The Interest Of Bennelong (co-curated with Aaron Ross), at Government House (Sydney) and Access All Areas at Customs House (Circular Quay).
In mid 2006 Tess secured employment with the University of NSW working as a researcher for the Storylines project which researches Aboriginal artists from across the nation. In this role she interviews and writes biographies of these artists for inclusion onto the Dictionary of Australian Artists Online. More than 500 biographies of Aboriginal artists have been included in this project.
Allas is also known as one half of the comedy duo The Ladies of Bigotbri Concerned Women’s Association and as such has performed at The Dreaming Festival, The Deadly’s, Campbelltown Arts Centre and various conferences and gatherings around the country.

Visit the Storylines website
Visit the DAAO (Dictionary of Australian Artists Online) website

]]> Marcel Pinas - Artist http://framerframed.nl/en/documents/marcel-pinas/?referer=rss Marcel Pinas is born on March 22, 1971 in Pelgrimkondre, in the district of Marowijne in northeast Suriname, close to Moengo and Moiwana, two places central in the conflict in the Interior War. Nothing remains of his native village. There is nothing left of the place I grew up. It is like a dream: you can see it, but not in reality. Everything has disappeared because of the civil war. As the theme for his art Marcel Pinas has chosen the Maroon culture from which he stems. Kibri a kulturu or preserve our culture is the motto that drives him. Pinas wants his work to encourage people to preserve the knowledge that still remains, to record it in order to promote the appreciation of the skills they have. This applies in particular to the cultural heritage of his own Surinamese N’dyuka Maroon community, also know as the Aucaners. In addition to his characteristic usage of Afaka symbols, Pinas also uses Maroon culture objects such as parts of a dug-out, pieces of paris paddles, small matapis (elongated woven rattan tubes used to squeeze out shredded cassava), pieces of pangi fabric (checked fabric used for loincloth and wraps), papamonis (shells formerly used as currency), kokolampus (oil lamps) and aluminium spoons. As well as mixed technique paintings on canvas Pinas also produces many installations and large scale works for public places. Pinas studied at the Nola Hatterman Art Academy (Suriname) from 1987 to 1990. His work as an artist is defined during his time in Jamaica from 1997 to 1999 at the Edna Manley College of the Visual and Performing Arts, where he is chosen as Top Student for the 1999 Graduation Class. Although the two years (2007-2008) he spend at the Rijksakademie in Amsterdam (Netherlands) does not alter the themes, they do add a new, more universal dimension to his work. from Wakaman, p. 30, 2009. website from Marcel Pinas. Video about Marcel Pinas by Felix De Rooy and Jurgen Lisse. Wakaman project. Readytex art gallery, Suriname. http://framerframed.nl/en/documents/marcel-pinas/?referer=rss Wed, 16 Jun 2010 14:39:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Marcel Pinas is born on March 22, 1971 in Pelgrimkondre, in the district of Marowijne in northeast Suriname, close to Moengo and Moiwana, two places central in the conflict in the Interior War.
Nothing remains of his native village. There is nothing left of the place I grew up. It is like a dream: you can see it, but not in reality. Everything has disappeared because of the civil war.

As the theme for his art Marcel Pinas has chosen the Maroon culture from which he stems. Kibri a kulturu or preserve our culture is the motto that drives him.
Pinas wants his work to encourage people to preserve the knowledge that still remains, to record it in order to promote the appreciation of the skills they have. This applies in particular to the cultural heritage of his own Surinamese N’dyuka Maroon community, also know as the Aucaners.
In addition to his characteristic usage of Afaka symbols, Pinas also uses Maroon culture objects such as parts of a dug-out, pieces of paris paddles, small matapis (elongated woven rattan tubes used to squeeze out shredded cassava), pieces of pangi fabric (checked fabric used for loincloth and wraps), papamonis (shells formerly used as currency), kokolampus (oil lamps) and aluminium spoons.
As well as mixed technique paintings on canvas Pinas also produces many installations and large scale works for public places.

Pinas studied at the Nola Hatterman Art Academy (Suriname) from 1987 to 1990. His work as an artist is defined during his time in Jamaica from 1997 to 1999 at the Edna Manley College of the Visual and Performing Arts, where he is chosen as Top Student for the 1999 Graduation Class.
Although the two years (2007-2008) he spend at the Rijksakademie in Amsterdam (Netherlands) does not alter the themes, they do add a new, more universal dimension to his work.

from Wakaman, p. 30, 2009

website from Marcel Pinas
Video about Marcel Pinas by Felix De Rooy and Jurgen Lisse
Wakaman project
Readytex art gallery, Suriname

]]> Jonas Staal - Artist http://framerframed.nl/en/documents/jonas-staal/?referer=rss Text not available. http://framerframed.nl/en/documents/jonas-staal/?referer=rss Wed, 24 Mar 2010 13:21:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Text not available

]]> Bart Jan Spruyt - Author, Chairman Edmund Burke Foundation http://framerframed.nl/en/documents/bart-jan-spruyt/?referer=rss Text not available. http://framerframed.nl/en/documents/bart-jan-spruyt/?referer=rss Tue, 16 Mar 2010 16:10:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Text not available

]]> Expert Meeting Collecting without Borders - Public Discussion - Ethnographic, historical and art museums in dialogue on collecting and presenting non-western art http://framerframed.nl/en/documents/onbegrensd-verzamelen-zaaldiscussie/?referer=rss Program. Introduction:. Keynote speech Simon Njami. Presentation Wouter Welling. Workshops:. Criteria. Presentation. Collection. Theory. Plenary:. Public Discussion. Text not available. http://framerframed.nl/en/documents/onbegrensd-verzamelen-zaaldiscussie/?referer=rss Tue, 16 Mar 2010 12:16:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Program

Introduction:
Keynote speech Simon Njami
Presentation Wouter Welling

Workshops:
Criteria
Presentation
Collection
Theory

Plenary:
Public Discussion

Text not available

]]> Expert Meeting Collecting without Borders - Workshop Criteria - Ethnographic, historical and art museums in dialogue on collecting and presenting non-western art http://framerframed.nl/en/documents/onbegrensd-verzamelen-beoordelingscriteria/?referer=rss Program. Introduction:. Keynote speech Simon Njami. Presentation Wouter Welling. Workshops:. Criteria. Presentation. Collection. Theory. Plenary:. Public Discussion. Text not available. http://framerframed.nl/en/documents/onbegrensd-verzamelen-beoordelingscriteria/?referer=rss Tue, 16 Mar 2010 12:16:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Program

Introduction:
Keynote speech Simon Njami
Presentation Wouter Welling

Workshops:
Criteria
Presentation
Collection
Theory

Plenary:
Public Discussion

Text not available

]]> Expert Meeting Collecting without Borders - Workshop Theory - Ethnographic, historical and art museums in dialogue on collecting and presenting non-western art http://framerframed.nl/en/documents/onbegrensd-verzamelen-theoretisch-discours/?referer=rss Program. Introduction:. Keynote speech Simon Njami. Presentation Wouter Welling. Workshops:. Criteria. Presentation. Collection. Theory. Plenary:. Public Discussion. Text not available. http://framerframed.nl/en/documents/onbegrensd-verzamelen-theoretisch-discours/?referer=rss Tue, 16 Mar 2010 12:16:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Program

Introduction:
Keynote speech Simon Njami
Presentation Wouter Welling

Workshops:
Criteria
Presentation
Collection
Theory

Plenary:
Public Discussion

Text not available

]]> Expert Meeting Collecting without Borders - Workshop Presentation - Ethnographic, historical and art museums in dialogue on collecting and presenting non-western art http://framerframed.nl/en/documents/onbegrensd-verzamelen-presentatiebeleid/?referer=rss Program. Introduction:. Keynote speech Simon Njami. Presentation Wouter Welling. Workshops:. Criteria. Presentation. Collection. Theory. Plenary:. Public Discussion. Text not available. http://framerframed.nl/en/documents/onbegrensd-verzamelen-presentatiebeleid/?referer=rss Tue, 16 Mar 2010 12:16:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Program

Introduction:
Keynote speech Simon Njami
Presentation Wouter Welling

Workshops:
Criteria
Presentation
Collection
Theory

Plenary:
Public Discussion

Text not available

]]> Expert Meeting Collecting without Borders - Workshop Collection - Ethnographic, historical and art museums in dialogue on collecting and presenting non-western art http://framerframed.nl/en/documents/onbegrensd-verzamelen-collectiebeleid/?referer=rss Program. Introduction:. Keynote speech Simon Njami. Presentation Wouter Welling. Workshops:. Criteria. Presentation. Collection. Theory. Plenary:. Public Discussion. Text not available. http://framerframed.nl/en/documents/onbegrensd-verzamelen-collectiebeleid/?referer=rss Tue, 16 Mar 2010 12:16:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Program

Introduction:
Keynote speech Simon Njami
Presentation Wouter Welling

Workshops:
Criteria
Presentation
Collection
Theory

Plenary:
Public Discussion

Text not available

]]> Macha Roesink - Director Museum De Paviljoens http://framerframed.nl/en/documents/macha-roesink/?referer=rss Macha Roesink is director of Museum The Paviljoens (Almere, Netherlands). Roesink studied history of art at the University of Utrecht and the VU (Free University, Amsterdam). After her Master's degree she worked as a curator for the Caldic-Collection (Rotterdam), initiated exhibitions for De Appel (Amsterdam) and was a coordinator at the Rietveld Academy (Amsterdam). Since 2001, Roesink is the director of Museum The Paviljoens. She is responsible for numerous exhibitions and projects. Recently she initiated the CAN (Creative African Network), a virtual platform connecting the creative world within and beyond the African continent, giving visibility to the talents working in contemporary art, film, architecture, design, and performing arts. The project was launched at the Joburg Art Fair (2009). Macha Roesink's profile at Museum De Paviljoens. CAN (Creative African Network). http://framerframed.nl/en/documents/macha-roesink/?referer=rss Mon, 15 Feb 2010 16:07:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Macha Roesink is director of Museum The Paviljoens (Almere, Netherlands).

Roesink studied history of art at the University of Utrecht and the VU (Free University, Amsterdam).
After her Master's degree she worked as a curator for the Caldic-Collection (Rotterdam), initiated exhibitions for De Appel (Amsterdam) and was a coordinator at the Rietveld Academy (Amsterdam).

Since 2001, Roesink is the director of Museum The Paviljoens. She is responsible for numerous exhibitions and projects. Recently she initiated the CAN (Creative African Network), a virtual platform connecting the creative world within and beyond the African continent, giving visibility to the talents working in contemporary art, film, architecture, design, and performing arts. The project was launched at the Joburg Art Fair (2009).

Macha Roesink's profile at Museum De Paviljoens

CAN (Creative African Network)

]]> Ad De Jong - Professor by Special Appointment of Dutch Cultural History http://framerframed.nl/en/documents/ad-de-jong/?referer=rss Ad de Jong is Professor by Special Appointment of Dutch Cultural History at the UvA (University of Amsterdam) and has been a scientific researcher at The Netherlands Open Air Museum (Arnhem) since 1991. Dr. De Jong studied History and Museum Studies at Leiden University and has worked at The Netherlands Open Air Museum since 1981, first as Head of Research and Acquisitions and from 1991 as Board Scientific Policy Officer. In 2001 he received his doctorate with honours from the VU (Free University, Amsterdam) for his dissertation De dirigenten van de herinnering. Musealisering en nationalisering van de volkscultuur in Nederland 1815-1940 (The Conductors of Memory: Museumisation and Nationalisation of Folk Culture in the Netherlands 1815-1940). Prior to receiving his doctorate, De Jong also worked as Head of the Museums Policy Development Department in the then Ministry of Culture, Recreation & Social Work. Dr. de Jong holds various advisory and board positions, including as an expert member in the field of Dutch Ethnology of the (Commissie Wet Behoud Cultuurbezit) (Council for Culture's Preservation of Cultural Heritage Act Committee), and as a member of the Board of Directors of the Germanisches Nationalmuseum (German National Museum, Nürnberg). Ad de Jong's profile at the University of Amsterdam website. http://framerframed.nl/en/documents/ad-de-jong/?referer=rss Mon, 01 Feb 2010 01:50:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Ad de Jong is Professor by Special Appointment of Dutch Cultural History at the UvA (University of Amsterdam) and has been a scientific researcher at The Netherlands Open Air Museum (Arnhem) since 1991.

Dr. De Jong studied History and Museum Studies at Leiden University and has worked at The Netherlands Open Air Museum since 1981, first as Head of Research and Acquisitions and from 1991 as Board Scientific Policy Officer.
In 2001 he received his doctorate with honours from the VU (Free University, Amsterdam) for his dissertation De dirigenten van de herinnering. Musealisering en nationalisering van de volkscultuur in Nederland 1815-1940 (The Conductors of Memory: Museumisation and Nationalisation of Folk Culture in the Netherlands 1815-1940).

Prior to receiving his doctorate, De Jong also worked as Head of the Museums Policy Development Department in the then Ministry of Culture, Recreation & Social Work.
Dr. de Jong holds various advisory and board positions, including as an expert member in the field of Dutch Ethnology of the (Commissie Wet Behoud Cultuurbezit) (Council for Culture's Preservation of Cultural Heritage Act Committee), and as a member of the Board of Directors of the Germanisches Nationalmuseum (German National Museum, Nürnberg).

Ad de Jong's profile at the University of Amsterdam website

]]> Bert Sliggers - Curator, Author http://framerframed.nl/en/documents/bert-sliggers/?referer=rss Bert C. Sliggers (1948) is a curator at the Teylers Museum (Haarlem, Netherlands). His main field of interest is the history of science and the practice of collecting. Sliggers curated numerous exhibitions on the history and study of "man as an object", such as De Tentoongestelde Mens (The Exhibited Man), Het Verdwenen Museum (The Lost Museum), Herkomst: Boudewijn Büch (Origin: Boudewijn Büch), De Versierde Mens (The Decorated Man), Vulkanen (Volcanoes), De Exotische Mens (The Exotic Man) and Noachs Ark, op weg naar Darwin. (Noah's Ark, the way to Darwin). Last year The Exotic man, Foreign Cultures as Entertainment (2009) attracted a lot of attention. The exhibition shows how "exotic people" were brought to Europe and displayed in theatres, fairs, circuses and colonial exhibitions, during the end of the 19th century. Those persons were put on display to represent overseas wealth, be living illustrations of the "missing link", or displayed for mere entertainment purposes. Artists from those regions where such displays were staged, were invited by Sliggers to react on this practice of exhibiting humans as objects. Recently, Bert Sliggers was invited by the Dutch broadcasting organization VPRO to join the project Beagle: On the future of species, a reenactment Darwin's historical voyage. The Beagle Project (VPRO). http://framerframed.nl/en/documents/bert-sliggers/?referer=rss Mon, 01 Feb 2010 01:47:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Bert C. Sliggers (1948) is a curator at the Teylers Museum (Haarlem, Netherlands). His main field of interest is the history of science and the practice of collecting.
Sliggers curated numerous exhibitions on the history and study of "man as an object", such as De Tentoongestelde Mens (The Exhibited Man), Het Verdwenen Museum (The Lost Museum), Herkomst: Boudewijn Büch (Origin: Boudewijn Büch), De Versierde Mens (The Decorated Man), Vulkanen (Volcanoes), De Exotische Mens (The Exotic Man) and Noachs Ark, op weg naar Darwin. (Noah's Ark, the way to Darwin).

Last year The Exotic man, Foreign Cultures as Entertainment (2009) attracted a lot of attention. The exhibition shows how "exotic people" were brought to Europe and displayed in theatres, fairs, circuses and colonial exhibitions, during the end of the 19th century. Those persons were put on display to represent overseas wealth, be living illustrations of the "missing link", or displayed for mere entertainment purposes. Artists from those regions where such displays were staged, were invited by Sliggers to react on this practice of exhibiting humans as objects.

Recently, Bert Sliggers was invited by the Dutch broadcasting organization VPRO to join the project Beagle: On the future of species, a reenactment Darwin's historical voyage.

The Beagle Project (VPRO)

]]> Francio Guadeloupe - Researcher, Social Anthropologist http://framerframed.nl/en/documents/francio-guadeloupe/?referer=rss Dr. Francio Guadeloupe's roots and routes connect the French, Dutch, English, and Spanish speaking Caribbean. He was born on the Dutch West Indian Island of Aruba. He has lived most of his life in Europe up till now. In 1999, Guadeloupe obtained his Master’s degree in Development Studies at the University of Nijmegen, based on his research on the Afro-Brazilian cults Candomblé and Umbanda in Rio de Janeiro and Salvador da Bahia (Brazil). On the basis of his dissertation Guadeloupe has published two books: [lang="pt"]A vida e uma dança[/lang/] - The Candomble Through the Lives of Two Cariocas (Nijmegen, CIDI, 1999), and Dansen om te leven: over Afro-Braziliaanse cultuur en religie (Luyten & Babar, 1999). Guadeloupe's principle areas of research have been on the manner in which nationalism, multiculturality, media, and religion continue to be impacted by the long colonial moment and global capital. He has pursued these interests in his research and publications on social processes on the bi-national island of Saint Martin (French) / Sint Maarten (Dutch), Brazil, Aruba, and the Netherlands. His latest book, Chanting Down the New Jerusalem: Calypso, Christianity & Capitalism in the Caribbean, is scheduled to be released by the University of California Press in 2010. Currently Dr. Guadeloupe is researching the culturalisation of citizenship in Europe; the growing conflation of ethno-racial nationalist discourse with civic understandings of citizenship. He pursues this by charting the ways in which European citizens hailing from the non-independent Caribbean (French, Dutch and British territories) perceive current trends in France, the Netherlands, and Great Britain. Francio Guadeloupe's profile at the Radboud University website. Chanting Down the New Jerusalem at the University of California Press website. Interview with Francio Guadaloupe on St. Eustatius. http://framerframed.nl/en/documents/francio-guadeloupe/?referer=rss Tue, 26 Jan 2010 03:34:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Dr. Francio Guadeloupe's roots and routes connect the French, Dutch, English, and Spanish speaking Caribbean. He was born on the Dutch West Indian Island of Aruba. He has lived most of his life in Europe up till now.

In 1999, Guadeloupe obtained his Master’s degree in Development Studies at the University of Nijmegen, based on his research on the Afro-Brazilian cults Candomblé and Umbanda in Rio de Janeiro and Salvador da Bahia (Brazil). On the basis of his dissertation Guadeloupe has published two books: [lang="pt"]A vida e uma dança[/lang/] - The Candomble Through the Lives of Two Cariocas (Nijmegen, CIDI, 1999), and Dansen om te leven: over Afro-Braziliaanse cultuur en religie (Luyten & Babar, 1999).
Guadeloupe's principle areas of research have been on the manner in which nationalism, multiculturality, media, and religion continue to be impacted by the long colonial moment and global capital. He has pursued these interests in his research and publications on social processes on the bi-national island of Saint Martin (French) / Sint Maarten (Dutch), Brazil, Aruba, and the Netherlands.

His latest book, Chanting Down the New Jerusalem: Calypso, Christianity & Capitalism in the Caribbean, is scheduled to be released by the University of California Press in 2010.

Currently Dr. Guadeloupe is researching the culturalisation of citizenship in Europe; the growing conflation of ethno-racial nationalist discourse with civic understandings of citizenship. He pursues this by charting the ways in which European citizens hailing from the non-independent Caribbean (French, Dutch and British territories) perceive current trends in France, the Netherlands, and Great Britain.

Francio Guadeloupe's profile at the Radboud University website

Chanting Down the New Jerusalem at the University of California Press website

Interview with Francio Guadaloupe on St. Eustatius

]]> Rocky Tuhuteru - Producer, Radio and Television Host http://framerframed.nl/en/documents/rocky-tuhuteru/?referer=rss Rocky Tuhuteru (1959) is director of the media- and communication agency Tuhuteru & Partners (The Hague, Netherlands). Tuhuteru & Partners gives advise and training on communication strategies. Tuhuteru is working on questions relating to integration and diversity. In 1999, Tuhuteru received the Cosmic Award for his contributions to the multicultural society in the Netherlands. Currently, Rocky Tuhuteru hosts a radio show broadcasted by the RVU about the Netherlands in the 40s, 50s and 60s, called Familie Nederland. As of 2010, Rocky Tuhuteru is a member of the advisory body on culture for the Dutch government Raad voor Cultuur. Tuhuteru & Partners. Raad voor Cultuur. http://framerframed.nl/en/documents/rocky-tuhuteru/?referer=rss Tue, 26 Jan 2010 03:30:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Rocky Tuhuteru (1959) is director of the media- and communication agency Tuhuteru & Partners (The Hague, Netherlands). Tuhuteru & Partners gives advise and training on communication strategies. Tuhuteru is working on questions relating to integration and diversity.

In 1999, Tuhuteru received the Cosmic Award for his contributions to the multicultural society in the Netherlands.
Currently, Rocky Tuhuteru hosts a radio show broadcasted by the RVU about the Netherlands in the 40s, 50s and 60s, called Familie Nederland.
As of 2010, Rocky Tuhuteru is a member of the advisory body on culture for the Dutch government Raad voor Cultuur.

Tuhuteru & Partners

Raad voor Cultuur

]]> The View of the Artist - A panel discussion between artists and museum curators http://framerframed.nl/en/documents/de-blik-van-de-kunstenaar/?referer=rss Ticket Reservations Recommended. Start: 8:00 PM. Admission: free. Location:. AAMU (Aboriginal Art Museum, Utrecht). Oudegracht 176. NL-3511 NP Utrecht. Netherlands. Phone: +31 30 2380 100. Email: info@aamu.nl. Website: www.aamu.nl. Background. The exhibition Theme Park (2008) assembled by Brook Andrew for the AAMU - Aboriginal Art Museum (Utrecht), deals with questions of representation, identity and (ethnic) background. The international, colonial connections with Australia and the representations of Aboriginals are of central concern in the exhibition. Brook Andrew incites both his audience and the museum itself to a critical self-analysis by making museums of art the subject of his exhibition. Debate. Following the exhibition Theme Park this first edition of Framer Framed deals on the one hand with the way art institutions in the city of Utrecht exhibit non-western art, and on the other hand with the roles artists have in shaping the representation of non-western art within these institutions. A comparison is made with national and international developments. Guests. Tiong Ang – Artist (born in Indonesia, living and working in Amsterdam);. Mella Jaarsma – Artist (born and working in Indonesia), founder and co-director of the Cemeti Art House, Rumah Seni Cemeti, Indonesia;. Koen Wastijn – (born and working in Brussels, Belgium);. Georges Petitjean – Curator at AAMU, Aboriginal Art Museum, Utrecht;. Paul Faber – Curator Africa at the Royal Tropical Institute;. Nancy Hoffman – Director Instituto Buena Bista, Curaçao. Center for Contemporary Art. Debate leader is Chris Keulemans. Art. Review of the art show Theme Park, Brook Andrew (2008) computer translation. http://framerframed.nl/en/documents/de-blik-van-de-kunstenaar/?referer=rss Tue, 12 Jan 2010 23:46:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Ticket Reservations Recommended

Start: 8:00 PM
Admission: free

Location:
AAMU (Aboriginal Art Museum, Utrecht)
Oudegracht 176
NL-3511 NP Utrecht
Netherlands

Phone: +31 30 2380 100
Email: info@aamu.nl
Website: www.aamu.nl

Background

The exhibition Theme Park (2008) assembled by Brook Andrew for the AAMU - Aboriginal Art Museum (Utrecht), deals with questions of representation, identity and (ethnic) background.
The international, colonial connections with Australia and the representations of Aboriginals are of central concern in the exhibition. Brook Andrew incites both his audience and the museum itself to a critical self-analysis by making museums of art the subject of his exhibition.

Debate

Following the exhibition Theme Park this first edition of Framer Framed deals on the one hand with the way art institutions in the city of Utrecht exhibit non-western art, and on the other hand with the roles artists have in shaping the representation of non-western art within these institutions. A comparison is made with national and international developments.

Guests

Tiong Ang – Artist (born in Indonesia, living and working in Amsterdam);
Mella Jaarsma – Artist (born and working in Indonesia), founder and co-director of the Cemeti Art House, Rumah Seni Cemeti, Indonesia;
Koen Wastijn – (born and working in Brussels, Belgium);
Georges Petitjean – Curator at AAMU, Aboriginal Art Museum, Utrecht;
Paul Faber – Curator Africa at the Royal Tropical Institute;
Nancy Hoffman – Director Instituto Buena Bista, Curaçao. Center for Contemporary Art.

Debate leader is Chris Keulemans.

Art

Review of the art show Theme Park, Brook Andrew (2008) computer translation

]]> Stanley Bremer - Director World Museum http://framerframed.nl/en/documents/stanley-bremer/?referer=rss Stanley Bremer is (1952) the director of the World Museum (Rotterdam) since 2001. From 1998 Bremer worked as the director of the Maritime Museum (Curaçao). He studied museology, exhibition design and didactic presentation at Leiden University. Before his museology studies, he gained broad experience, working as an independent graphical and product designer. After receiving his degree, Bremer held numerous positions in the cultural and education sectors. Bremer was an art director and co-founder of project office Meeter & Bremer (Ede en Leiden), as well as a visiting professor at Leiden University's program for postacademic museum employees and its museology master's program. Interview with Stanley Bremer in newspaper De Groene Amsterdammer computer translation. http://framerframed.nl/en/documents/stanley-bremer/?referer=rss Tue, 05 Jan 2010 21:47:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Stanley Bremer is (1952) the director of the World Museum (Rotterdam) since 2001. From 1998 Bremer worked as the director of the Maritime Museum (Curaçao).
He studied museology, exhibition design and didactic presentation at Leiden University. Before his museology studies, he gained broad experience, working as an independent graphical and product designer. After receiving his degree, Bremer held numerous positions in the cultural and education sectors.

Bremer was an art director and co-founder of project office Meeter & Bremer (Ede en Leiden), as well as a visiting professor at Leiden University's program for postacademic museum employees and its museology master's program.

Interview with Stanley Bremer in newspaper De Groene Amsterdammer computer translation

]]> World Museum (Rotterdam) http://framerframed.nl/en/documents/wereldmuseum/?referer=rss Contact. Location:. Willemskade 25. NL-3016 DM Rotterdam. Netherlands. Phone: +31 10 2707172. Email: info@wereldmuseum.nl. Website: www.wereldmuseum.nl. http://framerframed.nl/en/documents/wereldmuseum/?referer=rss Fri, 18 Dec 2009 13:34:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Contact

Location:
Willemskade 25
NL-3016 DM Rotterdam
Netherlands

Phone: +31 10 2707172
Email: info@wereldmuseum.nl
Website: www.wereldmuseum.nl

]]> Expert Meeting Collecting without Borders - Ethnographic, historical and art museums in dialogue on collecting and presenting non-western art http://framerframed.nl/en/documents/onbegrensd-verzamelen/?referer=rss Program. Introduction:. Keynote speech Simon Njami. Presentation Wouter Welling. Workshops:. Criteria. Presentation. Collection. Theory. Plenary:. Public Discussion.  .  . Download. Download the . Download the . Background. More and more Dutch museums program and collect modern and contemporary non-western art. The increasing attention that is being paid to non-western art is affected by a number of factors such as globalization in the art world; the museological search for a new social relevance in a multicultural society; increasing pressure from funds and the government to reach new, diverse composed audiences and to undertake inter-museum cooperation. The center of the art world is no longer Paris or New York; there is a mosaic of global centers. This has consequences for the selection, presentation and collection of contemporary art. Because different types of museum are gradually becoming more engaged in non-western art, the functions and positions of art museums, ethnographic and historical museums are increasingly overlapping. Currently, these museums operate independently of each other. However, in these changing circumstances, museological self-reflection is needed. How does the Dutch museum world deal with these new developments? What place is there for these (post-colonial) art forms in future museum policy?. Objectives. The extended program of the expert-meeting Collecting Without Borders is aimed at the exchange of knowledge, experiences and insights in the area of presenting and collecting non-western art in art museums, historical museums and ethnographic museums. Opportunities for cooperation will also be explored. Introduction. During the introduction Simon Njami held a keynote speech, and Wouter Welling held a presentation. Both can be downloaded as .mp3-files. Download the . Download the . Partners. The organization is in hands of the Centraal Museum in cooperation with the Afrika Museum, Museum De Paviljoens, ICN (Instituut Collectie Nederland), Stedelijk Museum (Amsterdam), Municipal Museum De Lakenhal, Royal Tropical Institute and Van Abbemuseum. Collecting Without Borders and Framer Framed will present a joint publication at the end of 2010. Collecting Without Borders is financially supported by the Mondriaan Foundation and the Fonds BKVB. http://framerframed.nl/en/documents/onbegrensd-verzamelen/?referer=rss Tue, 08 Dec 2009 15:32:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Program

Introduction:
Keynote speech Simon Njami
Presentation Wouter Welling

Workshops:
Criteria
Presentation
Collection
Theory

Plenary:
Public Discussion 
 

Download

Download the

Download the

Background

More and more Dutch museums program and collect modern and contemporary non-western art. The increasing attention that is being paid to non-western art is affected by a number of factors such as globalization in the art world; the museological search for a new social relevance in a multicultural society; increasing pressure from funds and the government to reach new, diverse composed audiences and to undertake inter-museum cooperation.
The center of the art world is no longer Paris or New York; there is a mosaic of global centers. This has consequences for the selection, presentation and collection of contemporary art.

Because different types of museum are gradually becoming more engaged in non-western art, the functions and positions of art museums, ethnographic and historical museums are increasingly overlapping. Currently, these museums operate independently of each other. However, in these changing circumstances, museological self-reflection is needed.

How does the Dutch museum world deal with these new developments? What place is there for these (post-colonial) art forms in future museum policy?

Objectives

The extended program of the expert-meeting Collecting Without Borders is aimed at the exchange of knowledge, experiences and insights in the area of presenting and collecting non-western art in art museums, historical museums and ethnographic museums. Opportunities for cooperation will also be explored.

Introduction

During the introduction Simon Njami held a keynote speech, and Wouter Welling held a presentation.
Both can be downloaded as .mp3-files.

Download the

Download the

Partners

The organization is in hands of the Centraal Museum in cooperation with the Afrika Museum, Museum De Paviljoens, ICN (Instituut Collectie Nederland), Stedelijk Museum (Amsterdam), Municipal Museum De Lakenhal, Royal Tropical Institute and Van Abbemuseum.

Collecting Without Borders and Framer Framed will present a joint publication at the end of 2010.

Collecting Without Borders is financially supported by the Mondriaan Foundation and the Fonds BKVB.

]]> Susan Legêne - Professor in Political History http://framerframed.nl/en/documents/susan-legene/?referer=rss Susan Legêne is a Professor in Political History at the VU (Free University, Amsterdam). http://framerframed.nl/en/documents/susan-legene/?referer=rss Tue, 08 Dec 2009 02:38:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Susan Legêne is a Professor in Political History at the VU (Free University, Amsterdam).

]]> Salah Hassan - Professor, Curator, Author http://framerframed.nl/en/documents/salah-hassan/?referer=rss Salah Hassan is a Goldwin Smith professor and the director of the Africana Studies & Research Center, a professor of African & African Diaspora Art History & Visual Culture at Cornell University's faculty of Art History & Visual Culture. He also works as a curator and art critic. Prior to joining Cornell University, Hassan taught at the art history faculties of the State University of New York (Buffalo, USA), the University of Pennsylvania, and the College of Fine and Applied Art (Khartoum, Sudan). He is the founder and an editor of NKA: Journal of Contemporary African Art, and serves as a consulting editor for African Arts and Atlantica. Hassan was involved with several exhibitions, such as Authentic/Ex-Centric: Africa in & out of Africa, at the 49th Biennial of Venice. Salah Hassan was an editor and author for several publications, such as Unpacking Europe (Rotterdam, NAi Publishers, 2001); Authentic/Ex-Centric: Conceptualism in Contemporary African Art (2001); Gendered Visions: The Art of Contemporary Africana Women Artists (1997); Art & Islamic Literacy Among the Hausa of Northern Nigeria (1992). Hassan is currently working on his latest book Khartoum School: The Making of the Modern Art Movement in Sudan. Extended biography of Salah Hassan. http://framerframed.nl/en/documents/salah-hassan/?referer=rss Fri, 27 Nov 2009 22:13:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Salah Hassan is a Goldwin Smith professor and the director of the Africana Studies & Research Center, a professor of African & African Diaspora Art History & Visual Culture at Cornell University's faculty of Art History & Visual Culture. He also works as a curator and art critic.
Prior to joining Cornell University, Hassan taught at the art history faculties of the State University of New York (Buffalo, USA), the University of Pennsylvania, and the College of Fine and Applied Art (Khartoum, Sudan).
He is the founder and an editor of NKA: Journal of Contemporary African Art, and serves as a consulting editor for African Arts and Atlantica.
Hassan was involved with several exhibitions, such as Authentic/Ex-Centric: Africa in & out of Africa, at the 49th Biennial of Venice.

Salah Hassan was an editor and author for several publications, such as Unpacking Europe (Rotterdam, NAi Publishers, 2001); Authentic/Ex-Centric: Conceptualism in Contemporary African Art (2001); Gendered Visions: The Art of Contemporary Africana Women Artists (1997); Art & Islamic Literacy Among the Hausa of Northern Nigeria (1992).
Hassan is currently working on his latest book Khartoum School: The Making of the Modern Art Movement in Sudan.

Extended biography of Salah Hassan

]]> Edwin Jacobs - Director Centraal Museum http://framerframed.nl/en/documents/edwin-jacobs/?referer=rss Photography: Hielco Kuipers. Before his appointment as director of Centraal Museum (Utrecht, Netherlands), in April 2009, Edwin Jacobs(1960) worked as the director of Stedelijk Museum De Lakenhal (Leiden, Netherlands). Before, he had worked as a cultural broker for the city of Tilburg and had operated as an independent curator and facilitator of visual culture projects and programs. He developed a concept for a Curatorial Box; a new visual arts centre in Tilburg (Netherlands). Furthermore, he prepared the multiannual arts festival Cultuur Manifestatie, under direction of writer and historian dr. Mike Philips (curator at TATE Britain). Jacobs originally worked in the education sector and was the director of Museum Jan Cunen (Oss, Netherlands) until 2006. He gained international acclaim through his experimental educational and intercultural programs, for which he opened up his museum to the public for free. Jacobs is an adherent of the ideas of Ivan Illich (1926-2002), a Jesuit and radical theologian, a community worker, but first and foremost an educationalist. Illich' Conviviality speaks on a collective coherence in society, realized through the voluntary and equal division of wealth. Jacobs sees the inalienable function of art in a free life, as the basis of democracy and progressive thinking. In Jacobs' view, artists and art institutes hold a key position in this proces. Edwin Jacobs' manifesto Naar een mondig museum (Towards an Extroverted Museum) computer translation. http://framerframed.nl/en/documents/edwin-jacobs/?referer=rss Fri, 27 Nov 2009 20:24:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Photography: Hielco Kuipers

Before his appointment as director of Centraal Museum (Utrecht, Netherlands), in April 2009, Edwin Jacobs(1960) worked as the director of Stedelijk Museum De Lakenhal (Leiden, Netherlands). Before, he had worked as a cultural broker for the city of Tilburg and had operated as an independent curator and facilitator of visual culture projects and programs.
He developed a concept for a Curatorial Box; a new visual arts centre in Tilburg (Netherlands). Furthermore, he prepared the multiannual arts festival Cultuur Manifestatie, under direction of writer and historian dr. Mike Philips (curator at TATE Britain).

Jacobs originally worked in the education sector and was the director of Museum Jan Cunen (Oss, Netherlands) until 2006. He gained international acclaim through his experimental educational and intercultural programs, for which he opened up his museum to the public for free.
Jacobs is an adherent of the ideas of Ivan Illich (1926-2002), a Jesuit and radical theologian, a community worker, but first and foremost an educationalist.
Illich' Conviviality speaks on a collective coherence in society, realized through the voluntary and equal division of wealth. Jacobs sees the inalienable function of art in a free life, as the basis of democracy and progressive thinking. In Jacobs' view, artists and art institutes hold a key position in this proces.

Edwin Jacobs' manifesto Naar een mondig museum (Towards an Extroverted Museum) computer translation

]]> Robert Kluijver - Freelance Cultural Producer http://framerframed.nl/en/documents/robert-kluijver/?referer=rss Robert Kluijver (Cyprus, 1968) has worked for Gemak in the Hague, where he curated exhibitions with contemporary artists form Iraq Green Zone / Red Zone (2007), Afghanistan Future Afghanistan (2008), Palestina Niemandsland (2008) and Israel Beloofde Land (2009). He frequently writes about contemporary art in the Middle East. Between 1997 and 2006 he worked as a political development-aid worker, researcher and cultural manager in Afghanistan, Central Asia and the Middle East. Interview with Robert Kluijver in Lab for Culture. http://framerframed.nl/en/documents/robert-kluijver/?referer=rss Thu, 05 Nov 2009 19:25:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Robert Kluijver (Cyprus, 1968) has worked for Gemak in the Hague, where he curated exhibitions with contemporary artists form Iraq Green Zone / Red Zone (2007), Afghanistan Future Afghanistan (2008), Palestina Niemandsland (2008) and Israel Beloofde Land (2009). He frequently writes about contemporary art in the Middle East.

Between 1997 and 2006 he worked as a political development-aid worker, researcher and cultural manager in Afghanistan, Central Asia and the Middle East.

Interview with Robert Kluijver in Lab for Culture

]]> Hammad Nasar - Curator, Gallerist, Author http://framerframed.nl/en/documents/hammad-nasar/?referer=rss Hammad Nasar is a London-based curator, gallerist and writer. He is a co-founder of the arts organization Green Cardamom, and the arts advisory firm Asal Partners. He was a Fellow of the Clore Leadership Programme for 2006-07, Research Fellow at Goldsmith College and Arts Director for the UK’s Festival of Muslim Cultures (2006-07). He has lectured at, curated exhibitions for and contributed to public programs at numerous institutions internationally, including: the Asia Art Archive (Hong Kong); the British Museum, Manchester Art Gallery, Tate Britain, the Royal Geographical Society, SOAS and the Victoria & Albert Museum (UK); Aldrich Contemporary Art Museum and Yale University (US); the National College of the Arts and the Indus Valley Art School (Pakistan). Current projects Nasar is involved with include Safavids Revisited at the British Museum, and Where Three Dreams Cross at the Whitechapel Gallery. His ongoing curatorial projects include Lines of Control: Partition as a Productive Space and Mashq: Repetition, Meditation, Mediation. Prior to entering the art world, Hammad worked as a strategy consultant and investment banker. http://framerframed.nl/en/documents/hammad-nasar/?referer=rss Wed, 04 Nov 2009 15:47:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Hammad Nasar is a London-based curator, gallerist and writer. He is a co-founder of the arts organization Green Cardamom, and the arts advisory firm Asal Partners. He was a Fellow of the Clore Leadership Programme for 2006-07, Research Fellow at Goldsmith College and Arts Director for the UK’s Festival of Muslim Cultures (2006-07). He has lectured at, curated exhibitions for and contributed to public programs at numerous institutions internationally, including: the Asia Art Archive (Hong Kong); the British Museum, Manchester Art Gallery, Tate Britain, the Royal Geographical Society, SOAS and the Victoria & Albert Museum (UK); Aldrich Contemporary Art Museum and Yale University (US); the National College of the Arts and the Indus Valley Art School (Pakistan).

Current projects Nasar is involved with include Safavids Revisited at the British Museum, and Where Three Dreams Cross at the Whitechapel Gallery. His ongoing curatorial projects include Lines of Control: Partition as a Productive Space and Mashq: Repetition, Meditation, Mediation. Prior to entering the art world, Hammad worked as a strategy consultant and investment banker.

]]> Meta Knol - Director Municipal Museum De Lakenhal http://framerframed.nl/en/documents/meta-knol/?referer=rss Meta Knol studied art history at Utrecht University. After having received her MA, Knol has realized exhibitions, has written on the visual arts and has been involved in several cultural projects, such as the artist residency Het vijfde seizoen (The Fifth Season) on the grounds of a psychiatric hospital in Den Dolder, the mobile exhibition pavilion Pleinmuseum as well as the Madness & Art Festival in Haarlem (2010). Meta Knol holds a number of board positions in the cultural sector. From 1997, Knol was tied to the Centraal Museum in Utrecht as a curator. As a researcher she has worked on the catalog of modern art collections Moderne Kunst (Modern Art, 2004) and the intermuseal catalog of collections US in NL - American Art in Dutch Museums, 1945-2001 (2005). In the summer of 2004 she has curated the exhibitions of drawings Microkosmos and Zwart op Wit (Black on White). In 2006 she was the curator of the exhibition This is America. Visions of the American Dream (2006). In 2008 she realized the presentation of collections Standpunten (Points of View). Her most recent exhibition for the Centraal Museum is Beyond the Dutch - Indonesia, the Netherlands and the Visual Arts sinds 1900. In 2007, Knol drafted the manifesto Naar een mondig museum (Towards an Extroverted Museum) with Edwin Jacobs and Stijn Huijts, which caused a lot of stir in the Dutch museum world. Ever since, she has been an advocate for the innovation of the museum world. In August 2009, she was appointed the director of the Municipal Museum De Lakenhal (Leiden). Meta Knol's manifesto Naar een mondig museum (Towards an Extroverted Museum) computer translation. http://framerframed.nl/en/documents/meta-knol/?referer=rss Wed, 04 Nov 2009 15:47:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Meta Knol studied art history at Utrecht University. After having received her MA, Knol has realized exhibitions, has written on the visual arts and has been involved in several cultural projects, such as the artist residency Het vijfde seizoen (The Fifth Season) on the grounds of a psychiatric hospital in Den Dolder, the mobile exhibition pavilion Pleinmuseum as well as the Madness & Art Festival in Haarlem (2010). Meta Knol holds a number of board positions in the cultural sector.

From 1997, Knol was tied to the Centraal Museum in Utrecht as a curator. As a researcher she has worked on the catalog of modern art collections Moderne Kunst (Modern Art, 2004) and the intermuseal catalog of collections US in NL - American Art in Dutch Museums, 1945-2001 (2005). In the summer of 2004 she has curated the exhibitions of drawings Microkosmos and Zwart op Wit (Black on White). In 2006 she was the curator of the exhibition This is America. Visions of the American Dream (2006). In 2008 she realized the presentation of collections Standpunten (Points of View). Her most recent exhibition for the Centraal Museum is Beyond the Dutch - Indonesia, the Netherlands and the Visual Arts sinds 1900.

In 2007, Knol drafted the manifesto Naar een mondig museum (Towards an Extroverted Museum) with Edwin Jacobs and Stijn Huijts, which caused a lot of stir in the Dutch museum world. Ever since, she has been an advocate for the innovation of the museum world. In August 2009, she was appointed the director of the Municipal Museum De Lakenhal (Leiden).

Meta Knol's manifesto Naar een mondig museum (Towards an Extroverted Museum) computer translation

]]> The Guided View - On museum presentations, the construction of a national identity and our historical canon http://framerframed.nl/en/documents/de-gestuurde-blik/?referer=rss Location. Ticket Reservations Recommended. Start: 8:00 PM. Admission: free. Location:. Debate Centre Tumult (Utrecht). Domplein 4/5. NL-3512 JC Utrecht. Netherlands. Phone: +31 30 233 24 30. Email: info@tumultdebat.nl. Website: www.tumultdebat.nl. Background. National identity and historical awareness are relevant issues in the context of a multicultural society and the development towards a European citizenship. Museums are increasingly called upon to actively convey a sense of national history and identity to the people. How can we negotiate the tensions between the presentation of autonomous art and this educative assignment? How do museums deal with the multicultural backgrounds of the audience that they are supposed to serve?. Guests. Edwin Jacobs - Director Centraal Museum (Utrecht);. Macha Roesink - Director Museum De Paviljoens (Almere);. Ad De Jong - Professor by Special Appointment of Dutch Cultural History;. Bart Jan Spruyt - Author, Chairman Edmund Burke Foundation;. Jonas Staal - artist. Debate leader is Katinka Baehr. http://framerframed.nl/en/documents/de-gestuurde-blik/?referer=rss Tue, 20 Oct 2009 18:38:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Location

Ticket Reservations Recommended

Start: 8:00 PM
Admission: free

Location:
Debate Centre Tumult (Utrecht)
Domplein 4/5
NL-3512 JC Utrecht
Netherlands

Phone: +31 30 233 24 30
Email: info@tumultdebat.nl
Website: www.tumultdebat.nl

Background

National identity and historical awareness are relevant issues in the context of a multicultural society and the development towards a European citizenship. Museums are increasingly called upon to actively convey a sense of national history and identity to the people. How can we negotiate the tensions between the presentation of autonomous art and this educative assignment? How do museums deal with the multicultural backgrounds of the audience that they are supposed to serve?

Guests

Edwin Jacobs - Director Centraal Museum (Utrecht);
Macha Roesink - Director Museum De Paviljoens (Almere);
Ad De Jong - Professor by Special Appointment of Dutch Cultural History;
Bart Jan Spruyt - Author, Chairman Edmund Burke Foundation;
Jonas Staal - artist.

Debate leader is Katinka Baehr.

]]> The Exotic View - On market forces in the arts sector http://framerframed.nl/en/documents/de-exotische-blik/?referer=rss Ticket Reservations Recommended. Start: 2:00 PM. Admission: free. Location:. World Museum (Rotterdam). Willemskade 25. NL-3016 DM Rotterdam. Netherlands. Phone: +31 10 2707172. Email: info@wereldmuseum.nl. Website: www.wereldmuseum.nl. The Exotic View is realized in cooperation with Kosmopolis (Rotterdam) and RRKC (Rotterdamse Raad voor Kunst & Cultuur). Background. The pressure of market forces (visitor numbers) appears to incite cultural institutions to schedule blockbuster exhibitions. When representing non-western cultures, museums quickly fall back on reproducing stereotypes that create easy recognition among a broad audience. E.g. Colorful India and Bollywood, Brazilian Carnival at the Royal Tropical Institute or The Position of Muslim Women. In the Dutch museum world, there appears to be hardly any space for perspectives from the regions themselves. Exhibitions are framed using the Dutch perspective as a starting point. Depoliticized as they may be, exhibitions of non-western art seem to be primarily judged by their moral messages and their ability to represent a true reality. The concept of authenticity takes center stage. Debate. In this debate, the processes that drive exotification—in art and ethnography museums as well as other heritage institutions—will be addressed, specifically the process of ethnic marketing. Does the desire to achieve high visitor numbers through exotic themes translate into a preference for regions that have a more positive image–like the rising regions of Asia, India, Brazil?. Are areas that have a difficult public image shunned in the programming of institutions?. Are smaller art institutions the exception to the rule, simply because they don't need to attract a large audience?. Are only museums with a relatively small market share still able to go into literally and figuratively unexplored territory?. Guests. Stanley Bremer - Director World Museum (Rotterdam);. Rocky Tuhuteru - Producer, Radio and Television Host;. Francio Guadeloupe - Researcher, Social Anthropologist;. Bert Sliggers - Curator, Author. Debate leader is Liesbeth Levy. Video. Bert Sliggers in Beagle, in het kielzog van Darwin (VPRO-Teleac) Dutch television programme. http://framerframed.nl/en/documents/de-exotische-blik/?referer=rss Tue, 20 Oct 2009 17:30:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Ticket Reservations Recommended

Start: 2:00 PM
Admission: free

Location:
World Museum (Rotterdam)
Willemskade 25
NL-3016 DM Rotterdam
Netherlands

Phone: +31 10 2707172
Email: info@wereldmuseum.nl
Website: www.wereldmuseum.nl

The Exotic View is realized in cooperation with Kosmopolis (Rotterdam) and RRKC (Rotterdamse Raad voor Kunst & Cultuur).

Background

The pressure of market forces (visitor numbers) appears to incite cultural institutions to schedule blockbuster exhibitions. When representing non-western cultures, museums quickly fall back on reproducing stereotypes that create easy recognition among a broad audience. E.g. Colorful India and Bollywood, Brazilian Carnival at the Royal Tropical Institute or The Position of Muslim Women.

In the Dutch museum world, there appears to be hardly any space for perspectives from the regions themselves. Exhibitions are framed using the Dutch perspective as a starting point.
Depoliticized as they may be, exhibitions of non-western art seem to be primarily judged by their moral messages and their ability to represent a true reality. The concept of authenticity takes center stage.

Debate

In this debate, the processes that drive exotification—in art and ethnography museums as well as other heritage institutions—will be addressed, specifically the process of ethnic marketing.

Does the desire to achieve high visitor numbers through exotic themes translate into a preference for regions that have a more positive image–like the rising regions of Asia, India, Brazil?
Are areas that have a difficult public image shunned in the programming of institutions?

Are smaller art institutions the exception to the rule, simply because they don't need to attract a large audience?
Are only museums with a relatively small market share still able to go into literally and figuratively unexplored territory?

Guests

Stanley Bremer - Director World Museum (Rotterdam);
Rocky Tuhuteru - Producer, Radio and Television Host;
Francio Guadeloupe - Researcher, Social Anthropologist;
Bert Sliggers - Curator, Author.

Debate leader is Liesbeth Levy.

Video

Bert Sliggers in Beagle, in het kielzog van Darwin (VPRO-Teleac) Dutch television programme

]]> The Colonial View - On the historical preconceptions that determine our view of art http://framerframed.nl/en/documents/de-koloniale-blik/?referer=rss Ticket Reservations Recommended. Start: 2:00 PM. Admission: access to the debate is free of charge, but all visitors will need to arrange for a museum ticket. Location:. Centraal Museum (Utrecht). Agnietenstraat 3. NL-3512 XA Utrecht. Netherlands. Phone: +31 30 236 23 93. Email: rondleidingen@centraalmuseum.nl. Website: www.centraalmuseum.nl. Background. Over six years ago, at the start of 2003, the Royal Tropical Institute open their permanent presentation Oostwaarts! (Eastward Bound!). Showing pieces from its core-collection, the Royal Tropical Institute recapitulated its own history and the colonial past of the Netherlands. With this new interpretation of the own collection, the Royal Tropical Institute illustrated the changing perception of our colonial experience and its thorough entanglement with Dutch culture. That exhibition was the first step towards the demarcation of a post colonial discours in the arts sectors. Six years later, how has this discours developed?. How do we deal with non-western art, collected or privateered within the colonial context? How do we deal with collections that carry a colonial relation? These collections are the working material of many curators, how do they avoid the reproduction of outdated views and connotations in contemporary exhibitions?. Debate. Following the exhibition Beyond the Dutch, assembled by Meta Knol (Director Stedelijk Museum De Lakenhal), a discussion will be held about the colonial perspective of Dutch art institutions. The central topic of debate is the influence of historical preconceptions on the view of contemporary art. An international panel will compare art institutions from several countries, and how they deal with their colonial past in representing contemporary art. Guests. Meta Knol - Director Municipal Museum De Lakenhal;. Hammad Nasar - Curator, Gallerist, Author;. Salah Hassan - Professor, Curator, Author;. Susan Legêne - Professor in Political History. Debate leader is Chris Keulemans. Art. Prior to the debate, Hammad Nasar will give a short presentation, show-casing several exhibitions he was involved in as a curator. Salah Hassan will give a short presentation on the politics of representation in the arts after 9/11, and its inherent neo-colonial representations. Susan Legêne will draw a comparison between the exhibitions Oostwaarts! and Beyond the Dutch. http://framerframed.nl/en/documents/de-koloniale-blik/?referer=rss Tue, 20 Oct 2009 17:22:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Ticket Reservations Recommended

Start: 2:00 PM
Admission: access to the debate is free of charge, but all visitors will need to arrange for a museum ticket

Location:
Centraal Museum (Utrecht)
Agnietenstraat 3
NL-3512 XA Utrecht
Netherlands

Phone: +31 30 236 23 93
Email: rondleidingen@centraalmuseum.nl
Website: www.centraalmuseum.nl

Background

Over six years ago, at the start of 2003, the Royal Tropical Institute open their permanent presentation Oostwaarts! (Eastward Bound!). Showing pieces from its core-collection, the Royal Tropical Institute recapitulated its own history and the colonial past of the Netherlands.
With this new interpretation of the own collection, the Royal Tropical Institute illustrated the changing perception of our colonial experience and its thorough entanglement with Dutch culture.

That exhibition was the first step towards the demarcation of a post colonial discours in the arts sectors. Six years later, how has this discours developed?
How do we deal with non-western art, collected or privateered within the colonial context? How do we deal with collections that carry a colonial relation? These collections are the working material of many curators, how do they avoid the reproduction of outdated views and connotations in contemporary exhibitions?

Debate

Following the exhibition Beyond the Dutch, assembled by Meta Knol (Director Stedelijk Museum De Lakenhal), a discussion will be held about the colonial perspective of Dutch art institutions. The central topic of debate is the influence of historical preconceptions on the view of contemporary art.
An international panel will compare art institutions from several countries, and how they deal with their colonial past in representing contemporary art.

Guests

Meta Knol - Director Municipal Museum De Lakenhal;
Hammad Nasar - Curator, Gallerist, Author;
Salah Hassan - Professor, Curator, Author;
Susan Legêne - Professor in Political History.

Debate leader is Chris Keulemans.

Art

Prior to the debate, Hammad Nasar will give a short presentation, show-casing several exhibitions he was involved in as a curator.
Salah Hassan will give a short presentation on the politics of representation in the arts after 9/11, and its inherent neo-colonial representations.
Susan Legêne will draw a comparison between the exhibitions Oostwaarts! and Beyond the Dutch.

]]> AAMU (Aboriginal Art Museum, Utrecht) http://framerframed.nl/en/documents/aamu/?referer=rss Contact. Location:. Oudegracht 176. NL-3511 NP Utrecht. Netherlands. Phone: +31 30 238 01 00. Email: info@aamu.nl. Website: www.aamu.nl. The place in Europe to experience contemporary Aboriginal visual arts from Australia is AAMU in Utrecht (Netherlands). Like the art itself, the museum is constantly in motion. Every year AAMU presents two to three exhibitions where you can get to know the versatility, power and individuality of Aboriginal art. Each exhibition has a new perspective and shows the different directions and trends that have evolved in this contemporary art form. The exhibitions highlight leading artists and a wide range of themes. The works on display vary from magnificent paintings on linen and tree-bark paintings to thought-provoking installations and multimedia works by a younger generation of Indigenous artists. In putting exhibitions together the museum draws on a growing network of artists, curators, museums, galleries and private collectors in the Netherlands, Europe and Australia. The AAMU wants to serve as a platform in Holland and Europe for Aboriginal visual arts and its developments. This also means the museum is emphatically connecting with other contemporary art. The ambition of the museum is not just to show Aboriginal art. It also gives information and education on the quality and great diversity of this art. Visitors can learn about the similarities and differences between Aboriginal and western visual arts and choose their own point of view regarding Aboriginal art. The AAMU is recognized by the government of Australia as an important platform for Australian, cultural heritage in Europe. http://framerframed.nl/en/documents/aamu/?referer=rss Tue, 20 Oct 2009 03:32:00 +0000 RSS Feed for Framer Framed. Debate series about the western view of non-western art. What is the role of museums in a multicultural and globalizing community? Artists, curators and scientists on the boundaries of art. Woest Producties Contact

Location:
Oudegracht 176
NL-3511 NP Utrecht
Netherlands

Phone: +31 30 238 01 00
Email: info@aamu.nl
Website: www.aamu.nl

The place in Europe to experience contemporary Aboriginal visual arts from Australia is AAMU in Utrecht (Netherlands). Like the art itself, the museum is constantly in motion. Every year AAMU presents two to three exhibitions where you can get to know the versatility, power and individuality of Aboriginal art. Each exhibition has a new perspective and shows the different directions and trends that have evolved in this contemporary art form. The exhibitions highlight leading artists and a wide range of themes. The works on display vary from magnificent paintings on linen and tree-bark paintings to thought-provoking installations and multimedia works by a younger generation of Indigenous artists. In putting exhibitions together the museum draws on a growing network of artists, curators, museums, galleries and private collectors in the Netherlands, Europe and Australia.

The AAMU wants to serve as a platform in Holland and Europe for Aboriginal visual arts and its developments. This also means the museum is emphatically connecting with other contemporary art.

The ambition of the museum is not just to show Aboriginal art. It also gives information and education on the quality and great diversity of this art. Visitors can learn about the similarities and differences between Aboriginal and western visual arts and choose their own point of view regarding Aboriginal art.

The AAMU is recognized by the government of Australia as an important platform for Australian, cultural heritage in Europe.

]]>