York in the 1970s, where feminist activism had inspired artists to create work that challenged gender stereotypes and celebrated the female form. This influential new body art movement included the likes of Yayoi Kusama, Yoko Ono, and Carolee Schneemann
Displaying the Technologies That Make Bodies Visible
Drawing on a recent exhibition, Assembling Bodies: Art, Science and Imagination, at the University of Cambridge Museum of Archaeology and Anthropology (MAA), this article argues that curatorial techniques, involving a sustained engagement with objects, can play a vital role in anthropological research. Processes involved in the creation and reception of the exhibition facilitated the investigation of how bodies are composed, known, and acted upon in different times, places, and disciplinary contexts. Assembling Bodies attempted to transcend the dualism of subject and object, people and things, by demonstrating how different technologies for making bodies visible bring new and oft en unexpected forms into focus. Processes of exploration and experimentation continued after the exhibition opened in the discussions and activities that the displays stimulated, and in the reflections and ideas that visitors took away.
A Sartrean Analysis of Filmic Violence
, and could be considered part of a movement of “extreme”, “ultraviolent”, or “body” art cinema ascendant at that time. 13 Their directors – Aronofsky and McQueen – are contemporary auteurs recognized as leaders of this movement in the English
The Second World Museologies Workshop, National Museum of Ethnology (MINPAKU), Osaka, December 2019
Laura Osorio Sunnucks, Nicola Levell, Anthony Shelton, Motoi Suzuki, Gwyneira Isaac, and Diana E. Marsh
: Celestial Bodies, Art & Sounds , at Saahlinda Naay (2020). Levell described her relations with artists, Indigenous knowledge-holders, and astrophysicists in the construction of the exhibition, and she introduced the work of the French curator Nicolas