The choice of the following elaborate dates back to a group project I have been able to conduct with my two other collegue during the first year of my Master Degree, in relation to the “Decolonial Strategies” course. Our work, was exclusevely focused on the tematic of restitution of colonial art-works to their legitimate owners, a struggle already existing in less recent times but which actually became definetely object of our current days cultural and political debate right after the French President Emmanuel Macron’s speech of 2017. I have always been fascinated by the cultural and museal field, hence, the awareness deriving from the perspectives provided by the course led me to deepen how the decolonisation of the western cultural heritage represents now more than ever a fertile ground to implement a set of new strategies and approaches persuing the ultimate goal of removing all the relationships based on the supramacy of a culture over the other ones, toward a more inclusive and equal way to approach to the museum field and cultural ones in general. The attempt is that of show how, despite the several laws against the illegitimate appropriation, Western museums appears full of artwork carried away during the colonial period and never returned: the voice of their legitimate owners has become louder and louder through these years, and in the following pages will be taken into account the best practices implemented toward an open dialogue with them, passing through the juridical field, moving on the conceptual one, trying to assume wether or not the repatriation of the artwork in question is possibile, while presenting the “easier” process of decolonisation as a more concrete and urgent one.
La scelta del seguente elaborato risale ad un progetto di gruppo che ho avuto la possibilità di condurre con due dei miei colleghi durante il primo anno del mio Master, in relazione al corso "Decolonial Strategies". Il nostro lavoro si è esclusivamente focalizzato sul tema della restituzione di opere d'arte coloniale ai loro legittimi proprietari, una lotta già esistente in tempi meno recenti, ma che in realtà è diventato definitivamente oggetto del nostro dibattito culturale e politico in seguito al discorso del presidente francese Emmanuel Macron, nel 2017. Sono sempre stata affascinata dal campo culturale e museale, quindi, la consapevolezza derivante dalle prospettive fornite dal corso mi ha portato ad approfondire come la decolonizzazione del patrimonio culturale occidentale rappresenti al giorno d'oggi più che mai un terreno fertile per attuare una serie di nuove strategie e approcci, perseguendo l'obiettivo finale di rimozione tutte le relazioni basate sulla sopraffazione di una cultura rispetto alle altre, verso un approccio più inclusivo e paritario all'interno dei settori culturali e museali. Il tentativo sarà quello di mostrare come, nonostante le diverse leggi contro l'appropriazione illegittima, i musei occidentali appaiono pieni di opere d'arte portate via durante il periodo coloniale e mai restituite: la voce dei loro legittimi proprietari è diventata sempre più forte attraverso questi anni, e nelle pagine seguenti saranno prese in considerazione le migliori pratiche attuate verso un dialogo aperto con loro, passando attraverso il campo giuridico, per poi spostarsi verso quello concettuale, cercando di presumere che il rimpatrio dell'opera in questione sia possibile o meno, presentando il più "semplice" processo di decolonizzazione come più concreto e urgente.
Il visibile e l'invisibile: l'arte tra il monopolio museale e la decolonizzazione culturale
KRAUL, CARLOTTA
2021/2022
Abstract
The choice of the following elaborate dates back to a group project I have been able to conduct with my two other collegue during the first year of my Master Degree, in relation to the “Decolonial Strategies” course. Our work, was exclusevely focused on the tematic of restitution of colonial art-works to their legitimate owners, a struggle already existing in less recent times but which actually became definetely object of our current days cultural and political debate right after the French President Emmanuel Macron’s speech of 2017. I have always been fascinated by the cultural and museal field, hence, the awareness deriving from the perspectives provided by the course led me to deepen how the decolonisation of the western cultural heritage represents now more than ever a fertile ground to implement a set of new strategies and approaches persuing the ultimate goal of removing all the relationships based on the supramacy of a culture over the other ones, toward a more inclusive and equal way to approach to the museum field and cultural ones in general. The attempt is that of show how, despite the several laws against the illegitimate appropriation, Western museums appears full of artwork carried away during the colonial period and never returned: the voice of their legitimate owners has become louder and louder through these years, and in the following pages will be taken into account the best practices implemented toward an open dialogue with them, passing through the juridical field, moving on the conceptual one, trying to assume wether or not the repatriation of the artwork in question is possibile, while presenting the “easier” process of decolonisation as a more concrete and urgent one.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/11279