http://www.christophbalzar.com ChristophBalzar Tue, 22 May 2012 08:48:09 +0000 http://www.christophbalzar.com en http://www.christophbalzar.com/NEWS-Reopening-of-MAA http://www.christophbalzar.com/following/christophbalzar.com/NEWS-Reopening-of-MAA Tue, 22 May 2012 08:48:09 +0000 ChristophBalzar 3450420 REOPENING OF MAA THURSDAY MAY 24TH, 6-8 PM Museum of Archaeology and Anthropology Downing Street, Cambridge CB2 3DZ Telephone 01223 333516 <img src="http://payload57.cargocollective.com/1/1/61674/3450420/invitation image.jpg" width="500" height="376" width_o="500" height_o="376" src_o="http://payload57.cargocollective.com/1/1/61674/3450420/invitation image_o.jpg" data-mid="17776448" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/1/61674/3450420/show_image_500.gif" width="500" height="49" width_o="1560" height_o="154" src_o="http://payload57.cargocollective.com/1/1/61674/3450420/show_image_o.gif" data-mid="17776415" border="0" align="left"/> Screening of PARTIAL PROCLAMATIONS, 3:45mins, digital video, 2012 in the new Tasmania permanent exhibition by Khadija Carroll La The camera traces the non-linear significances of viewing a colonial cartoon with video close-ups and photographs taken through a microscope. This film uses the a scientific conservation technique of analysing the materials of paintings on the remaining proclamation boards in the MAA, the Peabody Museum, Museum Victoria, and the Tasmanian Museum and Art Gallery. This painted pine board visually proclaims the equality of law in colonial Tasmania, yet its message was at odds with the practices of the colonial government, which declared martial law between 1828 and 1832. It is one of the few remaining examples, likely reproduced in the hundreds by convict artists during the Black War that indigenous Tasmanian guerrillas waged on British settlements between 1804-1832. Directed and Edited by Khadija Carroll La, featuring a board from the Protocol Archive by Christoph Balzar, assisted by Emily Ross. THE MUSEUM MAA has completed the first stage of an ambitious redevelopment. The Museum re-opens to the public on 25 May, with a new entrance that will give the Museum a new face and welcome the broadest possible audiences. New exhibitions present the archaeology of Cambridge and highlights drawn from the collections as a whole, presenting objects that have never previously been exhibited and current research. These researchers, the curators and artists in residence, will give tours through the exhibitions all day from 11-5 on Saturday May 26th Sunday May 27th. http://www.christophbalzar.com/NEWS-Sackgasse-Museum http://www.christophbalzar.com/following/christophbalzar.com/NEWS-Sackgasse-Museum Thu, 10 May 2012 08:59:12 +0000 ChristophBalzar 3377629 Sackgasse Museum Vortrag und Diskussion mit Christoph Balzar Universität Siegen: Fakultät II KUNST am 24.5.2012, 14.30-16 Uhr im neuen Seminarraum BH A / 2 / 206 In seiner Arbeit untersucht der Künstler und Kurator Christoph Balzar die Repräsentation von indigenen Kulturen in kulturhistorischen Museen. Im Zentrum seiner Forschungen steht dabei die Trennung von europäischer und außereuropäischer Kunst. Obwohl diese schon lange von postkolonialen Theoretikerinnen als erkenntnistheoretische Sackgasse gewertet wird, scheitern immer wieder Annäherungsversuche von ethnologischen und Kunstmuseen. Welche Rolle, wenn überhaupt, kann die Kunst dabei spielen, den Wünschen der Autorenkulturen bezüglich ihrer Repräsentation gerecht zu werden und den Blick der Besucherinnen postkolonial zu schärfen? In seinem Vortrag wird Balzar konkret auf seine aktuelle Projektarbeit mit dem in Kolumbien ansässigen Volk der Kogi und Möglichkeiten der Projektorganisation durch gemeinnützige Vereine eingehen. Nähere Informationen unter: http://www.kunst.uni-siegen.de/news/454922.html www.CultureandDevelopment.org <img src="http://payload53.cargocollective.com/1/1/61674/3377629/research_500.jpg" width="500" height="510" width_o="600" height_o="612" src_o="http://payload53.cargocollective.com/1/1/61674/3377629/research_o.jpg" data-mid="17359684" border="0" align="left"/> source: http://publications.newberry.org/indiansofthemidwest/property/nagpra-issues “Research.” The message here is that Native people (as represented by the eagle) can view scientific research as a heavy-handed intrusion. This cartoon was drawn by William Sommers Quistorf, member of the Oneida Nation of Wisconsin and cartoonist for Indian Country Today. http://www.christophbalzar.com/NEWS-older-posts http://www.christophbalzar.com/following/christophbalzar.com/NEWS-older-posts Wed, 25 Apr 2012 15:48:15 +0000 ChristophBalzar 3277251 older posts http://www.christophbalzar.com/NEWS-post-kolonial-blicken http://www.christophbalzar.com/following/christophbalzar.com/NEWS-post-kolonial-blicken Wed, 25 Apr 2012 15:44:13 +0000 ChristophBalzar 3277162 post?-kolonial blicken 23.2.2012, 14.30-16h Between Memories and Possibilities, Restitution von Heiligtümern der Tairona und Kogi Gastvortrag im Blockseminar Prof. Dr. Birte Kleine-Benne in der Universität der Künste Berlin, Hardenbergstr. 33, R. 102 http://bkb.eyes2k.net/udk11-12.html <img src="http://payload48.cargocollective.com/1/1/61674/3277162/columbus day.png" width="420" height="294" width_o="420" height_o="294" src_o="http://payload48.cargocollective.com/1/1/61674/3277162/columbus day_o.png" data-mid="17522399" border="0" align="left"/> gefunden auf www.someecards.com http://www.christophbalzar.com/the-fairytale-of-the-museum-intervention http://www.christophbalzar.com/following/christophbalzar.com/the-fairytale-of-the-museum-intervention Wed, 25 Apr 2012 13:40:14 +0000 ChristophBalzar 1706342 Art Museums & Ethnological Museums <img src="http://payload.cargocollective.com/1/1/61674/1706342/Bild 2_2_500.png" width="500" height="356" width_o="500" height_o="356" src_o="http://payload.cargocollective.com/1/1/61674/1706342/Bild 2_2_500_o.png" data-mid="8388019" border="0" align="left"/> "the fairytale of the museum intervention" free photocopies, 29,7 x 21,0 cm; 2009 (after Ronald Bijlsma - sneeuwwitje) “When contemporary artists intervene in museum exhibitions they intervene between past and future ways of seeing, thereby turning museum objects into projects. ‘The moment we turn our mind to the future, we are no longer concerned with ‘objects’ but with projects’.” Khadija Carroll-La: Object to Project: Artists’ Inter-ven-tions in Museum Collections, in: Christopher Marshall: Sculpture and the Museum, London, 2010 http://www.christophbalzar.com/Europa-Ladrona http://www.christophbalzar.com/following/christophbalzar.com/Europa-Ladrona Wed, 25 Apr 2012 13:21:24 +0000 ChristophBalzar 3275626 EUROPA LADRONA <img src="http://payload48.cargocollective.com/1/1/61674/3275626/n_500.jpg" width="500" height="319" width_o="1286" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/n_o.jpg" data-mid="16797051" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/EUROPA LADRONA graffity_500.jpg" width="500" height="358" width_o="522" height_o="374" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/EUROPA LADRONA graffity_o.jpg" data-mid="16792919" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/k_500.jpg" width="500" height="319" width_o="1286" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/k_o.jpg" data-mid="16797055" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/b_500.jpg" width="500" height="333" width_o="1233" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/b_o.jpg" data-mid="16797058" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/d_500.jpg" width="500" height="332" width_o="1237" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/d_o.jpg" data-mid="16797059" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/f_500.jpg" width="500" height="333" width_o="1233" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/f_o.jpg" data-mid="16797063" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/i_500.jpg" width="500" height="333" width_o="1233" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/i_o.jpg" data-mid="16797064" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/c_500.jpg" width="500" height="333" width_o="1233" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/c_o.jpg" data-mid="16797067" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/j_500.jpg" width="500" height="333" width_o="1233" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/j_o.jpg" data-mid="16797069" border="0" align="left"/><img src="http://payload48.cargocollective.com/1/1/61674/3275626/m_500.jpg" width="500" height="322" width_o="1276" height_o="822" src_o="http://payload48.cargocollective.com/1/1/61674/3275626/m_o.jpg" data-mid="16797070" border="0" align="left"/>Europa Ladrona 1-9, 2007, c-prints, 5 + 2 AP, dimensions variable EUROPA LADRONA Text: Julia Gwendolyn Schneider, Camera Austria Christoph Balzar’s series EUROPA LADRONA was conceived against the backdrop of the ongoing immigration from Africa via the Canary Islands to Europe. Within this artistic project he is searching the environs of the islands for possible means of survival. While his visualisations put him in someone else’s position, the attention is turned to the locations that his fictive counterparts may have frequented. The choice of his motives destroys the familiar image of the holiday islands by depicting which shape a landscape can adopt through the political issue of illegal migration and European fortification. "Europe, you thief!“ how "Europa Ladrona“ translates refers to the fact that the Canaries were African, before they were stolen and annexed by Europe. In one of Balzar’s photographs the slogan can be found as graffiti on a concrete wall in a desolate harbour. From this it becomes clear that the political and the geographical truths are worlds apart. To deal with this discrepancy, Balzar acts as if he was a refugee himself by attempting to see and interpret these places through their eyes. Deliberately he doesn’t show any emigrants, but instead tracks and imagines their possible whereabouts and traces on the Canary Islands. (...) Balzar’s photography does not always reveal actually existing places. They can be projections of imaginary beliefs. Digital micro installations function as narrative strategies for the involuntary travellers in EUROPA LADRONA. They try to view these places through the eyes of the “other” and partly condense space and time, to be able to integrate certain events into the image that would otherwise stay unnoticed. These documentations are not so much showing reality but a rhetoric of the real; a translation of representations of reality through the photographic language. Reality is not documented but organised in its complexity using additive processes comparable to painting techniques. The conceptual method that the series EUROPA LADRONA employs prevents a glorifying and heroic point of view or an educational and accusative reading. Balzar positions himself only in a subtle way. The absence of the refugees could be read as a statement about the political invisibility and the social blindness towards these people. Balzar doesn’t want to expose truth; instead he invites us to follow his suggestive game. http://www.christophbalzar.com/D-COLONIAL-TOURISM http://www.christophbalzar.com/following/christophbalzar.com/D-COLONIAL-TOURISM Wed, 25 Apr 2012 10:45:29 +0000 ChristophBalzar 887556 Colonialism / Tourism <img src="http://payload.cargocollective.com/1/1/61674/887556/Bild 4.png" width="310" height="177" width_o="310" height_o="177" src_o="http://payload.cargocollective.com/1/1/61674/887556/Bild 4_o.png" data-mid="16796943" border="0" align="left"/> Traducir al español con GOOGLE "Europe, you thief!“ how "Europa Ladrona“ translates, refers to the fact that the Canaries were African, before they were stolen and annexed by Europe. In one of Balzar’s photographs the slogan can be found as graffiti on a concrete wall in a desolate harbour. From this it becomes clear that the political and the geographical truths are worlds apart. To deal with this discrepancy, Balzar acts as if he was a refugee himself by attempting to see and interpret these places through their eyes. Deliberately he doesn’t show any emigrants, but instead tracks and imagines their possible whereabouts and traces on the Canary Islands. Julia Gwendolyn Schneider, Camera Austria GO TO WORKS <img src="http://ars.sciencedirect.com/content/image/1-s2.0-S0261517709000077-gr3.jpg" width="500" height="370" alt="Milford Sound in New Zealand" /> <img src="http://payload.cargocollective.com/1/1/61674/887556/Bild 3.png" width="324" height="170" width_o="324" height_o="170" src_o="http://payload.cargocollective.com/1/1/61674/887556/Bild 3_o.png" data-mid="16796882" border="0" align="left"/><img src="http://payload.cargocollective.com/1/1/61674/887556/Bild 4.png" width="310" height="177" width_o="310" height_o="177" src_o="http://payload.cargocollective.com/1/1/61674/887556/Bild 4_o.png" data-mid="16796943" border="0" align="left"/> http://www.christophbalzar.com/NEWS-Beutezuge http://www.christophbalzar.com/following/christophbalzar.com/NEWS-Beutezuge Wed, 25 Apr 2012 09:38:00 +0000 ChristophBalzar 3275338 Wer das Museum kontrolliert, kontrolliert die Geschichte <img src="http://payload48.cargocollective.com/1/1/61674/3275338/Bild 3_500.png" width="500" height="279" width_o="1046" height_o="585" src_o="http://payload48.cargocollective.com/1/1/61674/3275338/Bild 3_o.png" data-mid="17496856" border="0" align="left"/> Die Kogi besuchen ihr Kulturerbe im Museo del Oro, Kolumbien, im Oktober 2011 Wer das Museum kontrolliert, kontrolliert die Geschichte. Vortrag und Künstlergespräch mit Christoph Balzar am Mittwoch, 16. Mai 2012, 19.00 Uhr moderiert von Katja Jedermann, veranstaltet im Rahmen der Ausstellung: Beutezüge. Systeme des Eigennutzes – Mechanismen der Plünderung kuratiert von Sabine Winkler Öffnungszeiten: Mo – Fr 10 – 18 Uhr Die Ausstellung läuft vom 10.05. bis 29.06.2012 RATSKELLER - Galerie für zeitgenössische Kunst Möllendorffstraße 6, 10367 Berlin Tel.: 030 902963712 ratskeller@kultur-in-lichtenberg.de Kulturhistorische und allen voran ethnologische Museen stecken seit geraumer Zeit in der Krise. Immer häufiger kommt es zwischen ihnen als Verwalter außereuropäischer Sammlungen und deren traditionellen Eigentümern zu Streitigkeiten um Besitz, Eigentum und kulturelle Deutungshoheit. Überall auf der Welt pochen indigene Volksgruppen in ehemaligen Kolonialgebieten auf die Rückgabe einstmals gestohlener Kulturgüter, um sie nach Jahren der Isolation wieder in Gebrauch zu nehmen. Die meisten Museen lehnen dies jedoch kategorisch ab. Als Begründung wird angeführt, der diesen Artefakten gebührende Platz in der Kulturgeschichte sei nun mal oder mittlerweile im Museum. Da der Raub dieser Güter für ihre Autorenkulturen eine zivilisatorische Katastrophe und historische Zäsur bedeutet habe, müssten diese Schätze als letzte Zeugnisse der Geschichte für alle Zukunft bewahrt werden, was ihren Gebrauch und möglicherweise Verbrauch jedoch ausschließt. Nach dem einstmaligen Raub solcher Güter erweist sich diese Haltung als abermaliger, gewaltsamer Akt an den Autorenkulturen, als eine Art Zwangshistorisierung, wenn man so will: So, wie ihr Kulturerbe präsentiert wird, werden auch diese Gesellschaften dargestellt und verstanden, nämlich als Vergangenes, ohne Gegenwart und ohne Zukunft. Welche Rolle, wenn überhaupt, kann die Kunst dabei spielen, den Wünschen indigener Völker bezüglich ihrer Repräsentation in solchen Museen gerecht zu werden? In seinem Vortrag wird Balzar konkret auf seine aktuelle Projektarbeit mit dem in Kolumbien ansässigen Volk der Kogi und der Restitution ihres Kulturerbes als Technik der Rekontextualisierung eingehen. Nähere Informationen unter: www.CultureandDevelopment.org http://www.christophbalzar.com/The-Bigger-Picture http://www.christophbalzar.com/following/christophbalzar.com/The-Bigger-Picture Tue, 24 Apr 2012 11:32:27 +0000 ChristophBalzar 3267747 The Bigger Picture <img src="http://payload48.cargocollective.com/1/1/61674/3267747/the-bigger-picture-large_o.gif" width="400" height="501" alt="The Bigger Picture" /> The bigger Picture, 2012, video loop projection, 7s, size variable http://www.christophbalzar.com/westlichen-Moderne http://www.christophbalzar.com/following/christophbalzar.com/westlichen-Moderne Fri, 23 Mar 2012 08:30:24 +0000 ChristophBalzar 3063515 Aussereuropäische, indigene und primitive Kunst: Kunst? <img src="http://payload38.cargocollective.com/1/1/61674/3063515/MODERNE UND PRIMITIVE KUNST 2_500.jpg" width="500" height="500" width_o="2048" height_o="2048" src_o="http://payload38.cargocollective.com/1/1/61674/3063515/MODERNE UND PRIMITIVE KUNST 2_o.jpg" data-mid="15626026" border="0" align="left"/><img src="http://payload38.cargocollective.com/1/1/61674/3063515/MODERNE UND PRIMITIVE KUNST 3_500.jpg" width="500" height="500" width_o="2048" height_o="2048" src_o="http://payload38.cargocollective.com/1/1/61674/3063515/MODERNE UND PRIMITIVE KUNST 3_o.jpg" data-mid="15626013" border="0" align="left"/><img src="http://payload38.cargocollective.com/1/1/61674/3063515/MODERNE UND PRIMITIVE KUNST 1_500.jpg" width="500" height="500" width_o="2048" height_o="2048" src_o="http://payload38.cargocollective.com/1/1/61674/3063515/MODERNE UND PRIMITIVE KUNST 1_o.jpg" data-mid="15626009" border="0" align="left"/>Wentinck, Charles. Moderne und Primitive Kunst. Eine Gegenüberstellung in 80 Farbtafeln, Freiburg, 1983. In einer kritischen Betrachtung der westlichen Moderne wird deutlich, wie freizügig sich europäische Künstler in ethnologischen Museen an der Formsprache „primitiver Kulturen“ bedient haben. Könnten ihre schöpferischen Ergebnisse, z.B. die von Pablo Picasso, aus heutiger Sicht nicht gar als Urheberrechtsverletzungen angesehen werden?