Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

“VENDE TELA, COMPRA TERRA” E OUTRAS FORMAS DE ATUAÇÃO POLÍTICA DO MOVIMENTO DOS ARTISTAS HUNI KUIN (MAHKU) / “Sell painting, buy land” and other forms of political action by the Movement of Huni Kuin Artists (MAHKU)

Neste artigo explicito algumas formas de atuação política do Movimento dos Artistas Huni Kuin (MAHKU). Partindo de um evento ocorrido em 2014, a compra por parte do MAHKU de dez hectares de terra no Acre com recursos obtidos com a venda de uma pintura, reflito sobre os caminhos abertos, as conexões possibilitadas e a agência causada pelas imagens-pontes produzidas pelo coletivo no contato entre mundos.Palavras-chave: Imagens-pontes; Movimento dos Artistas Huni Kuin; arte indígena contemporânea. AbstractIn this article I explain some forms of political action by the Huni Kuin Artists Movement (MAHKU). Based on an event that took place in 2014, MAHKU bought ten hectares of land in Acre with funds obtained from the sale of a painting, I will reflect on the open paths, the connections made possible and the agency caused by the bridge-images produced by the collective in the contact in-between-worlds.Keywords: Bridge-images; Movement of Huni Kuin Artists; contemporary indigenous art.