FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Kathrin Hoffmann-Curtius (2014): Bilder zum Judenmord. Eine kommentierte Sichtung der Malerei und Zeichenkunst in Deutschland von 1945 bis zum Auschwitz-Prozess. Marburg a.L., Jonas Verlag
Get PDFRiskante Projekte? Ökonomische Praktiken und Mobilität von Händlerinnen in der Kolonie New Netherland
Get PDFThis paper discusses economic practices of women in the Dutch colony New Netherland. As letters, court records and engravings show, women of the 17th century were involved in the colonial transatlantic and global trade of goods — predominantly fur — in many ways. Thus the dichotomous narratives of men as global players and women as locally bound are no longer justified. Instead, we need new perspectives that focus on the gender specificity of economic activities in Early Modern Times. Suggesting to analyze the history of global enterprises in the 17th century as a history of projects this paper focuses on the risks of failure and their impact on the economic behavior of men and women alike
Gendering the transnational. Gender und Medien transnationaler Historiografie im Musée des civilisations de l’Europe et de la Méditerranée Marseille (MuCEM)
Get PDFThe article examines how national museums currently try to overcome national narratives by focussing on the former ethnological national museum in France, the MuCEM in Marseille. Starting from the observation that ‘general’ national history is male and white, written mainly by white men and marginalizing women’s lives, this article asks whether the opening of national towards transnational museums leads to a deconstruction of hegemonic identity categories like ‘nation’ and ‘gender’. The paper therefore analyzes one selected display from the MuCEM with a focus on the media used to exhibit transnational history
Paradoxien der Intervention: Das Humboldt Lab Dahlem
Get PDFThe Humboldt Lab Dahlem is a series of temporary exhibitions and interventions that are meant to support the exhibition planning for the future Humboldt-Forum in Berlin’s re-erected City Palace. Taking place in the permanent exhibitions of Berlin’s Ethnological Museums and the Museum of Asian Art whose exhibitions will eventually move into the Palace, the Lab has the potential to playfully interrogate passed-on practices of museum representation of ‘non-European’ arts and cultures. By means of analyzing one of the first Humboldt Lab exhibition projects, this article asks about the potentials of the Lab to intervene in established modes of exhibiting and (ethnographic) knowledge production. It will show that being a part of the future Humboldt-Forum institution, the Humboldt Lab is a space of possibility as it demarcates, at the same time, this possibility’s very limits
Museum als Asyl? Überlegungen zu Asyl Stadtmuseum – einer künstlerischen Ausstellung von Pélagie Gbaudi und Stefanie Oberhoff
No full textThe collaborative exhibition Asyl Stadtmuseum (Asylum City Museum) by the two artists Stefanie Oberhoff and Pélagie Gbaudi was on show at the City Museum Munich from October 2013 to November 2014. Based upon shared interests in feminism and post-colonialism in artistic, curatorial and theoretical practice, the two authors turned the exhibition into their space for work and thought. Central to their line of thought is the question how curatorial and artistic methods can be combined with feminist theory and post-colonial studies to critique the deficiencies of the institutional logic of the museum. Going beyond the reach of a temporary exhibition at the museum, Asyl Stadtmuseum is marked by complex chronopolitics that mutually implicate contemporary processes of globalization and EU asylum policies in the legacy of colonialism.
Zeigen – Sich-Zeigen. Zur doppelten Struktur der Repräsentation von Museen am Beispiel des Schwulen Museums*
Get PDFMuseums are institutions of power that, on the one hand, present objects to visitors and, on the other hand, show themselves as institutions with a specific identity. Within this double structure of representation, museums produce knowledge about the displayed objects as well as about themselves. They can include or exclude minor social or cultural groups. The article analyses the Schwules Museum* as an example for a political project from the 1980s that has been transformed into an institution and has therefore become a cultural player in the museum business. Based on this assumption, the article raises question like: “How does the Schwules Museum* displays its objects and represent itself to the public?” “Does the museum exclude people?” “Which role do power relations play regarding what is shown and what is not shown?” Following up Mieke Bal’s critical analysis of the American Museum of Natural History and her concept of the ‘Metamuseum’, this article takes a closer look at the two ways of representation at the Schwules Museum* with a special focus on the reflexiveness and self-awareness of the museum, as an institution that is not free from ideological implications
Tierisch bürgerlich. Musealisierung von Natur und Geschlecht in Regionalmuseen
Get PDFGender & Science Studies have shown that ideas of nature participate in the production of knowledge about gender. This paper combines the analysis of museums with Gender & Science Studies by looking into negotiations of nature and gender in four local museums in Germany. Although their representation of nature contains destabilizing elements and offers some critical potential, this article points to the museal reproduction of heteronormative structures in the museums. Gender codifications of nature in local museums are diverse and polyvalent, but nevertheless they support gender stereotypes. Unsettling elements are marginalized and discursively negated