Clementine Deliss – författare

Founded in 1904, Frankfurt's Weltkulturen Museum houses a remarkable collection of ethnographic artifacts from Asia, Africa, Oceania, and the Americas, with the aims of advancing public education and fostering innovative anthropological research across a wide variety of contemporary artistic practices. Developed through artistic research in the Weltkulturen Museum's Weltkulturen Labor research lab, Foreign Exchange raises questions about the relationship between the museum's educational and scientific aims and global trade. Together, essays by anthropologists, art historians, artists, and curators form an extended conversation around the historical accumulation and commodification of artifacts and, in particular, the representation of the human body in ethnographic photographs. Rounding out the volume are many previously unpublished photographs of works discussed. Contributing authors and artists include Peggy Buth, Minerva Cuevas, Gabriel Gbadamosi, David Lau, Tom McCarthy, David Weber-Krebs, and Luke Willis-Thompson.

El Hadji Sy is one of the most significant figures in African contemporary art. Since the late 1970s, the Senegalese artist and curator has helped shape the country's thriving art scene through his innovative painting and performance art. But El Sy is also an internationally recognized activist, having founded the collectives Laboratoire Agit-Art and Tenq, which aim to create contemporary art that engages with the country's pressing social and political issues. The first comprehensive publication on El Sy, this book places the artist's work in the context of activism in Senegal since the country gained independence from France in 1960. Included are critical essays by Hans Belting, Elvira Dyangani Ose, and Pablo Lafuente who explore post independence aesthetics and the effect of postwar relations between Germany and Senegal. The critical essays are supplemented with copious illustrations from the artist's archive - many never before seen - offering rare insight into African art before the Global Turn of 1989.

On the Pulse of the Museum as Institution of the FutureFor quite some time now, ethnographic museums in Europe have been compelled to legitimate themselves. Their exhibition-making has become a topic of discussion, as has the contentious history of their collections, which have come about through colonial appropriation. Clearly, this cannot continue. That the situation can be different is something that Clémentine Deliss explores in her current publication. She offers an intriguing mix of autobiographically-informed novel and conceptual thesis on contemporary art and anthropology. Reflections on her own work while she was Director of Frankfurt’s Weltkulturen Museum (Museum of World Cultures) are interwoven with the explorations of influential filmmakers, artists and writers. She introduces the Metabolic Museum as an interventionist laboratory for remediating ethnographic collections for future generations. CLÉMENTINE DELISS has achieved international renown as a curator, cultural historian and publisher of artist’s books. In her role as Director of the Weltkulturen Museum in Frankfurt, as a curator, and as a professor and researcher at eminent institutes and academies, she focuses on transdisciplinary and transcultural exchanges. She is Associate Curator of KW Berlin and Guest Professor at the Academy of Arts, Hamburg.

For quite some time now, ethnographic museums in Europe have been compelled to legitimate themselves. Their exhibition-making has become a topic of discussion, as has the contentious history of their collections, which have come about through colonial appropriation.Clearly, this cannot continue. That the situation can be different is something that Clémentine Deliss explores in her current publication. She offers an intriguing mix of autobiographically-informed novel and conceptual thesis on contemporary art and anthropology. Reflections on her own work while she was Director of Frankfurt''s Weltkulturen Museum (Museum of World Cultures) are interwoven with the explorations of influential filmmakers, artists and writers. She introduces the Metabolic Museum as an interventionist laboratory for remediating ethnographic collections for future generations. CLÉMENTINE DELISS has achieved international renown as a curator, cultural historian and publisher of artist''s books. In her role as Director of the Weltkulturen Museum in Frankfurt, as a curator, and as a professor and researcher at eminent institutes and academies, she focuses on transdisciplinary and transcultural exchanges. She is Associate Curator of KW Berlin and Guest Professor at the Academy of Arts, Hamburg.

For quite some time now, ethnographic museums in Europe have been compelled to legitimate themselves. Their exhibition-making has become a topic of discussion, as has the contentious history of their collections, which have come about through colonial appropriation.Clearly, this cannot continue. That the situation can be different is something that Clémentine Deliss explores in her current publication. She offers an intriguing mix of autobiographically-informed novel and conceptual thesis on contemporary art and anthropology. Reflections on her own work while she was Director of Frankfurt''s Weltkulturen Museum (Museum of World Cultures) are interwoven with the explorations of influential filmmakers, artists and writers. She introduces the Metabolic Museum as an interventionist laboratory for remediating ethnographic collections for future generations. CLÉMENTINE DELISS has achieved international renown as a curator, cultural historian and publisher of artist''s books. In her role as Director of the Weltkulturen Museum in Frankfurt, as a curator, and as a professor and researcher at eminent institutes and academies, she focuses on transdisciplinary and transcultural exchanges. She is Associate Curator of KW Berlin and Guest Professor at the Academy of Arts, Hamburg.

Los museos etnográficos europeos llevan tiempo sufriendo presiones para legitimarse. El discurso fundamental de sus exposiciones está tan en juego como la historia de sus colecciones, que con demasiada frecuencia deben mucho a la autolegitimación colonial. Está claro que las cosas no pueden seguir así. Clémentine Deliss muestra en su actual publicación que también puede ser muy diferente. Ofrece una apasionante mezcla de novela autobiográficamente informada y tesis científicamente argumentada sobre arte contemporáneo y etnología. Las reflexiones sobre su propio trabajo como directora del Museo Weltkulturen de Fráncfort se cruzan con encuentros formativos con influyentes cineastas, artistas y escritores. Las descripciones de las condiciones se encuentran con el Museo Metabólico, que como laboratorio intervencionista abre posibles colecciones para el futuro.

Los museos etnográficos europeos llevan tiempo sufriendo presiones para legitimarse. El discurso fundamental de sus exposiciones está tan en juego como la historia de sus colecciones, que con demasiada frecuencia deben mucho a la autolegitimación colonial. Está claro que las cosas no pueden seguir así. Clémentine Deliss muestra en su actual publicación que también puede ser muy diferente. Ofrece una apasionante mezcla de novela autobiográficamente informada y tesis científicamente argumentada sobre arte contemporáneo y etnología. Las reflexiones sobre su propio trabajo como directora del Museo Weltkulturen de Fráncfort se cruzan con encuentros formativos con influyentes cineastas, artistas y escritores. Las descripciones de las condiciones se encuentran con el Museo Metabólico, que como laboratorio intervencionista abre posibles colecciones para el futuro.

No Going Back Skin in the Game follows on from the acclaimed fieldwork diary, The Metabolic Museum. In this new book written in a conversational style, Clémentine Deliss expands on how artists today understand the creativity to be found in historical research collections. Questions are raised on how to work with contentious collections, the law from the perspective of Indigenous artists, and the concept of the “prototype” that defines an artist’s career. Deliss speaks with leading women artists—Ruth Buchanan, Otobong Nkanga, Collier Schorr, Rosemarie Trockel, Joëlle Tuerlincx, and Andrea Zittel—, about their moment of “skin in the game,” when they knew there was no going back, and that art practice would become their Hades and paradise in one. What was the prototype that defined their practice and that like a revenant returns over the course of an artist’s lifetime?

Skin in the Game follows on from the acclaimed fieldwork diary, The Metabolic Museum. In this new book, Clémentine Deliss expands on how artists understand risk and contention both in their work and with regard to historical collections. Through a series of compelling conversations, questions are raised on how to work on colonial collections through the concept of the "prototype" as generative of a multiplicity of non-exclusive interpretations. The book includes interviews with leading women artists spanning two generations—Ruth Buchanan, Otobong Nkanga, Collier Schorr, Joëlle Tuerlinckx, and Andrea Zittel—in which they discuss that moment of "skin in the game," when each of them took the decision to become an artist, to enter the Hades of an uncertain existence and the Heaven of aesthetic experiment. What was the prototype that defined their career and their life''s trajectory, that like a revenant returns over the course of an artist''s lifetime?CLÉMENTINE DELISS (*1960, London) is an independent curator whose practice crosses the borders of contemporary art, critical anthropology and curatorial experimentation. She is internationally recognized for her seminal work on the Post-Ethnographic, on African modernism, and for her interventionist practices in art. She is Honorary Global Humanities Professor of History of Art at the University of Cambridge, and Associate Curator at KW Institute for Contemporary Art in Berlin.

Skin in the Game follows on from the acclaimed fieldwork diary, The Metabolic Museum. In this new book, Clémentine Deliss expands on how artists understand risk and contention both in their work and with regard to historical collections. Through a series of compelling conversations, questions are raised on how to work on colonial collections through the concept of the "prototype" as generative of a multiplicity of non-exclusive interpretations. The book includes interviews with leading women artists spanning two generations—Ruth Buchanan, Otobong Nkanga, Collier Schorr, Joëlle Tuerlinckx, and Andrea Zittel—in which they discuss that moment of "skin in the game," when each of them took the decision to become an artist, to enter the Hades of an uncertain existence and the Heaven of aesthetic experiment. What was the prototype that defined their career and their life''s trajectory, that like a revenant returns over the course of an artist''s lifetime?CLÉMENTINE DELISS (*1960, London) is an independent curator whose practice crosses the borders of contemporary art, critical anthropology and curatorial experimentation. She is internationally recognized for her seminal work on the Post-Ethnographic, on African modernism, and for her interventionist practices in art. She is Honorary Global Humanities Professor of History of Art at the University of Cambridge, and Associate Curator at KW Institute for Contemporary Art in Berlin.