Johanne Loegstrup - Academia.edu (original) (raw)
Papers by Johanne Loegstrup
EXTREMES On curating, 2021
The title of curator Johanne Løgstrup’s contribution to this issue is based on a chapter in Histo... more The title of curator Johanne Løgstrup’s contribution to this issue is based on a chapter in History of Consciousness scholar James Clifford’s book Museums as Contact Zones (1993). To the title of her essay “Museums as Contact or Conflict Zones,” Løgstrup adds the word “conflict” due to the fact that she believes that there is a need to acknowledge that conflict is inherited with the very idea of the museum. Løgstrup raises a series of ethical questions regarding the museum and collection practices, specifically asking who has been excluded from the history that has been told so far in order to encompass the culture of Western history and how do we decolonize our museums and radically transform them from within? In order to deal with the above questions, Løgstrup expands on the example of the temporary opening of the Sámi Dáiddamusea (the Sami Art Museum) based in the closed Nordnorsk Kunstmuseum in Tromsø, Norway: “Finally, Sápmi, Norway and the world has a museum dedicated to Sami art! After almost 40 years of activism, acquisition, negotiation, lobbyism and stubbornness, the world of art enters a new era. A big day for Sápmi. A big day for Norway. A big day for the world.”
These emotionally charged opening lines of the museum announcement shed light on the history of oppression of the Sami people and their culture. The title of the opening exhibition, There is no., carries several meanings: one was that there is no permanent institution to present the Sami art collection, and the second refers to a long discussion surrounding the hierarchy of art and the dismissal of indigenous cultures that are not considered art, but have different relationships to art objects, for example, regarding them as crafts or as relics.
Passepartout, 2020
Artiklen diskuterer ved hjælp af begrebet kontemporaneitet de nye måder, hvorpå vi oplever tid og... more Artiklen diskuterer ved hjælp af begrebet kontemporaneitet de nye måder, hvorpå vi oplever tid og temporalitet i samtiden og sætter begrebet i forhold til kunsten og kunstmuseets rolle i opbygningen af en historieforståelse. Efter en teoretisk diskussion analyseres kuratoriske greb på museerne Moderna galerija i Zagreb og Van Abbemuseum i Eindhoven.
Ph.D. afhandlingen analyserer kurateringens muligheder i kunstmuseers samlinger i lyset af en tid... more Ph.D. afhandlingen analyserer kurateringens muligheder i kunstmuseers samlinger i lyset af en tids- og historieforståelse baseret på kontemporaneitetens vilkår, med henblik på museernes rolle og betydning i dag. Med kontemporaneitetens vilkår forstås en global samtidighed og sammenbringning af kulturelle tider og historier. Gennem praktisk kuratering og analyser undersøger jeg det modernistiske kunstmuseums praksis og samlingers betydning i et globalt tidsperspektiv. Det modernistiske kunstmuseum skal her forstås som et kunstmuseum, der er baseret på en homogen tid, hvor en stærk fremskridtsbevidsthed og troen på det opbyggelige med vesten som hegemonisk magt gør sig gældende (Bishop 2013, Groys 2009). Helt centralt for projektet står spørgsmålene om hvilken rolle spiller de modernistiske kunstmuseer, og hvilken rolle kan kuratering som en særlig praksis og udstillingsmediet som en bestemt formidlingsform få i et globalt og afkolonialt perspektiv? Helt konkret forstås kuratering og ...
Books by Johanne Loegstrup
The Contemporary Condition, 2020
Conversations are provisional and unpredictable, but they have the potential to put us in contact... more Conversations are provisional and unpredictable, but they have the potential to put us in contact with people from
other places and times—or as John Akomfrah says, when confronted with conversation as a method of working, one can retrieve things.
EXTREMES On curating, 2021
The title of curator Johanne Løgstrup’s contribution to this issue is based on a chapter in Histo... more The title of curator Johanne Løgstrup’s contribution to this issue is based on a chapter in History of Consciousness scholar James Clifford’s book Museums as Contact Zones (1993). To the title of her essay “Museums as Contact or Conflict Zones,” Løgstrup adds the word “conflict” due to the fact that she believes that there is a need to acknowledge that conflict is inherited with the very idea of the museum. Løgstrup raises a series of ethical questions regarding the museum and collection practices, specifically asking who has been excluded from the history that has been told so far in order to encompass the culture of Western history and how do we decolonize our museums and radically transform them from within? In order to deal with the above questions, Løgstrup expands on the example of the temporary opening of the Sámi Dáiddamusea (the Sami Art Museum) based in the closed Nordnorsk Kunstmuseum in Tromsø, Norway: “Finally, Sápmi, Norway and the world has a museum dedicated to Sami art! After almost 40 years of activism, acquisition, negotiation, lobbyism and stubbornness, the world of art enters a new era. A big day for Sápmi. A big day for Norway. A big day for the world.”
These emotionally charged opening lines of the museum announcement shed light on the history of oppression of the Sami people and their culture. The title of the opening exhibition, There is no., carries several meanings: one was that there is no permanent institution to present the Sami art collection, and the second refers to a long discussion surrounding the hierarchy of art and the dismissal of indigenous cultures that are not considered art, but have different relationships to art objects, for example, regarding them as crafts or as relics.
Passepartout, 2020
Artiklen diskuterer ved hjælp af begrebet kontemporaneitet de nye måder, hvorpå vi oplever tid og... more Artiklen diskuterer ved hjælp af begrebet kontemporaneitet de nye måder, hvorpå vi oplever tid og temporalitet i samtiden og sætter begrebet i forhold til kunsten og kunstmuseets rolle i opbygningen af en historieforståelse. Efter en teoretisk diskussion analyseres kuratoriske greb på museerne Moderna galerija i Zagreb og Van Abbemuseum i Eindhoven.
Ph.D. afhandlingen analyserer kurateringens muligheder i kunstmuseers samlinger i lyset af en tid... more Ph.D. afhandlingen analyserer kurateringens muligheder i kunstmuseers samlinger i lyset af en tids- og historieforståelse baseret på kontemporaneitetens vilkår, med henblik på museernes rolle og betydning i dag. Med kontemporaneitetens vilkår forstås en global samtidighed og sammenbringning af kulturelle tider og historier. Gennem praktisk kuratering og analyser undersøger jeg det modernistiske kunstmuseums praksis og samlingers betydning i et globalt tidsperspektiv. Det modernistiske kunstmuseum skal her forstås som et kunstmuseum, der er baseret på en homogen tid, hvor en stærk fremskridtsbevidsthed og troen på det opbyggelige med vesten som hegemonisk magt gør sig gældende (Bishop 2013, Groys 2009). Helt centralt for projektet står spørgsmålene om hvilken rolle spiller de modernistiske kunstmuseer, og hvilken rolle kan kuratering som en særlig praksis og udstillingsmediet som en bestemt formidlingsform få i et globalt og afkolonialt perspektiv? Helt konkret forstås kuratering og ...
The Contemporary Condition, 2020
Conversations are provisional and unpredictable, but they have the potential to put us in contact... more Conversations are provisional and unpredictable, but they have the potential to put us in contact with people from
other places and times—or as John Akomfrah says, when confronted with conversation as a method of working, one can retrieve things.