How could we expand from the care for museum objects to respect for people? From the care for museum collections and heritage to the care for communities, nature and the planet? From the care for the objects’ materiality to the conditions of making? How could we move from a notion of objects’ possession to shared ownership, from locations to transits, from a history of power and violence to one of justice and peace?
The three-day conference is organized around stories, practices, and discourses and is a first step towards the constitution of a critical archive that searches for new sets of relations among knowledges emerging from different fields.
5.45 - 6:00 PM
Stolen Objects Stories – A Critical Archive
Margarida Saraiva Babel - Cultural Organization - China, Macau
Babel – 文化组织——中国，澳门
abstractSOS - Stolen Object Stories aims to bring together academic and artistic perspectives on crossovers between imperialism, colonialism, decoloniality, heritage and creative practices of knowledge production. It aims at expanding the debate beyond traditional frontiers, be it the collection, the institution, or the nation, into the domain of ethics of care and repair. My presentation will introduce the conception of SOS - Stolen Objects Stories as a collective archive and discursive platform.Continue reading
How could we expand from caring for museum objects and heritage to respecting people? From the care for collections to the care for communities, nature and the planet? From preserving the objects' materiality to the care for conditions of making those objects? How could we move from a notion of objects possession to shared ownership, from a focus on provenance and locations to one on transits and fluxes? And finally, from a history of power and violence to one justice and peace? The project (initiated by this conference) publicly stages a research process organized around stories, practices, and discourses and a search for new relations among knowledge emerging from different fields.
about the speakerMargarida Saraiva is a researcher, curator and educator working in-between Asia and Europe, arts and cultures. She is the founder of BABEL – Cultural Organization, where she has initiated projects like Influxus, New Visions and Macau Architecture Promenade (M.A.P.). Saraiva has curated “Representing Women 19th and 20th Centuries – MAM Collection” and co-curated Women Artists – 1st International Biennale of Macau (China), among others exhibitions and programmes.Continue reading
Saraiva is a visiting professor of Museum Management, Exhibition Design and Research Practices at the University of Saint Joseph and Institute of Tourism Studies, both in the Bachelor and Master Degrees in Heritage Management.
Saraiva is a PhD Student in Philosophy, Art and Critical Thought at the European Graduate School (Switzerland/ Malta). Holds a Master of Arts in European Cultural Planning and Policies from De Montfort University, Leicester (UK), attended a Post Graduation in Museum Studies (Portugal) and is Licentiate in History by the Faculty of Humanities of Oporto University.
Margarida Saraiva是一位在亚洲和欧洲、艺术和文化之间工作的研究员、策展人和教育家。她是BABEL-文化组织的创始人，在那里她发起了激浪（Influxus）、新愿景（New Visions）和澳门建筑漫步（Macau Architecture Promenade, MAP）等项目。Saraiva策划了“画里娥眉──艺博馆馆藏历史绘画”展览，并共同策划了女性艺术家——第一届澳门国际双年展（中国），以及其他展览和项目。Saraiva是塞拉维斯当代艺术博物馆（波尔图/葡萄牙）的教育主管，与泰特现代美术馆和路易斯安那艺术博物馆及其他机构合作。
6:00 - 6:45 PM
Will the God Win? The Case of the Buddhist Mummy
Zuozhen Liu 刘作珍 Guangdong Academy of Social Sciences - China, Guangzhou
abstractThe presentation explores the case of a stolen 1,000-year-old Buddhist mummy, known as the statue of Zhanggong-zushi, which caught the international community's attention. The figure of Zhanggong-zushi is the embodiment of God in the eyes of the locals. The treatment of human remains is controversial and sensitive. This case opens a discussion as to how Western courts should consider religious interests in the disputes over stolen cultural property. The art world must understand how locals feel about losing their culture or religion.Continue reading
about the speakerDr Zuozhen Liu is an Associate Professor of Law at the Guangdong Academy of Social Sciences (G.D.A.S.S.). Before joining the G.D.A.S.S., she worked for Jinan University as a post-doc research fellow. She is a part-time lecturer at Guangdong University of Foreign Studies and a part-time practising lawyer at DeHeng Law Offices (Guangzhou).Continue reading
Dr. Liu's research interests are in cultural heritage law, the rule of law, "one country, two systems", and the politics of identity. She published in renowned scholarly journals, such as the Hague Journal on the Rule of Law International Journal of Cultural Property. Dr Liu holds a PhD in Art and Law from the University of Amsterdam. Her doctoral research elaborates on the legal and ethical issues of looted and stolen cultural objects from China, from the late Qing dynasty to the foundation of the P.R.C. Her research has been published in the book The Case for Repatriating China's Cultural Objects (Springer, 2016). She has participated in several projects, providing suggestions to local governments on the business environment, cooperation between Guangdong and China's two unique administrative regions, etc.
6:45 - 7:30 PM
Stolen Objects from China: The Histories and Biographies of Yuanmingyuan (‘Summer Palace’) Collections in British and French Museums
Louise Tythacott School of Oriental and African Studies, University of London - United Kingdom, London
abstractThis paper will explore the lives of objects stolen from China’s Yuanmingyuan, or old ‘Summer Palace’, to the northwest of Beijing. Initiated by the Kangxi emperor (r. 1662-1722) in the early 18th century, the site was developed by his grandson, the Qianlong emperor (r. 1736-1795). At around 350 hectares, it included thousands of buildings across a vast landscape: it also housed China’s imperial art collections – paintings, calligraphy, porcelain, bronzes, textiles and cloisonné.Continue reading
In October 1860, at the culmination of the Second Opium War, British and French regiments looted the buildings in the Yuanmingyuan. British troops then proceeded to burn the entire site. This widespread destruction of China’s most important complex of palaces, and the dispersal of the imperial art collection, is considered one of the worst acts of cultural vandalism of the 19th century. Tens, if not hundreds, of thousands of objects are estimated to have been stolen from the Yuanmingyuan, many of these are now scattered around the world, in private collections and public museums.
This paper will analyse the biographies of objects from the Yuanmingyuan in UK and French museums. It will focus on military officers involved in the looting – men such as Elgin, Grant, Gordon, Wolseley, Crealock, Montauban and Negroni - and will document the trajectories of the material they brought back with them to both Britain and France. Some of the pieces were displayed at major public exhibitions (the 1862 International Exhibition and the Crystal Palace in London), while other artefacts were donated or bequeathed to museums in the late 19th-early 20th century. The talk will also explore the role of the art market - especially Christie’s, Sotheby’s, but also smaller provincial auction houses - in promoting the collecting of ‘Summer Palace’ loot, and the shifting interpretations given to this material from the late 19th century onwards. Once relocated to the UK and France, ‘Summer Palace’ material was transformed and reformed to fit the aesthetics and tastes of the time, and the talk thus explores the distinctive meanings and values attributed to Yuanmingyuan artefacts by a range of British and French collectors.
本文将探讨位于北京西北部的圆明园（旧称“夏宫”）被盗文物的命运。该遗址系由康熙皇帝（1662-1722 年在位）于18世纪初提出，由其孙子乾隆皇帝（1736-1795 年在位）建造。其占地约350公顷，广袤的景观中包含了数千座建筑：它还收藏了中国皇室的艺术藏品——绘画、书法、瓷器、青铜器、纺织品和景泰蓝。
1860年10月，在第二次鸦片战争进入高潮时，英法联军洗劫了圆明园。英国军队随后开始火烧整个遗址。这种对中国最重要宫殿群的广泛破坏以及造成的皇家艺术收藏品的流散，被认为是 19 世纪最严重的文化破坏行为之一。据估计，圆明园有数十万甚至数百万件文物被盗，其中许多现散落在世界各地，位于私人收藏和公共博物馆中。
about the speakerLouise Tythacott is Professor of Curating and Museology at the School of Oriental and African Studies (SOAS), University of London. Before joining SOAS, she worked as Woon Tai Jee Professor of Asian Art at Northumbria University and was the academic lead for the International Research Centre for the History and Culture of Nanzhao and Dali Kingdoms. She was formerly Pratapaditya Pal Senior Lecturer, then Professor, in Curating and Museology of Asian Art at SOAS (2014-20); Lecturer in Museology at the University of Manchester (2003-14); and Curator of Asian Collections at National Museums Liverpool (1996-2003). She was the lead curator for the World Cultures gallery at World Museum Liverpool, with specific responsibilities for the Asia and Buddhism displays. She has also worked as curator of a private Burmese textile collection, an Exhibitions Officer at the Royal Pavilion, Art Gallery & Museums, Brighton, a Managing Editor of the journal, Museum and Society – and she continues to work on museum projects and curate exhibitions.Continue reading
Louise’s research focuses on the collecting and display of Chinese and Buddhist art in museums. She recently co-edited a volume with Panggah Ardiyansyah, Returning Southeast Asia’s Past: Objects, Museums and Restitution (NUS Press, 2020). From 2017-2018, Louise secured a major philanthropic donation to undertake research on the histories of objects looted from China’s Yuanmingyuan in British and French museum collections and is presently completing a monograph on the ‘Summer Palace Diaspora’.
Her books include Surrealism and the Exotic (Routledge, 2003); The Lives of Chinese Objects: Buddhism, Imperialism and Display (Berghahn, 2011); Museums and Restitution: New Practices, New Approaches (Ashgate, 2014, co-edited with Kostas Arvanitis); Collecting and Displaying China’s ‘Summer Palace’ in the West: The Yuanmingyuan in Britain and France (Routledge, 2017); and Returning Southeast Asia’s Past: Objects, Museums, and Restitution (NUS Press, 2020 co-edited with Panggah Ardiyansyah).
Louise is an elected Fellow of the Royal Historical Society, the Royal Asiatic Society, the Royal Anthropological Institute and a Senior Fellow of the Higher Education Academy.
Louise Tythacott是伦敦大学亚非学院（SOAS）策展与博物馆学教授。在加入 SOAS 之前，她曾在诺森比亚大学担任Woon Tai Jee亚洲艺术教授，并担任南诏大理历史文化国际研究中心的学术带头人。她曾是SOAS亚洲艺术策展与博物馆学Pratapaditya Pal高级讲师，后任教授（2014-20年）；曼彻斯特大学博物馆学讲师（2003-14年）；利物浦国家博物馆亚洲收藏策展人（1996-2003）。她是利物浦世界博物馆世界文化画廊的首席策展人，专门负责亚洲及佛教展览。她还担任过缅甸私人纺织品收藏的策展人、布莱顿博物馆和美术馆英皇阁的展览官员、《博物馆与社会》杂志的执行编辑——她继续致力于博物馆项目和策展展览。
Louise的研究重点是博物馆收藏和展示的中国及佛教艺术。她最近与Panggah Ardiyansyah合编了一卷《回归东南亚的过去：文物、博物馆与归还》（新加坡国立大学出版社，2020 年）。自2017年到2018年，路易丝获得了一笔重大的慈善捐款，用于研究英国和法国博物馆收藏的中国圆明园被掠夺物品的历史，目前正在完成一部关于“圆明园大流失”的专著。
她的著作包括《超现实主义与异国情调》（Routledge，2003年）；《中国文物的生命：佛教、帝国主义与陈列》（Berghahn，2011年）；《博物馆与归还：新实践、新方法》（Ashgate，2014年，与Kostas Arvanitis共同编辑）；《在西方收集和展示中国“夏宫”：圆明园在英法》（Routledge，2017年）；以及《回归东南亚的过去：文物、博物馆与归还》（新加坡国立大学出版社，2020 年，与 Panggah Ardiyansyah共同编辑）。
7:30 - 8:00 PM
Moderated by Chen Ruida
about the speakerChen Ruida is currently a PhD candidate in International Law at the China University of Political Science and Law. His research interests include Private International Law, Comparative Law and International Cultural Property Law, focusing on the return and restitution of cultural property lost overseas and the emergence of a common international norm in the settlement of international cultural property disputes. His papers in this field areContinue reading
published at authoritative Chinese journals, e.g., Chinese Review of International Law, Academic Monthly. He was also an intern at the National Cultural Heritage Administration of P.R. China.
Research-based art practices in Southeast Asia
Caroline Ha Thuc Independent art writer, curator and researcher - China, Hong Kong
abstractSince the 2000s, more and more artists in Southeast Asia are engaged in research processes inspired by the social sciences, working as historians, archivists, archaeologists or sociologists, yet applying freely the methodologies of work of these disciplines. The outcome of the artists' research is exhibited as an artwork and not presented in a written and academic format. Still, these artistic “incursions” into academic fields are challenging the established system of knowledge production and in particular its domination by local authoritative discourses. Research appears thus as a new strategy to convey legitimacy and value to counter-narratives on social, cultural, historical and political issues, while bringing forth new creative possibilities and innovative epistemological languages.Continue reading
Drawing from extensive fieldwork, I seek to analyze this creative entanglement of academic and artistic research in Southeast Asia, in particular in Cambodia, Myanmar, Singapore and Vietnam, and to examine its epistemological significance as a potential new mode of knowledge production.
about the speakerDr Caroline Ha Thuc (b.1974 Paris, France) is an independent Hong Kong-based art writer, researcher and curator. Specializing in Asian contemporary art, she contributes to magazines such as ArtPress in France and Artomity/Cobo Social in Hong Kong. As a curator, she promotes dialogue between artists from different cultures while reflecting on contemporary social and political issues. Ha, Thuc holds a PhD from the School of Creative Media, CityU Hong Kong. Her research deals with artistic modes of knowledge production.Continue reading
Caroline Ha Thuc博士（1974年生，法国巴黎）是一位在香港的独立艺术作家、研究员和策展人。她专攻亚洲当代艺术，为不同的杂志撰稿，如法国的《艺术杂志》（ArtPress）、香港《艺源》（Artomity）和Cobo Social。作为策展人，她专注于促进不同文化艺术家之间的对话，同时反思当代社会和政治问题。Ha Thuc拥有香港城市大学创意媒体学院博士学位。她的研究涉及知识生产的艺术模式。
6:30 - 7:15 PM
The Arrival and the Otherwise
Riksa Afiaty and Sita Magfira Independent curator and artist - Indonesia, Yogyakarta / Hungary, Budapest
abstractIn 2013, the most extensive of the 18,000 Indonesian objects in the Netherlands, Museum Nusantara (Delft) was looking for a new caretaker. Due to the cutbacks of the cultural budget under the Rutte government, the museum finally found a reason to return the collection to the country of origin.Continue reading
The most common argument in the nationalist light regarding repatriation is related to the cultural property narrative. This view tends to define ‘national heritage’ to cater to the ‘unification’ of the nation-state’s Bhineka Tunggal Ika (Unity in Diversity). Alas, in the grassroot, some people are struggling for their own sovereignty and self-liberation. The talk will unpack around the notion of ‘ownership’, the hassle of the two-nation diplomacy, state interest, royal hereditary entitlement, and community embodiment over a restitution object.
We will also look at the exhibition entitled Kembali ke Tanah Merdeka (Return to the Independence Land) at the Indonesian National Museum that displayed the 150 returned objects out of 1500. We then identified these so-called ‘souvenirs and gifts’ and the significance of several archives as a way to introduce the concept of the colony.
about the speakerRiksa Afiaty is an art worker living and working in Yogyakarta. She seeks to contemplate decoloniality in artistic practice and curatorial framework. She has been involved in exhibition making in Jakarta, Maastricht, Ljubljana, and Brussels.Continue reading
Sita Magfira is currently an MA student in History in the Public Sphere program, an Erasmus Mundus Joint Master Degrees program. Prior to that, she is working as an independent researcher/curator in Yogyakarta, Indonesia. She was part of the Biennale Jogja XV Equator #6 curatorial team, where she worked as the assistant curator. She is also a member of Lifepatch, a citizen initiative in arts, science, and technology. Her interests are, but not limited to, oral history, memory, Socialism and the Third Word, transnational history (particularly on the connection between Eastern Central Europe and Southeast Asia), de-colonial studies, and community engaged art practices.
Sita Magfira目前是伊拉斯谟世界计划（Erasmus Mundus）联合硕士学位项目公共领域历史硕士生。在此之前，她在印度尼西亚日惹担任独立研究员和策展人。她是双年展赤道#6（Biennale Jogja XV Equator #6）策展团队的一员，担任助理策展人。她还是艺术、科学和技术领域公民倡议Lifepatch的成员。她的兴趣包括但不限于口述历史、记忆、社会主义和第三世界、跨国历史（特别是关于东中欧和东南亚之间的联系）、去殖民化研究和社群参与的艺术实践。
Beyond objects, the archival doubt as a working field
Catarina Simão Artist - Portugal, Lisbon
abstractThe dimension of storage of information in the archival representation has been at the core of my artwork since the development of The Mozambique Institute Project (Reina Sofia Museum, 2014), about the first anti-colonial school built in the 60’s by the Mozambique Liberation Front (FRELIMO). Since then, I started to deepen the experience of looking into centralized archives - ranging from the Frelimo's political archive, in Maputo, Mozambique, to the Quai-Branly Museum Archive, in Paris, France. As for this latter case, it’s where a collection of objects, documents and photographs come together from successive French museums founded in the colonial era (Trocadero Museum, Musée de L’Homme and Museum of Arts of Africa and Oceania). A specific refinement of the gaze, in this archive, is simply due to the accumulation of visual reports on a same object along the time, allowing a comparative view - for instance, series of records capturing different settings of one same African objet, in order to capitalize its value, according to favorable interpretation of its “presence” in Europe. If the archive offers elements that one cannot see by looking at that object live, it’s because the evaluation usually has to be done in the light of the present time. The paradox comes from realizing that while the exhibition space is organized geographically and strives on telling the story of the African object in its "original place”, the archive is organically telling the European story of that same African object. Infinity of nuances and realities are obscured by the very “coherence” that emanates from materiality. The very persistence of the sources blinds us to the need to imagine beyond the construction of reality by history. Using examples of my recent work in Mozambique and Europe, my presentation will favor the idea of a visual record without center, yet in which connections take place critically, categories are seen as forces that act in the object - regardless of its absence. This practice meant to displace the indexical nature out of its pretended neutrality, as so to allow thinking records retroactively anew as fostering technology for concepts as “authenticity”, “coloniality”, “nationalism” or “socialism”.Continue reading
about the speakerCatarina Simão is an artist and researcher living and working between Maputo and Lisbon. Her practice is built upon long-term research projects that entail collaborative partnerships and different forms of presentation to the public. Simão is known for her essay-like displays, using documentation, writing, video and drawing. She also engages in radio shows and public talks, participatory workshops, curating film screenings and publishing.Continue reading
Since 2009 that Simão works with the notion of Archive, engaging especially with Mozambique colonial and anti-colonial history. Heavily influenced by narratives of history, Simão approaches critically the counterpart of record’s custody, their mutable meanings and their ability to embody a deferred knowledge. She works mainly with film and video set in installation but also uses other figurative elements like photography, textbooks, drawing and sound. Simão’s work has been shown at Serralves Museum, Manifesta 8, Africa.cont, Reina Sofia Museum, Ashkal Alwan, New Museum, The Kyiv School, EVA International, Transit Gallery, Garage Museum and IASPIS, among others.
In Mozambique, Simão develops conditions for an artistic intervention within a social context by collaborating with local associations and institutions. She co-directed a Mozambique TV film called Djambo in 2016 and in 2019 she co-organized together with Oficina de História (Mozambique) the 1st Seminar on Restitution of art and artefacts to Mozambique (CCFM, May 2019). Since February 2020 she is co-editor of “Lutar Por Cabo Delgado”, a facebook page dedicated to composing an archive of filtered information and imagery on the ongoing war in Cabo Delgado, in the North of Mozambique.
Since 2020, Simão is member and part of the founding committee of AAVP – Associação de Artistas Visuais em Portugal, the organization for visual artists in Portugal.
Catarina Simão是一位在马普托和里斯本之间生活和工作的艺术家和研究员。 她的实践建立在需要合作伙伴关系和向公众做不同形式展示的长期研究项目之上。Simão以其类似于文章的展览而闻名，通过运用文档、写作、视频和绘图。 她还参与广播节目和公开演讲、参与式研讨会、策划电影放映和出版。
自 2009 年以来，Simão围绕档案的概念开展工作，尤其是与莫桑比克的殖民和反殖民历史相关。深受历史叙述的影响，Simão以批判性的态度对待记录的对应保管，它们的可变含义以及它们体现延迟的知识的能力。她的作品主要以电影和录像为装置，但也使用其他具象元素，如摄影、教科书、绘画和声音。Simão的作品曾在塞拉维斯当代艺术博物馆、Manifesta 8、Africa.cont、雷纳索菲亚博物馆、黎巴嫩造型艺术协会、纽约新当代艺术博物馆、基辅学校、EVA International、过境画廊、车库博物馆和 IASPIS 等地展出。
在莫桑比克，Simão通过与当地协会和机构合作，为在社会背景下进行艺术干预创造了条件。她于 2016 年联合导演了一部名为 Djambo 的莫桑比克电视电影，并于 2019 年与 Oficina de História（莫桑比克）共同组织了第一届关于向莫桑比克归还艺术和手工艺品的研讨会（CCFM，2019 年5月）。自 2020 年 2 月起，她担任Lutar Por Cabo Delgado的联合编辑，这是一个Facebook页面，致力于为莫桑比克北部德尔加杜角正在进行的战争编撰经筛选的信息和图像档案。
自2020年以来，Simão成为葡萄牙视觉艺术家协会（AAVP – Associaçãode Artistas Visuais em Portugal） 创始委员会成员。
8:00 - 8:30 PM
Moderated by Margarida Saraiva
The Stealing of Souls
Marian Pastor Roces Independent writer, curator and researcher
abstractThe paper is in two parts. The first goes into considerable grain about the Philippines and the dispersal of much of its traditional material culture. The second part considers this topic abstractly.Continue reading
The Spanish colonial imperative from its outset in the Philippines, from 1571, was religious conversation as much as imperialist resource extraction. Administrative statistics for a few centuries included the harvest of almas, souls, in tallying success. The same system prevailed in the entire Hispanic world. However, the Philippines today remains in the thrall of the particular Spanish Medieval Catholicism that the conquered population (at least nominally) accepted. This virulent strain of Christianity drives unapologetic Islamophobia that has led to a 50 year secessionist war; an insidious racism pervading social organization and politics; and cultural infrastructure that in large measure, to this day, is unknowing of elevated measures of quality in the cultural production of previous centuries. The dispersal of Philippine cultural material to museum and private collections in different parts of the world is simultaneously a massive history and metaphysical conundrum, which the paper will synthesize in a political critique. Specifically, that these materials remain obscure or are totally unknown to the majority of Filipinos is a major omission of the country's cultural institutions. This lack of work, except for a few projects through a century, in itself exposes cultural institutions as neocolonial to a remarkable degree in the Philippines. The vacant space in the nation's cultural memory is the "soul" of the title. The steal did not transpire in a legal domain, but at the level of a collective imagination.
The turn to abstract registers in the second part of the paper pivots on considerations of materiality and the imagination. This half does not draw insights from the Philippine information presented, instead taking the discussion into the emergence of civil society as a global cultural force that preserves a missionary spirit; and the non-government organizations that inadvertently appropriate the role of representation of indigenous peoples. Self-empowerment projects initiated among marginalized peoples, with an evangelical spirit (in both religious and secular senses), normatively organizes communities to pale and degraded versions of the kind of cultural material inaccessible or unknown to most parties involved. Governments, operating similar enterprises for similar beneficiaries, "upscale" and homogenize these efforts. In development circles, the operative word is "livelihood" projects, often involving "crafts" that are eroded versions of exquisite materials hidden from view. In art historical and museological circles -- which have very little contact with development workers -- the momentum is towards further exclusivity. Instead of reaching for a resolution or a set of recommendations, the paper articulates a position on the evangelical spirit; its corrupting force on culture and politics; and disappearance of traditional material culture in the impact zone of this quasi-religious force.
about the speakerMarian Pastor Roces is an art critic and curator based in Manila. Roces started writing art criticism in 1974 and since then she has penned numerous articles about traditional arts, museology, cultural theory, and politics. Her most recent book Gathering: Political Writing on Art and Culture (2019) is an anthology of her writings since the 1970s. Starting with her articles penned in the era of Ferdinand Marcos, Roces has argued that art, culture, and politics are inseparable.Continue reading
Roces acted as the director and curator of several museums, including Museo Ng Kalinangang Pilipino (Museum of Philippine Humanities), Museum of a History of Ideas at University of the Philippines, Yuchengco Museum, Museo Marino, and Museum of Contemporary Art and Design in Manila, among others. In the 1990s, she worked to create a global inventory of cultural heritage artefacts of the Philippines, which are in private and museum collections outside of the Philippines.
Marian Pastor Roces是驻马尼拉的艺术评论家和策展人。Roces于1974年开始撰写艺术评论，从那时起她撰写了许多关于传统艺术、博物馆学、文化理论和政治的文章。她最近的一本书《聚合：关于艺术与文化的政治写作》（2019年）是她自1970年代以来的作品集。从她在费迪南德·马科斯时代撰写的文章开始，Roces就认为艺术、文化和政治是密不可分的。
Roces担任多个博物馆的馆长和策展人，包括菲律宾文化博物馆（菲律宾人文博物馆）、菲律宾大学思想史博物馆、杨应琳博物馆、马里诺博物馆和马尼拉当代艺术与设计博物馆等。在 1990 年代，她致力于创建菲律宾以外全球私人和博物馆收藏菲律宾文物清册。
6:30 - 7:15 PM
Can Museums Preserve Our Stories?
Naman P. Ahuja Professor & Dean, School of Arts & Aesthetics, Jawaharial Nehru University - India, Delhi
abstractWhile the decolonisation of museums has become a fashionable phrase, Prof. Ahuja argues that its defining parameters may be offering too little too late for the ‘developing’ world. Inequities of gender, caste, environmental degradation, ruthless urbanisation and other burning issues need urgent attention in those countries which cannot be addressed by ‘decolonisation’ or ‘repatriation’ alone. Through his curatorial work and publications, he has tried to move the conversation beyond the ownership of objects to focus instead on the sharing of knowledge and the capacity building of the countries that lack a vibrant museum sector. His critiques of the limitations and even counterproductive nature of the 1972 UNESCO regulation prohibiting the illegal trafficking of antiquities, have brought attention to the systemic and real problems faced by poor, “asset rich” source countries like India. The third issue he addresses is with regard to the larger question of the rights over artefacts: can a nation state which refugees or diasporic communities have fled still make a rightful claim to their artefacts? In his most recent publication on museum futures, he makes a case that it is not just objects that are stolen but even the stories that objects enable. Many stories in fact, are simply lost for lack of care. He urges the museum to grow into an institution that preserves not just objects but the many narratives they enable. In his talk, Prof. Ahuja will provide a few case studies to illuminate how he has addressed these issues in his curatorial practice.Continue reading
about the speakerNaman P. Ahuja is a curator and Professor at Jawaharlal Nehru University, New Delhi and Editor, Marg Publications. His studies on Indian art have explored the aesthetics of Indian visual culture, iconography and transculturalism in antiquity, as well as the legacy of the Arts and Crafts Movement in the modern period.Continue reading
Apart from various research papers, he has authored the following books: Divine Presence: The Art of India and the Himalayas (Casa Asia and Five Continents Editions: Barcelona and Milan, 2003), The Making of the Modern Indian Artist-Craftsman: Devi Prasad (Routledge, 2011), The Body in Indian Art and Thought (Ludion, Antwerp, 2013), The Arts and Interiors of Rashtrapati Bhavan: Lutyens and Beyond (Publications Division, Delhi, 2016), India and the World: a history in nine stories (Delhi: Penguin, 2017) and more recently: The Art & Archaeology of Ancient India, Oxford: Ashmolean Museum, November 2018.
Naman P. Ahuja是新德里贾瓦哈拉尔尼赫鲁大学的策展人和教授，也是Marg Publications的编辑。他对印度艺术的研究探索了古代印度视觉文化、图像学和跨文化主义美学，以及现代工艺美术运动遗产。
除了各种研究论文外，他还撰写了以下书籍：《神圣的存在：印度和喜马拉雅山的艺术》（Casa Asia and Five Continents Editions：巴塞罗那和米兰，2003年）、《现代印度艺术家—工匠的塑造：德维·普拉萨德》（Routledge，2011 年），《印度艺术和思想中的身躯》（卢迪翁、安特卫普，2013 年），《总统府的艺术和室内设计：勒琴斯及其他》（Publications Division，德里，2016 年），《印度与世界：九个故事的历史》（Penguin，德里，2017 年）以及最近出版的《古印度的艺术与考古》（牛津：阿什莫林博物馆，2018 年 11 月）。
7:15 - 8:00 PM
The history of public spaces in Mozambique: between written archives and oral memories
Maria Paula Meneses Principal researcher at the Centre for Social Studies, University of Coimbra, Portugal
abstractAt a time when the history of public spaces has become a challenge to official historiographies, this presentation, centered on the city of Maputo, Mozambique, examines the political projects that have spurred the decolonization of the urban landscape. Based on the analysis of changes in toponymy and public monuments in the last four decades, this article seeks to reflect on the politics of memory and representation: the ways in which a particular version of a historical event and its agents is celebrated and maintained for posterity. In this context, several questions arise: since the streets are a public space, who owns the 'heritage' that is being commemorated? Who evokes this 'heritage' as synonymous with a national community? What historical silencing are taking place? How can changes in historical or political processes transform the ways in which we experience history in public spaces?Continue reading
about the speakerMaria Paula Meneses is coordinating researcher at the Center for Social Studies (CES) at the University of Coimbra.Continue reading
Mozambican, completed her secondary education in Maputo. She obtained his master's degree in history from the University of St. Petersburg (Russia) and a doctorate in anthropology from Rutgers University (USA). She started her scientific career at Eduardo Mondlane University (Maputo) in 1989, and in 2004 she moved as a researcher to CES, where she teaches in several doctoral programs, and is coordinator of the doctoral program in "Post-colonialisms and Global Citizenship ".
Her research interests focus on post-colonial debates in the African context, legal pluralism, the role of official history, memory and other narratives of belonging in contemporary identity processes. As a researcher, she has participated in numerous research projects and is currently conducting research on affective relationships during the nationalist war in Mozambique.
She has published several books and articles, including “Knowledges born in the struggle” (Routledge, with Boaventura de Sousa Santos), and “Mozambique on the Move; challenges and reflection” (Brill, with Sheila Khan and Bjorn Bertelsen). His work is published in several countries, including Mozambique, Spain, Portugal, Brazil, Senegal, United States, Argentina, Mexico, England, Germany and Colombia.
Maria Paula Meneses是科英布拉大学社会研究中心的助理研究员。莫桑比克人，在马普托完成了中学教育。她在圣彼得堡大学（俄罗斯）获得历史学硕士学位和罗格斯大学（美国）人类学博士学位。她于1989 年在爱德华多蒙德拉内大学（马普托）开始了她的科研生涯，并于2004 年成为科英布拉大学社会研究中心的研究员，在那里她教授多个博士项目，并担任“后殖民主义和全球公民”博士项目的协调员。
她出版了数本书和文章，包括《在斗争中诞生的知识》（Routledge，与 Boaventura de Sousa Santos合著）和《行动中的莫桑比克：挑战与反思》（Brill，与Sheila Khan和 Bjorn Bertelsen合著）。她的作品在多个国家出版，包括莫桑比克、西班牙、葡萄牙、巴西、塞内加尔、美国、阿根廷、墨西哥、英国、德国和哥伦比亚。
8:00 - 8:30 PM
Moderated by Akiko Sugiyama & Margarida Saraiva
about the speakerAkiko Sugiyama is a researcher and historian based in Kuala Lumpur. She is currently an integrated researcher of the South and Southeast Asia research group in the Orient Institute, University of Lisbon and a research associate in the Visual Studies Program, University of Malaya. She has previously taught Southeast Asian history and world history at universities in Malaysia, Macau SAR, and the United States. She obtained a PhD in History, majoring on the history of modern and traditional Southeast Asia, from the University of Hawai’i at Mānoa. Her current research interests lie in the circulation of music and art in Southeast Asia and the Indian Ocean region, public history of performing arts focusing on the Malay gamelan, and family history in Southeast Asia.Continue reading