Wellcome Collection, London, 1 December 2016 — 21 May 2017
Curated by Honor Beddard
Exhibited are over 100 objects from literature, film, taxidermy and photography reflecting what we think, feel and value about other species and the consequences this has for the world around us.
The collection includes works by contemporary artists such as Allora, Calzadilla and Phillip Warnell and asks how and why we look at animals and what we see when we do that. It is organised around four themes: ‘Ordering’, ‘Displaying’, ‘Observing’ and ‘Making’, and it opens with Marcus Coates’ Degreecoordinates, Shared traits of the Hominini (Humans, Bonobos and Chimpanzees), 2015.
‘Making Nature’ reveals the hierarchies in our view of the natural world, and questions how these influence our actions and inactions towards the planet: from the formalisation of natural history as a science, through the establishment of museums and zoos, to lavish contemporary wildlife documentaries.
More info and the free downloadable large print guide text (also available in the gallery) are available here.
“Although the German Empire was one of the major European colonial powers, only in recent years has Germany‘s colonial past found its way into public consciousness to a significant degree. The exhibition of the Deutsches Historisches Museum examines the colonial ideology, which was founded in the belief of a European superiority. The multifarious interconnections of power ranged from local alliances and the routine exercise of violence on up to the colonial war in Namibia, which developed into genocide. No less varied were the colonial encounters. African, Oceanian and German players pursued their own aims and worked out their own scope of action. The exhibition sheds light on the motives of the missionaries, officials, military personnel, settlers and merchants on the German side as well as the interests of the colonialized peoples. At the same time it questions the degree to which the perspectives of the colonialized peoples were taken into account in the historical tradition and whether this stands in contradiction to the enormous extent of the collections and archives that were gathered during the colonial period and which tended to support the conditions of power.
Such an explicit colonial consciousness continued on after 1919. The exhibition devotes no little room to this controversial memory of the colonial past, while artistic as well as civil societal perspectives give us insight into the present situation as to the attitude towards
German colonialism in the countries that were affected as well as in Germany.”
On Saturday, September 24 the museum will be opening to the public.
“After 13 years of hard work and dedication on the part of so many, I am thrilled that we now have this good news to share with the nation and the world,” said Lonnie Bunch, the museum’s founding director.
The museum will open with 11 inaugural exhibitions that will focus on broad themes of history, culture and community. The exhibitions have been designed by museum historians in collaboration with Ralph Appelbaum Associates. These exhibitions will feature some of the more that 34,000 artifacts the museum has collected since the legislation establishing it was signed in 2003. The museum’s collections are designed to illustrate the major periods of African American history. Highlights include: a segregation-era Southern Railway car (c. 1920), Nat Turner’s Bible (c. 1830s), Michael Jackson’s fedora (c. 1992), a slave cabin from Edisto Island, S.C. plantation (c. early 1800s), Harriet Tubman’s hymnal (c. 1876) and works of art by Charles Alston, Elizabeth Catlett, Romare Bearden, and Henry O. Tanner.
This booklet was produced by John Murray Forbes in December 1862 specifically for Union soldiers to read and distribute among African Americans.
Collection of the Smithsonian National Museum of African American History and Culture
Around the event, a three-day festival showcasing popular music, literature and dance, some of them co-hosted by other museums around the country and in Africa, will take place.
More informations about the museum can be found here.
Two major works by leading contemporary artist Yinka Shonibare MBE are currently presented as part of the 14-18 NOW programme of World War 1 Centenary Art commissions at the Turner Contemporary.
Yinka Shonibare’s sculptural work End of Empire explores how alliances forged in the First World War changed British society forever; it explores themes of conflict, empire and migration in the centenary year of The Battle of the Somme. In addition, the colourful work The British Library addresses issues related to immigration and its impact on contemporary British culture: shelves of books covered in colourful wax fabric are displayed bearing the names of first and second generation immigrants who have enriched British society.
The Cleveland Museum of Art, 31 July — 23 October 2016
The dream of Zulaykha, from the Amber Album, c. 1670. India, Mughal. Opaque watercolor and gold on paper; 32 x 24.4 cm (page); 21.9 x 15.4 cm (painting). The Cleveland Museum of Art, Gift in honor of Madeline Neves Clapp; Gift of Mrs. Henry White Cannon by exchange; Bequest of Louise T. Cooper; Leonard C. Hanna Jr. Fund; From the Catherine and Ralph Benkaim Collection, 2013.332 (recto).
The centennial exhibition Art and Stories from Mughal India focuses on four stories—an epic, a fable, a mystic romance, and a sacred biography—embedded within the overarching story of the Mughals themselves as told through 100 paintings drawn from the Cleveland Museum of Art’s world-class holdings.
The Mughal Empire existed for more than 300 years, from the early 1500s until the arrival of British colonial rule in 1857, encompassing territory that included vast portions of the Indian subcontinent and Afghanistan. The Mughal rulers were Central Asian Muslims who assimilated many religious faiths under their administration. Famed for its distinctive architecture, including the Taj Mahal, the Mughal Empire is also renowned for its colorful and engaging paintings. Many of these take the form of narrative tales that not only delight the eye but also reveal fascinating ways in which the empire’s diverse cultural traditions found their way into royal creative expressions.
Rounding out the exhibition is a selection of costumes, textiles, jewelry, arms and armor, architectural elements, and decorative arts on loan from museums across the country.
Interested can explore the free Mughal app for a more in-depth experience.
Mungpoo is a small town in the Darjeeling district of West Bengal. It is about 33 kilometres from Darjeeling & about 52 kilometres from Siliguri. The land in the place is controlled by the Directorate of Cinchona & Other Medicinal Plants.
Mungpoo was the last place Rabindranath Tagore visited prior to his death. He was staying with his dear friend Maitreyi debi, when his health started deteriorating. The ailing poet was rushed back to Kolkata, shortly after which he passed away. Maitreyi Debi’s home in Mungpoo was converted into the national museum Rabindra Bhavan, housing some of Tagore’s relics.