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Exhibitions as Research

Displaying the Technologies That Make Bodies Visible

Anita Herle

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.

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Exhibition Reviews

Arktis: Medan isen smälter (The Arctic: While the Ice Is Melting); Empowering Art: Indigenous Creativity and Activism from North America’s Northwest Coast; The New Austronesia Hall; Changsha Mawangdui Han Dynasty Tombs Exhibition; Goddess: Power, Glamour, Rebellion; The Tenth Asia Pacific Triennial of Contemporary Art

Isabelle Gapp, Rose Taylor, Ching-yueh Hsieh, Jingjing Zhou, Caroline Colbran, and Emily Poore

, ceiling projections, and interactive stations, this award-winning exhibition frames Indigenous communities and the work of non-Indigenous researchers through the omnipresence of ice and ice melt around the Arctic, encompassing Alaska, Inuit Nunangat

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Exhibition Reviews

Simon Hilton-Smith, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan

[Re:]Entanglements: Colonial Collections in Decolonial Times Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022) The [Re:]Entanglements exhibition asks questions about the purpose of historical

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Aparna Kumar, Mary Bouquet, Alexandra Woodall, Paulette Wallace, Arjmand Aziz, Elizabeth Edwards, and Petra Mosmann


Unsettling the National in South Asia: My East is Your West, Venice Biennale, and After Midnight, Queens Museum, New York

Nonstop Modernity: Renovating the Rijksmuseum

A Storehouse of Unimagined Treasures: York Art Gallery and the Centre of Ceramic Art, York St Mary’s


The Museum of Old and New Art, Hobart

Indigenous Australia: Enduring Civilisation, British Museum, London

Photography: A Victorian Sensation, National Museums of Scotland, Edinburgh, and Framed: People and Place in Irish Photography, Ulster Museum, Belfast

Girls at the Tin Sheds: Sydney Feminist Posters 1975–1990, University Art Museum, Sydney, and Girls at the Tin Sheds (Duplicated), Verge Gallery, Sydney

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Sharon Ann Holt, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach, and Olga Zabalueva

Exhibition Review Essays

The National Museum of African American History and Culture, Washington, D.C.

After Darkness: Social Impact and Art Institutions

Exhibition Reviews

Behind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José

“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, Christchurch

Heavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New York

Anche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, Turin

Rethinking Human Remains in Museum Collections: Curating Heads at UCL

Ritratti di Famiglia, the Archaeological Museum, Bologna

100% Fight – The History of Sweden, the Swedish History Museum, Stockholm

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Exhibition Review Essays

Bruno Brulon Soares, Jennifer Coombes, Ailish Wallace-Buckland, and Hollie Tawhiao

community of Vila Autódromo from the gentrified city that continues to expand and advance to its peripheries (see Figure 1 ). While walking through the space of its land-based exhibition, it is in the fragments on the ground, the remains of an urban

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Exhibition Review Essay and Reviews

Emily Stokes-Rees, Blaire M. Moskowitz, Moira Sun, and Jordan Wilson

Exhibition without Boundaries teamLab Borderless and the Digital Evolution of Gallery Space As ridiculous as it might sound today, one might argue that the development of exhibitionary space began with the ancient cave paintings of the

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Introduction: World Fairs, Exhibitions and Anthropology

Revisiting Contexts of Post-colonialism

Patrícia Ferraz de Matos, Hande Birkalan-Gedik, Andrés Barrera-González, and Pegi Vail

feasts of wealth and power ( Matos 2014: 1 ). With five articles focusing on diverse, less-mapped territories, this special issue examines various aspects of world fairs and other great exhibitions in the past and the repercussions they may still have on

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Memory Makers of the Great Patriotic War

Curator Agency and Visitor Participation in Soviet War Museums during Stalinism

Anne E. Hasselmann

-Archive) Museum visits in the Soviet Union were generally organized as group visits. Guides such as Mariia Nazarova would lead school classes, working collectives, Komsomol groups, or soldiers through the exhibitions. Spontaneous, individual visits without a guide

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The Exhibition of Botocudos at Piccadilly Hall

Variations of an Anthropological Show, from the Museum to the Circus

Marina Cavalcante Vieira

The Brazilian Anthropological Exhibition, promoted by the Museu Nacional do Rio de Janeiro [National Museum of Rio de Janeiro] in 1882, was a scientific event that aimed to both popularise anthropological science among the public of the court of