Over curatorschap en censuur: Sonia Boyce

Leestip van dr. Bambi Ceuppens, curator bij het Koninklijk Museum voor Midden-Afrika:

Sonia Boyce, ‘Our removal of Waterhouse’s naked nymphs painting was art in action’ in The Guardian (6 februari 2018)

John William Waterhouse, Hylas and the Nymphs (c) Manchester City Galleries

“It is well known that the vast majority of artworks held in public collections languish, hidden from view, in storage facilities. Space constraints are one reason, but curatorial choices also play a role. Would we call these choices “censorship”? It is very rare that a range of museum workers (public events programmers, volunteers, gallery invigilators and security staff, conservation and gallery technicians and cleaners), let alone visitors, are invited into a dialogue about what goes on or comes off the walls, or why. Such discussions inevitably bring conflicting perspectives and interpretations into play. Judgment is at the heart of art, and this type of engagement has wide cultural implications. What is beautiful to some people may appear to others to represent a problematic and pejorative system. In relation to the 19th-century galleries under discussion, for example, are there other narratives than the female subject as a deathly siren (the femme fatale) or as a submissive object to be looked at?”

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