L’archivio di chi, come e perché?

Iain Chambers

M U S É E D U L O U V R E

B R I T I S H M U S E U M

B R I T I S H M U S E U M

C R Y S TA L PA L A C E 1 8 5 1

documenti oggetti fatti

definizioni spiegazioni

the ruined archive

edited by Iain Chambers, Giulia Grechi, Mark Nash

the ruined archive edited by Iain Cham

bers, Giulia G

rechi, Mark N

ash

the ruined archiveHow does the modern museum respond to the movement, migrations and mobilities of the modern world that exceed its practices and premises? The essays in this volume circulate in the constellation of cultural, postcolonial and museum studies to propose a series of intersecting perspectives promoting critical responses to this ongoing interrogation. Memory, the archive, and the politics of display, are unwound from their institutional moorings and allowed to drift into other, frequently non-authorised accounts of time and space. Called upon to negotiate unplanned encounters with unsuspected actors and the obscured sides of modernity, the museum becomes an experimental space, a laboratory for a cultural democracy yet to come.With contributions by: Fernanda Albuquerque, Chiara Baravalle, Giuseppe Biscottini, Francisco Cabanzo, Iain Chambers, Maria Inígo Clavo, Lidia Curti, Alessandra De Angelis, Beatrice Ferrara, Jessica Fiala, Giulia Grechi, Celeste Ianniciello, Jan-Erik Lundström, Olga Fernández López, Mark, Nash, Mariangela Orabona, Michaela Quadraro, Claire Pajaczkowska,

EDITORSIain Chambers teaches Cultural, Postcolonial and Mediterranean Studies at the University of Naples, “Orientale”. Giulia Grechi is a curator and teaches Visual Anthropology and Contemporary Art at the Fine Art School of Brera in Milan. Mark Nash is a curator and teaches at Birkbeck College London and in the Whitney Independent Study programme, New York.

MeLa–European Museums in an age of migrations

isbn xxx-xx-xxxxx-xx-x

Books

cover image — Zineb Sedira, Haunted House, 2006, courtesy of the artist

Books

il Mediterraneo

Abu Qui

Napoli

la migrazione ‘illegale’ (wop)

New York

Haiti

prossimità spaziali

Napoli 1799

Abu Qir 1798

Saint Domingue 1791-1804

x

tempi profondi o il ‘deep time’ del passato che non passa

New York Napoli

Buenos Aires

Lampedusa

Chioggia

Haiti

Abu Qui

il mantello di Ruggero II

il Mediterraneo

Il mantello di Ruggero II, preparato all’incirca nel 1134 da artigiani arabi nell’officina reale di Palermo. La scrittura in arabo sul bordo che porta l’anno 528 del calendario islamico o Hijra ci invita a considerare una storia che precede e eccede la Storia istituzionale e nazionale.

Janet Abu-Lughod, Before European Hegemony: The World System 1250-1350

il diritto alla città, il diritto all’archivio: la città come archivio

“At the thin intersections of popular memory and archival practices lie the stories that people tell to make sense of the everyday. They weave these stories to shape the present, build connections to the past, and stake claims to the future. They draw on continuities. They distinguish ruptures. They attend to that pit of possibility and danger that is historical contingency. They sift through repetition to identify the singular, the new. And they build and nourish an archive: one that keeps a record of colonization and guards the will to decolonize. Gaza today, in its continuities and its ruptures, is an instance of the archive that is the Palestinian condition.”

S. Seikaly, “Palestine as Archive”, Jadaliyya (02 Aug 2014) http://www.jadaliyya.com/pages/index/18760/palestine-as-archive

La Palestina come archivio

Si tratta di uno slittamento radicale dall’idea dell’archivio con il suo ordine di sapere custodito nei documenti e i ‘fatti’ al terreno disturbato degli interpretazioni e all’agonismo politico che cerca la verità non nella potenza (di definire, gestire e spiegare il passato-presente) ma nei diritti di una giustizia storica e sociale ancora da venire.

la ripetizione postcoloniale (ovvero come la novità fa il suo ingresso nel mondo)

Isaac Julien, Western Union -Small Boats (2007)

Luchino Visconti, Il Gattopardo (1963)