http://www.christophbalzar.com ChristophBalzar Tue, 21 Feb 2012 11:22:17 +0000 http://www.christophbalzar.com en http://www.christophbalzar.com/Hate-nyui-Reichell-Dolmatoff http://www.christophbalzar.com/following/christophbalzar.com/Hate-nyui-Reichell-Dolmatoff Tue, 21 Feb 2012 11:22:17 +0000 ChristophBalzar 2851669 <img src="http://payload27.cargocollective.com/1/1/61674/2851669/Bild 1-1.png" border="0" width="404" height="607" width_o="404" height_o="607" src_o="http://payload27.cargocollective.com/1/1/61674/2851669/Bild 1-1_o.png" align="left" /> hàte nyúi on coca leaves; lambda print, 20,0 x 28,0 cm, 2011 “(…) the objects were known to have come from tombs and offering places, that is to say, from ritual contexts. What is surprising is that no attempt should have been made earlier to reconstruct this ritual context and to link it with the shamanism of American Indians which is clearly evidenced by so many artefacts. This dimension of ideas and significances had been overlooked, and emphasis had been laid instead on such aspects of the goldwork as its ethno-history or merely formal characteristics." [p. 26] “…there are still archaeologists, ethnologists, museologists and art historians who ignore or deny the importance of these contexts and prefer to deal only with objects isolated either in space or time. And so museums tend to fill up their display cabinets with lifeless archaeological collections lacking that dimension of vitality that can only be provided by a broad ethnological-historical vision.” [p. 126] Reichel-Dolmatoff, 2006 Gerardo Reichel-Dolmatoff: Goldwork and Shamanism: An Iconographic Study of the Gold Museum of the Banco de la Republica, Colombia, Bogotá, 2006. http://www.christophbalzar.com/Renaissance-of-Working-with-Gold http://www.christophbalzar.com/following/christophbalzar.com/Renaissance-of-Working-with-Gold Thu, 16 Feb 2012 08:26:12 +0000 ChristophBalzar 2819558 Cultural Reproduction The Renaissance of Working with Gold Traducir al español con GOOGLE <img src="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 21_500.png" border="0" width="500" height="282" width_o="1042" height_o="588" src_o="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 21_o.png" align="left" /> <img src="http://payload25.cargocollective.com/1/1/61674/2819558/logo_gonavindua.gif" border="0" width="316" height="316" width_o="316" height_o="316" src_o="http://payload25.cargocollective.com/1/1/61674/2819558/logo_gonavindua_o.gif" align="left" /> the political representation of Columbia's indigenous peoples: Gonawindua Tayrona The Kogis' plans to revive the traditional craft of working with gold have inspired us. Our goal is to support them in this endeavor by providing them with Tairona originals as models for new goldworks. With them they cannot only study the iconographic language of their ancestors and their traditional production processes, they are also the only ones who can safeguard those artefacts’ religious and cultural significance. In this endeavor they deserve support. We were asked to make further purchases of their heritage on their behalf, currently the only way to return what was lost. Please contact us for detailed information on how you or your enterprise can help: Christoph Balzar: cb(at)cultureanddevelopment.org Hanune Shalati: hs(at)cultureanddevelopment.org <img src="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 20_500.png" border="0" width="500" height="279" width_o="1043" height_o="584" src_o="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 20_o.png" align="left" /> <img src="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 16_500.png" border="0" width="500" height="280" width_o="1042" height_o="585" src_o="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 16_o.png" align="left" /> <img src="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 18_500.png" border="0" width="500" height="280" width_o="1042" height_o="584" src_o="http://payload25.cargocollective.com/1/1/61674/2819558/Bild 18_o.png" align="left" /> <img src="http://payload25.cargocollective.com/1/1/61674/2819558/Haba Se Mutter Erde _500.jpg" border="0" width="500" height="510" width_o="600" height_o="612" src_o="http://payload25.cargocollective.com/1/1/61674/2819558/Haba Se Mutter Erde _o.jpg" align="left" /> Mama Padilla (2. from left), Mama Juan Mamatacan (former president of Gonawindua Tayrona, 3. from left) and his wife Maria Giuseppe inspect a list of the Kogis' tangible heritage for sale at ███████ Gallery; one of the next "sewa" planned to be made by the elders is a pectoral of "haba sé" (engl.: mother). Its design originates from an exhibit at the Museo del Oro. http://www.christophbalzar.com/Museum-der-DInge http://www.christophbalzar.com/following/christophbalzar.com/Museum-der-DInge Mon, 13 Feb 2012 17:39:44 +0000 ChristophBalzar 2800686 Muse Museum - Das Gold der Tairona Lichtbildvortrag von Christoph Balzar und Hanune Shalati, Berlin 23. Januar 2012, Montag, 19.30 Uhr Werkbundarchiv - Museum der Dinge Oranienstraße 25, 10999 Berlin www.museumderdinge.de <img src="http://payload25.cargocollective.com/1/1/61674/2800686/Muse Museum_500.jpg" border="0" width="500" height="330" width_o="658" height_o="435" src_o="http://payload25.cargocollective.com/1/1/61674/2800686/Muse Museum_o.jpg" align="left" /> Der Vortrag findet im Rahmen der Ausstellung "Museumsbauhütte II" statt (siehe http://www.museumderdinge.de/stand_der_dinge/) und wird veranstaltet von Institut für Kunst im Kontext, Universität der Künste Werkbundarchiv – Museum der Dinge Ethnologica stellen als Exponate in Völkerkundemuseen nicht nur Fragmente einer Kultur dar, sondern sind auch oft Zeitzeugnisse kolonialer Aneignung. In den letzten Jahrzehnten haben zahlreiche Fälle für Aufsehen gesorgt, in denen indigene Volksgruppen ihre Ansprüche auf solche Ausstellungsstücke geltend machen konnten. Viele Artefakte, die ihnen im Zuge des Kolonialismus geraubt wurden und heute als außereuropäische Kunstwerke ausgestellt werden, bezeichnen sie nach wie vor als Heiligtümer. Doch liegt der Unterschied zwischen Kunstwerken und Heiligtümern wirklich nur im Auge des Betrachters? Dieser Frage gehen der Ausstellungsmacher Christoph Balzar und der Philosoph Hanune Shalati am konkreten Fall der Tairona-Goldarbeiten nach. Diese wurden hauptsächlich im 19. und 20. Jahrhundert vom Gebiet des heutigen Kolumbiens von heiligen Stätten ausgegraben und an westliche Kunstsammlungen verkauft. Für ihre traditionellen Eigentümer, das Volk der Kogi, stellt dies jedoch ein gewaltiges Sakrileg dar, weswegen sie auf die Rückgabe dieser Heiligtümer pochen... <img src="http://payload25.cargocollective.com/1/1/61674/2800686/Bild 12.png" border="0" width="330" height="444" width_o="330" height_o="444" src_o="http://payload25.cargocollective.com/1/1/61674/2800686/Bild 12_o.png" align="left" /> Installationsansicht Museum der Dinge, Museumsbauhütte II http://www.christophbalzar.com/C-Wettengel-Collection http://www.christophbalzar.com/following/christophbalzar.com/C-Wettengel-Collection Fri, 10 Feb 2012 21:46:23 +0000 ChristophBalzar 887539 Die Sammlung Wettengel "“Die Sammlung Wettengel” ist eine künstlerische Recherche über den Missionar Nikolaus Wettengel und seine Rolle bei der Beschaffung heiliger Artefakte der Aborigines aus Zentralaustralien. Diese sogenannten "altjerringa" befinden sich heute im Ethnologischen Museum Dahlem, teils als Ausstellungsstücke, teils im Depot. Wettengels Geschichte, die eng mit der Biografie dieser Heiligtümer verflochten ist, soll hier aus unterschiedlichen Archivquellen rekonstruiert werden, um der genauen Herkunft dieser Artefakte auf den Grund zu gehen. Die Briefe, die Wettengel an das Missionshauptquartier in Deutschland und später an das Berliner Museum für Völkerkunde 
geschrieben hat, wurden zum besseren Verständnis von Sütterlin 
in lateinische Schrift transkribiert. Abschnitt für Abschnitt 
finden sich kurze Zusammenfassungen und bildnerische Kommentare, um seine Erlebnisberichte zu illustrieren. Balzar geht dabei mit detektivischem Spürsinn der Frage nach, ob die Sammlung Wettengel in ihrer Gesamtheit womöglich aus einer heiligen Höhle nahe Hermannsburg geraubt wurde." HIER BESTELLEN: "Die Sammlung Wettengel", Hardcover | DIN A4 hoch | 80 Seiten s/w; Preis: 19,99 € <img src="http://payload.cargocollective.com/1/1/61674/887539/Bild 220_500.png" border="0" width="500" height="706" width_o="541" height_o="764" src_o="http://payload.cargocollective.com/1/1/61674/887539/Bild 220_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/887539/Bild 20_500.png" border="0" width="500" height="706" width_o="541" height_o="764" src_o="http://payload.cargocollective.com/1/1/61674/887539/Bild 20_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/887539/Bild 14_500.png" border="0" width="500" height="707" width_o="542" height_o="767" src_o="http://payload.cargocollective.com/1/1/61674/887539/Bild 14_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/887539/Bild 15_500.png" border="0" width="500" height="705" width_o="543" height_o="766" src_o="http://payload.cargocollective.com/1/1/61674/887539/Bild 15_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/887539/Bild 16_500.png" border="0" width="500" height="707" width_o="540" height_o="764" src_o="http://payload.cargocollective.com/1/1/61674/887539/Bild 16_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/887539/Bild 19_500.png" border="0" width="500" height="705" width_o="543" height_o="766" src_o="http://payload.cargocollective.com/1/1/61674/887539/Bild 19_o.png" align="left" /> http://www.christophbalzar.com/C-uluru http://www.christophbalzar.com/following/christophbalzar.com/C-uluru Wed, 08 Feb 2012 20:51:25 +0000 ChristophBalzar 878342 <img src="http://payload.cargocollective.com/1/1/61674/878342/Bild 14_500.png" border="0" width="500" height="178" width_o="1198" height_o="427" src_o="http://payload.cargocollective.com/1/1/61674/878342/Bild 14_o.png" align="left" /> uluru; 2005; c-print; 50,5 x 142,5 cm "There is information that is restricted, that our children cannot learn about, there is information that is restricted even to adults, there is information that is of a secret or sacred nature, that many people have no knowledge of or access to. That knowledge is only there for certain people to have access to." Galarrwuy Yunupingu, 1986, land rights hero My ongoing research on indigenous Australian culture and its religious protocols stems back to a work titled „uluru“. It was an attempt to grasp the complexities of the tourist site “Ayer’s Rock” that is in the eyes of Aboriginal Australians a sacred site and taboo for not initiated people. There is modern legend that one of the last traditionally living Aboriginal persons from the uluru area had visited Alice Springs in the 1970ies where he encountered a photograph of this sacred site in an ad of a tourist agency. Shocked by this image he allegedly committed ritual suicide by spearing himself because he was not allowed to see it. http://www.christophbalzar.com/ruler http://www.christophbalzar.com/following/christophbalzar.com/ruler Mon, 12 Dec 2011 11:38:16 +0000 ChristophBalzar 758968 <img src="http://payload.cargocollective.com/1/1/61674/758968/ChristophBalzarRuler_1.jpg" border="0" width="435" height="509" width_o="435" height_o="509" src_o="http://payload.cargocollective.com/1/1/61674/758968/ChristophBalzarRuler_1_o.jpg" align="left" /> http://www.christophbalzar.com/agents-of-cultural-reproduction http://www.christophbalzar.com/following/christophbalzar.com/agents-of-cultural-reproduction Sat, 30 Jul 2011 06:47:28 +0000 ChristophBalzar 1797699 Agents of Cultural Reproduction <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text5_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text52_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text52_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text53_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text53_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text54_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text54_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text55_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text55_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text56_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text56_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text7_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text7_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text58_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text58_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text59_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text59_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text510_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text510_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text511_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text511_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text512_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text512_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text513_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text513_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text14_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text14_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text515_500.jpg" border="0" width="500" height="707" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/1/61674/1797699/AGENTS OF CULTURAL REPRODUCTION with text515_o.jpg" align="left" /> http://www.christophbalzar.com/souvenirs http://www.christophbalzar.com/following/christophbalzar.com/souvenirs Wed, 27 Jul 2011 11:06:30 +0000 ChristophBalzar 1785099 souvenirs <img src="http://payload.cargocollective.com/1/1/61674/1785099/Bild 16_500.png" border="0" width="500" height="333" width_o="966" height_o="644" src_o="http://payload.cargocollective.com/1/1/61674/1785099/Bild 16_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1785099/Bild 15_500.png" border="0" width="500" height="332" width_o="1013" height_o="673" src_o="http://payload.cargocollective.com/1/1/61674/1785099/Bild 15_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1785099/nyi sewa_500.jpg" border="0" width="500" height="394" width_o="2048" height_o="1615" src_o="http://payload.cargocollective.com/1/1/61674/1785099/nyi sewa_o.jpg" align="left" /> installation view "souvenirs" (for the collector), 2011; Under the umbrella of the foundation Culture & Development e.V. we have developped a program that aims to acquire Tairona goldworks from the art market by motivating art collectors to purchase and donate such hallows to their traditional owners, thus becoming patrons of Tairona and Kogi heritage. The object is the new subject! interview with Christina Meyers, Art and Text magazine CM: What are those gold objects you show in your work? CB: “Nyúi sewa” should not be referred to as objects. They might be considered "subjective objects", at least to the Kogi they are gods with special needs. The three “nyúi sewa” you can see on my photos were generously donated to their traditional owners, the Kogi, by the Dohmen Collection from Germany. We agreed that illicitly acquired artefacts of highly religious value to a living culture should not be treated like mere artworks in western collections. I wanted to portray these "subjective objects" the moment they were extracted from the art market and returned to their original context: already embedded on cocoa leaves, their spiritual nourishment they receive from the Kogi priests but still in front of supposedly neutral, deadpan backgrounds like in common ethnological photographs. Of course, such images cannot provide substitutes for originals in ethnological collections. But I for my part don’t wanna have those originals, anyway, if it means a sacrilege in the eyes of their traditional owners. My photos of the “nyúi sewa” are meant as a reminder of the satisfaction of renunciation for the collector and everybody who helpes to return them to their believers. Consider them souvenirs.” http://www.christophbalzar.com/Entre-Memorias-y-Possibilidades-INTRO http://www.christophbalzar.com/following/christophbalzar.com/Entre-Memorias-y-Possibilidades-INTRO Thu, 07 Jul 2011 06:12:34 +0000 ChristophBalzar 1694168 Between Memories and Possibilities Returning Tairona Goldworks to the Kogi People Traducir al español con GOOGLE Culture & Development is a foundation that aims to support endangered cultures according to the demands of UNESCO. One of its main concerns is to return cultural property to their traditional owners, particularly hallows of living, indigenous peoples and religions that were stolen in the wake of European colonialism. Since 2010 I have been working together with philosopher Hanune Shalati under C&D's umbrella on the special case of the famous Tairona goldworks which are still sacred to their descendants, the Kogi people. The majority of these relics was stolen from temples and tombs and acquired by western art collectors, causing tremendous grief amongst their traditional owners. <img src="http://payload.cargocollective.com/1/1/61674/1694168/Bild 9_500.png" border="0" width="500" height="279" width_o="1044" height_o="584" src_o="http://payload.cargocollective.com/1/1/61674/1694168/Bild 9_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_50_Bild_0001_500.jpg" border="0" width="500" height="281" width_o="1168" height_o="657" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_50_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_49_Bild_0001_500.jpg" border="0" width="500" height="281" width_o="1168" height_o="657" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_49_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/Bild 22_500.png" border="0" width="500" height="280" width_o="1045" height_o="586" src_o="http://payload.cargocollective.com/1/1/61674/1694168/Bild 22_o.png" align="left" /> images taken with a canded camera at ███████ Gallery; Tairona goldworks are stolen hallows of a living culture, the Kogi people With financial support from the German Dohmen Collection for Contemporary Art we were able to identify such goldworks on the art market and to purchase and return them to their traditional owners in Colombia. These hallows are now part of their designated, religious practice and worshipped amidst their people once again. Christoph Balzar (curator) and Hanune Shalati (philosopher) accompanied the process of this restitution as scientific and artistic researchers. During our work we could verify that the Kogis’ religious ceremonies depend on the ownership of the Tairona goldworks. To us this is the main argument why such unique artefacts do not belong into western art collections. The interviews, discussions and ceremonies documented during the process of this restitution are going to be published as literary essays and mixed-media exhibitions in the near future. <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_59_Bild_0001_500.jpg" border="0" width="500" height="281" width_o="1168" height_o="657" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_59_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_56_Bild_0001_500.jpg" border="0" width="500" height="333" width_o="1345" height_o="896" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_56_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/Bild 14_500.png" border="0" width="500" height="281" width_o="1046" height_o="588" src_o="http://payload.cargocollective.com/1/1/61674/1694168/Bild 14_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_62_Bild_0001_500.jpg" border="0" width="500" height="335" width_o="980" height_o="657" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_62_Bild_0001_o.jpg" align="left" /> The Kogi mamas asking the returned goldworks ("sewa") what to do; the ceremony "asolear el oro" Four years before the return of those hallows another NGO had started to prepare a network of valuable contacts that made our work possible: The Dutch Stichting Kleinschalige Ontwikkelingsprojekten (SKOP) had collected considerable quantities of gold and donated them to the Kogi people, thus enabling them to produce the first goldwork since the expulsion of their ancestors by the spanish crown. <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_31_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_31_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_29_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1202" height_o="900" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_29_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_30_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_30_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_32_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_32_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_33_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_33_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_34_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_34_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_35_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_35_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_36_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_36_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_37_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_37_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_38_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_38_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_40_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_40_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_39_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_39_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_41_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_41_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_42_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_42_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_43_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_43_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_44_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_44_Bild_0001_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_45_Bild_0001_500.jpg" border="0" width="500" height="374" width_o="1200" height_o="899" src_o="http://payload.cargocollective.com/1/1/61674/1694168/C-D_Seite_45_Bild_0001_o.jpg" align="left" /> The first Kogi goldwork was made after an image of a Tairona goldwork. This "sewa" of the frog was blessed by the elder Mama Benardo and Maria Giuseppe. http://www.christophbalzar.com/pebbles http://www.christophbalzar.com/following/christophbalzar.com/pebbles Sun, 03 Jul 2011 19:55:05 +0000 ChristophBalzar 1677404 ethnographic objects <img src="http://payload.cargocollective.com/1/1/61674/1677404/Bild 2_o_500.png" border="0" width="500" height="375" width_o="894" height_o="672" src_o="http://payload.cargocollective.com/1/1/61674/1677404/Bild 2_o_o.png" align="left" /> c-print, glass, wood, 210,0 x 90,0 x 130,0 cm, 2009 In the British Museum's online archive I also found lots of photographs of pebbles from various cultural backgrounds. Some are believed to be tools because they were found scattered in the vicinity of ancient camp sites. Some are of unknown origin but were obviously of some importance to someone at some point in the history of the museum. Some of those pebbles are labelled with ethnographic information like “used to make wearer invulnerable” or “stone of invisibility” although all knowledge i.e. about how they can do that, was forgotten over time. Aesthetizisation made them cross-culturally comparable but also degraded them to mere pebbles that carry no cultural significance other than being an object in a museum. I asked myself what would remain if you peeled off the labels?