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Exhibiting 'Migration'

Examples from Vienna

Danila Mayer

In the last decade or so, several projects to exhibit 'migration' were staged in Austria's capital, Vienna. They were undertaken in various contexts: in museums, as part of art shows and in art festivals. These efforts are taken under scrutiny by the author, regarding their production, their way of enabling participation and articulation, and the new perspectives they opened. It is argued that through efforts of formerly excluded groups a change came about in how the figure of the 'migrant', and the various processes of migration, are perceived.

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Fabrice Virgili and Danièle Voldman

Last spring in France a controversy arose over an exhibit of André Zucca's photographs of Paris under German occupation. The well-known photo journalist worked for the Nazi magazine Signal during World War II. For that reason, some people disapproved of an exhibit on the work of a former "collaborateur," a man who, in a way, helped Hitler's Germany. Those who prepared the exhibit justified the project on the basis of the beauty of Zucca's colored photos and the rarity of wartime color photos. They insisted on the importance of his use of agfacolor film, which was generally available only to Germans. Critics of the exhibition found Zucca's privileged access all the more disturbing. An analysis of the archives from the period exposes the complexity of the affair and the need for further research. Evidence from documents on Zucca's activity and opinions during the war reveal a man little interested in the world except to photograph it.

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Silke-Maria Weineck

This essay concerns one of the strangest exhibits of all time: the display of Friedrich Nietzsche’s live body in Villa Silberblick, a house overlooking Weimar, the “City of European Culture” in 1999. Since Weimar’s self-representation is organized almost entirely around the glory of a handful of long-dead men and the public spaces devoted to them, the town might as well have declared itself “City of Museum Culture.” Indeed, its culture has been strange at times, and its contradictions are not all that badly summed up in the double meaning of Silberblick, which can mean both silver view and cross-eyed vision. In the story of Nietzsche’s final years we will encounter both the silvering and the squinting.

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Johanna Zetterstrom-Sharp, Ciraj Rassool, Bruce Levy, Vera Mey, Jeanette Atkinson, Elizabeth Rankin, Ying Ying Lai, Linda Young, Christian Mesia Montenegro, and Conal McCarthy

Fetish Modernity (Museum of Ethnography, Stockholm)

Remaking an Ethnographic Museum in Cologne (The New Rautenstrauch-Joest Museum—Cultures of the World)

The George W. Bush Presidential Center (Dallas, Texas)

Moving on Asia: Towards a New Art Network 2004–2013 (Gallery LOOP, Seoul, and City Gallery Wellington)

L'Art Nouveau: La Révolution Décorative and Tamara de Lempicka (La Reine de l'Art Déco, Pinacothèque de Paris)

Staatliches Museum Ägyptischer Kunst, Glyptothek, and Alte Pinakothek, Munich

Tangible Splendor: The Chi Chang Yuan Collection of Lacquer with Mother-of-Pearl Inlay (National Museum of History, Taipei)

First Peoples (Bunjilaka Aboriginal Cultural Centre, Melbourne Museum Linda Young)

The National Museum of Archaeology, Anthropology and History, and the National Museum of Peruvian Culture, Lima

David Bowie Is (Victoria and Albert Museum, London, Art Gallery of Ontario, Toronto, and Martin-Gropius-Bau, Berlin)

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Curating Conflict

Four Exhibitions on Jerusalem

Sa'ed Atshan and Katharina Galor

military occupation that constantly threatens their stability and permanence in the space. In this study, we examine four Jerusalem-focused museum exhibits from around the world to demonstrate how curators have shaped competing heritage narratives. These

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Holistic Houses and a Sense of Place

Contextualizing the Bishop Museum Hale Pili Exhibit through Archaeological Analyses

Jennifer G. Kahn

emphasizing folk housing as an element of material culture grounded in social relations. Finally, I end with a discussion of how the staged authenticity of museum exhibits allows for such material culture to remain “alive” for the descendant stakeholders, a

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Mary A. McMurray

Museum Exhibit Review Toy and Miniature Museum of Kansas City

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Nicholas Thomas, Adrian Locke, Noelle M. K. Y. Kahanu, Simon Jean, and Lagi-Maama

that had never been seen beyond the museums in which they are cared for, that had never been published, or, in some cases, that had never been exhibited. We wanted to draw attention to what might be called “unknown masterpieces,” to the extraordinary

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Cannabis Culture on Display

Deviant Heritage Comes Out of the Shadows

Rachel F. Giraudo

cannabis, and its “deviant heritage,” visible. I further elaborate upon these concepts in this article with respect to documenting and exhibiting cannabis as part of the heritage of the United States. Through museum visits, personal correspondence

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Benjamin Abrams

If there is a single academic craft that is most sorely neglected in doctoral programs, most infrequently honed over the course of one's career, and most inconsistently exhibited at the top ranks of the academy, it is the practice of reviewing an