Podcast appearances and mentions of Michael Rakowitz

Episode 173: The Casablanca Art School, Platforms and Patterns for a Postcolonial Avant-Garde This podcast about the Casablanca Art School's development in the postcolonial era of 1960-1970s, Morocco, was recorded during the time of the exhibition at Tate St-Ives, 27 May 2023-14 January 2024. It brings together for the first time a selection of 21 artists-activists who significantly participated in the various artistic manifestations and platforms, catalyzed by the Casablanca Art School (M. Melehi, F. Belkahia, M. Chabâa, M. Hamidi, M. Ataallah, M. Agueznay, M. Labied, H. Miloudi, F. Bellamine, Chaïbia...). Their multifaceted geometric abstraction itself working as a platform drawing a much bigger territory of action: critical journals and magazines, interior and graphic design, collecting and studying Afro-Berber popular arts, mural painting, street exhibitions… Eventually the CAS proves to be not only one of the most important postcolonial art schools of the Global South but also a social interface, for rethinking public space (through the arts) in Morocco. The exhibition referred to is curated by Morad Montazami and Madeleine de Colnet for Zamân Books & Curating. Morad Montazami is an art historian, a publisher and a curator. After serving at Tate Modern (London) between 2014-2019 as curator « Middle East and North Africa », he developed the publishing and curatorial platform Zamân Books & Curating to explore Arab, African and Asian modernities. He published numerous essays on artists such as Zineb Sedira, Walid Raad, Latif Al-Ani, Faouzi Laatiris, Michael Rakowitz, Mehdi Moutashar, Behjat Sadr, etc. and curated among other projects Bagdad Mon Amour, Institut des cultures d'Islam, Paris, 2018; New Waves: Mohamed Melehi and the Casablanca Art School, The Mosaic Rooms, London/MACCAL, Marrakech/Alserkal Arts Foundation, Dubai, 2019-2020 ; Douglas Abdell : Reconstructed Traphouse, Cromwell Space, Londres, 2021 ; Monaco-Alexandria. The Great Detour. World-Capitals and Cosmopolitan Surrealism, Nouveau Musée National, Monaco, 2021-2022.     This episode was recorded via Zoom on the 19th of June, 2023 by the Centre d'Études Maghrébines à Tunis (CEMAT)  To see related slides, visit our website: www.themaghribpodcast.com We thank our friend Ignacio Villalón, AIMS contemporary art follow for his guitar performance for the introduction and conclusion of this podcast.  Posted by Hayet Lansari, Librarian, Outreach Coordinator, Content Curator (CEMA).

In this episode of "The Truth in This Art", host Rob Lee interviews Hrag Vartanian, editor-in-chief and co-founder of Hyperallergic. With expertise in contemporary art and its intersection with politics, Hrag shares insights on his journey as an art critic, curator, and lecturer. He talks about his founding of Hyperallergic in 2009 and how it has grown to reach over a million readers and listeners a month through its award-winning reporting, informed opinions, and quality conversations about art. Hrag also discusses his interest in decolonization and shares details about some of his notable curatorial projects, including the world's first multi-disciplinary exhibition of social media-related art. Listeners will gain a deeper understanding of the power of journalism and the cultural and economic realities that shape the world of art, culture, and politics. About HyperallergicHyperallergic is an online arts magazine, based in Brooklyn, New York. Founded by the art critic Hrag Vartanian and his husband Veken Gueyikian in October 2009, the site describes itself as a "forum for serious, playful, and radical thinking".The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeCreators & Guests Rob Lee - Host Hrag Vartanian - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

This week: as robotic figures of the Japanese artist Yayoi Kusama appear in windows of Louis Vuitton stores in New York, London and Tokyo, Ben Luke talks to Federica Carlotto, a specialist in art and luxury, about the latest collaboration between Kusama and the LVMH brand. What does it tell us about what the former creative director of Louis Vuitton, Marc Jacobs, called the “monumental marriage between art and commerce”? Also this week, the artist Michael Rakowitz hopes to give a public sculpture he made for Trafalgar Square in London to Tate Modern and an Iraqi institution. He explains how it prompted Iraq to request the return of one of the lamassu, the ancient Assyrian sculptures that inspired Rakowitz's work, from the British Museum to its country of origin. And this episode's Work of the Week is I didn't put myself down for sainthood (2018), a piece made by Rosy Martin in collaboration with Verity Welstead. The photographic ensemble is in the opening displays of the new Centre of British Photography in London. We speak to James Hyman, the art dealer, collector and co-founder of the centre, about the work.You can hear our interview with Michael Rakowitz when he unveiled the sculpture in Trafalgar Square in the episode from 22 March 2018 and an in-depth conversation with Michael in the episode of the A brush with… podcast from 9 June 2021.Headstrong: Women and Empowerment, Centre for British Photography, London, until 23 April. Hosted on Acast. See acast.com/privacy for more information.

In 2008 maakte de Amerikaanse kunstenaar Michael Rakowitz een immense toren van sloophout ter bevordering van de discussie rondom gentrificatie in Sydney. Steven ten Tijhe, hoofd collecties van het Van Abbemuseum vertelt hoe dit moderne werk de Russische Revolutie uit de jaren '20 van de vorige eeuw, verbindt met een aboriginal gemeenschap in Australië.Beeld: Van Abbemuseum - Joep JacobsDe podcast Topstukken wordt je aangeboden door de VriendenLoterij, dé cultuurloterij van Nederland. Ontdek meer over deze podcast op topstukkendepodcast.nl.

In the final episode of Series Three, Joe speaks with Essex University historian Lucy Noakes and Chicago-based artist Michael Rakowitz on the creation of cultural memories around war and conflict. They cover a wide array of topics, including the Churchillian turn of British World War II narratives and how the words monument and demonstrate are linked by their roots in Latin. Their discussion beautifully encapsulates a number of topics covered across the series and explores more radical ways of remembering - or remembering better. Lucy Noakes is a social and cultural historian with specific interests in war, memory and gender.  She is co-editor of the book British Cultural Memory and the Second World War, sits on the Academic Advisory Board of the Imperial War Museum's Second World War Galleries redevelopment project, and is a series editor for the Social History Society book series New Directions in Social and Cultural History. Michael Rakowitz is an Iraqi-American artist working at the intersection of problem-solving and troublemaking. His anti-war statue April is the Cruellest Month formed part of the Turney Contemporary for the English coast series in 2021. Michael is also Professor of Art Theory and Practice at Northwestern University.As always, the show was presented by our very own Joe Glenton. If you'd like to learn more about Joe's new book Veteranhood (as mentioned in the podcast by Michael) then head over to his publisher Repeater.ForcesWatch is a small organisation funded by grants and donations. All contributions - no matter the size - can make a huge difference. If you want to support our work then please follow the link below.Support the show (https://www.forceswatch.net/support-our-work)

Ben Luke talks to the US-based artist about his influences and life-changing cultural experiences. They discuss his public sculpture in Margate, April Is the Cruellest Month, with its nods to TS Eliot and Siegfried Sassoon. They reflect on his fusing of his autobiography—and particularly the influence of his mother's Iraqi Jewish family—with global geopolitics and the legacies of colonialism. They discuss his earliest influences and the contemporary artists, writers and musicians that most inspire him. And, as with all the guests on the A brush with... podcast, he answers the ultimate question: what is art for? See acast.com/privacy for privacy and opt-out information.

This episode, we are very fortunate to be joined by the fabulous Aaron Cezar. Aaron is the Director of the Delfina Foundation, a London-based artist residency program that, since its founding in 2007, has hosted over 300 artists from more than 70 countries. Some familiar alumni include Kevin Beasley, Rana Begum, Michael Rakowitz, Wael Shawky, and Eric N. Mack, just to name a few. Aaron is also an active curator and was somewhat of a trailblazer as the curator of the performance program at the 2019 Venice Biennale. As part of the official public program, he conceived the opening week and final weekend performances with Ralph Rugoff. We’re especially excited to be chatting with Aaron as he is one of the jurors for the Turner Prize, one of the most important art prizes in the UK. Aaron has curated external exhibitions, performances and programs at Hayward Gallery Project Space, SongEun Artspace, ArtBo, and Art Dubai, to name a few. Aaron has moderated high profile discussions in conferences as well as in the context of art fairs including Art Basel, Frieze and Art Brussels. He has written for The Art Newspaper, Harper’s Bazaar, and ArtAsiaPacific, among others. Some artists discussed in this episode: Gilbert and George Anne Imhoff Zadie Xa Solange Knowles Array Collective Black Obsidian Sound System (B.O.S.S) Cooking Sections Gentle/Radical Project Art Works For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Research/Practice edited by Anthony Downey I'm good at love, I'm good at hate, it's in between I freeze / Michael Rakowitz The General's Stork / Heba Y. AminRachel Armstrong Published by Sternberg Press, 2019, 2020 ISBN 9783956794766, 9783956794780 In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin's The General's Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory.

Welcome back to Honey & Co: The Food Talks with Sarit Packer and Itamar Srulovich It's been a year. And what a year. We're back with a revival of the podcast, starting with a MIX TAPE for you. If you're of a certain age you'll know all about mix tapes, an expression of love in compilation form. So from us to you, this is our mix tape for you, featuring our best, tastiest, crispiest, sweetest bits so far from all our previous episodes.  If you're new to the podcast this is an excellent place to start. Featuring Claudia Roden, Michael Rakowitz, Samin Nosrat, Fernando Laposse, Max Halley, Olia Hercules, Andi Oliver and our very own Bridget Fojcik.  If you like what you hear you should definitely delve back further into previous episodes, and look out for our new series coming, which is all about our new book Chasing Smoke. --- Follow us on instagram @honeyandco Sign up to our mailing list to be the first to hear about new events  Visit our website --- With thanks to: Miranda Hinkley our producer Richard Ward for additional production John Scott our sound engineer  Hester Cant who produced some of these episodes Louisa Cornford our comms manager And Daniel Winshall for our new theme music  

The National Covid Memorial Wall on the bank of the Thames opposite the Houses of Parliament is an unofficial site of remembrance and reflection for the 150,000 or so individuals who've died from Covid. Artists and writers consider the role and design of memorials in the 21st century, from the poppies at The Tower of London in 2014 which toured the UK, to the recent controversy of the toppling of the Edward Colston statue in Bristol, and the proposed memorial to enslaved Africans and their descendants. Iraqi-American artist Michael Rakowitz discusses his new statue 'April is the Cruellest Month' which has just been unveiled in Margate, which he describes as both a memorial and a monument. Anne McElvoy and historian Kate Williams consider the changing culture and significance of memorials. Oku Ekpenyon recounts her struggle to create a new memorial to slaves whose labour brought wealth to the UK, and writer Spencer Bailey considers how architects across the world have responded to recent and historic tragic events in the last four decades. Presenter John Wilson Producer Jerome Weatherald

As an American artist of Iraqi Jewish descent, Michael Rakowitz brings centuries of conflict into his work. The 2020 Nasher Prize Laureate joins host Krys Boyd to talk about his work that uses historic moments as a launching board to workshop big ideas into moments of change. Rakowitz’s work is currently on display at the Nasher Sculpture Center.

Slavery and empire building shaped Liverpool's development. Can art works help give a new understanding of the city's history? In a discussion organised in partnership with the Liverpool Biennial, Anne McElvoy is joined by the Festival curator Manuela Moscoso, by the artist Xaviera Simmons, the historian Dr Diana Jeater and the composer Neo Muyanga. The Biennial runs from 20 March to 6 June 2021 with art works sited around the city. Neo Muyanga is a composer and sound artist whose work traverses new opera, jazz improvisation, Zulu and Sesotho idiomatic songs. His project A Maze in Grace is a 12'' vinyl record and a video installation at the Lewis’s Building, inspired by the song “Amazing Grace”, composed by English slaver-turned-abolitionist John Newton, who lived in Liverpool. The piece was co-commissioned by Fundação Bienal São Paulo, echoing some of the trading links which operated in the transatlantic slave trade. Xaviera Simmons has previously spent two years on a walking pilgrimage retracing the transatlantic slave trade with Buddhist monks. Her installation at the Cotton Exchange Building uses images and texts set against backdrops of the American landscape to explore ideas about "whiteness". It's co-presented by Liverpool Biennial and Photoworks Curator Manuela Moscoso has worked at the Tamayo Museo in Mexico City and has come up with a framework for the Biennial -The Stomach and the Port- that uses the body as an image to think about the city Historian Diana Jeater, from the University of Liverpool, is also Emeritus Professor of African History at the University of the West of England, Bristol, and teaches themes that help understand African history such as witchcraft and territorial cults, healing systems, nationalist movements and religious institutions. Producer: Torquil MacLeod You can find a playlist of programmes exploring the visual arts on the Free Thinking website, include discussions with museum curators held in partnership with Frieze Art Fair and interviews with artists including Michael Rakowitz, Taryn Simon, William Kentridge and Sonia Boyce amongst others https://www.bbc.co.uk/programmes/p026wnjl And our 2021 New Generation Thinker Vid Simoniti is hosting a podcast talking to some of the Biennial artists called Art Against the World which you can find here https://www.biennial.com/

Episode No. 481 of The Modern Art Notes Podcast features artist Michael Rakowitz and curator Julie Aronson. Rakowitz is the winner of the 2020 Nasher Prize, given by the Nasher Sculpture Center in Dallas. The Nasher is showing an exhibition of Rakowitz's work through April 18. It includes work from Rakowitz's series The invisible enemy should not exist, a 2007-and-after engagement with the looting of the Iraq Museum in Baghdad in the wake of the United States-led invasion. The series includes placeholders for many of the 15,000 artifacts that were stolen or lost in the museum's partial dissolution. The Nasher exhibition also includes Rakowitz's stop-motion film The Ballad of Special Ops Cody. The Wellin Museum at Hamilton College in Clinton, NY is presenting "Michael Rakowitz: Nimrud" through June 18. As of the publishing of this episode, the exhibition is open only to members of the Hamilton College community. On the second segment, curator Julie Aronson discusses "Frank Duveneck: American Master," a retrospective of the Gilded Age, Cincinnati-based painter whose teaching and work was also influential in the American northeast and in Europe. The exhibition is on view at the Cincinnati Art Museum through March 28.

Arthur Peña is a Bronx based artist, curator, and writer. He is the co-founder of Dallas’ Deadbolt Studios, founder/director of experimental art space WARE:WOLF:HAUS, and grant-funded, roving music venue/music label Vice Palace.Arthur discusses his evolution as an artist, his Dallas upbringing, and time spent in the studio. Peña has shown throughout Texas, including exhibitions at Blue Star Contemporary, Oliver Francis Gallery, Barry Whistler Gallery, Dallas Museum of Art, Dallas Art Fair, and a solo exhibition at Dallas Contemporary; additional exhibition venues in New York include Et Al Projects, This Friday or Next Friday, and Couples Counseling. In 2019, Brigitte Mulholland (currently a director at Anton Kern Gallery) presented a solo booth of his work at the Spring/Break Art Show.His work has been featured in Art in America, Vice, ArtNews, Hyperallergic, Art Maze Magazine, New American Paintings, and Dallas Morning News. Additionally, Peña is a prominent contributing writer with a storied archive of artist interviews including conversations with Stanley Whitney, Joyce Pensato, Nina Chanel Abney, Katherine Bradford, Sterling Ruby, Michael Rakowitz, and many more.Peña received his Post- Baccalaureate from the School of the Art Institute of Chicago and his MFA in Painting from Rhode Island School of Design.website: ArthurPena.comOriginally recorded on October 2, 2020

Naujausių kultūros publikacijų apžvalga.Christopherio Nolano filmą „TENET“ apžvelgia kino žurnalistė Ieva Šukytė.Pasakojimų apie garsius Lietuvos žydus „Atminties akmenys“ cikle Indrė Kaminckaitė pristato Šiauliuose augusį, JAV itin išgarsėjusį skulptorių ir medalistą Viktorą Dovydą Brenerį.Eglė Baliutavičiūtė pristato Stepheno Kingo „Svetimas“ („Alma littera“) ir Kristinos Ohlsson „Hester Hilo paslaptis“ (Leidykla „Nieko rimto“).Vilniuje, Paupyje duris atveria naujas kino teatras „Pasaka“. Pokalbis su kino teatro vadove Andre Balžekiene.Klaipėdos dramos teatras kviečia į premjerą – latvių režisierės Lauros Grozos statomą spektaklį „Saulės vaikai“ pagal rusų rašytojo Maksimo Gorkio 1905 metų pjesę. Domisi Česlovas Burba.Šiuolaikinio meno centre atidaryta paroda – Irako kilmės amerikiečių menininko Michael Rakowitz „Sugrįžimas“. Parodoje pristatomi menininko kūriniai su jautria atida ir humoru plėtoja migracijos, nostalgijos bei sudėtingų tarpvalstybinių politinių santykių verpetuose atsidūrusius žmonių ir daiktų likimus. Pasakoja Agnė Šimkūnaitė.Įkvėptos minties sukurti pilnesnį 9-10 praėjusio amžiaus dešimtmečių portretą, dailininkė Marija Garnak, kompozitorė Rita Mačiliūnaitė ir dramaturgė Živilė Zablackaitė sukūrė garsinį pasivaikščiojimą „Nostalgijos muziejus“, lankytojus perkeliantį laiku atgal. Pasivaikščiojimas vyks Vilniaus Šeškinės tako dalyje nuo Šeškinės poliklinikos iki Paribio gatvės. Pasivaikščiojimo metu lankytojais išgirs unikalias istorijas, kurias pasakoja žmonės, aptariamu laikotarpiu buvę vaikais. Apie muziejų pasakoja Marija Garnak ir Živilė Zablackaitė.Ved. Austėja Kuskienė

As cultural institutions across the world are faced with deciding if and when to re-open, we look at two extremes: we hear from Brandon Zech, the publisher of the Texas-based art publication Glasstire, about a visit to the Museum of Fine Arts, Houston, one of the first museums in the US to re-open. And we discuss the Southbank Centre in London’s announcement that it’s at risk of closure until April 2021, with Ralph Rugoff, the director of the Hayward Gallery, one of the centre’s venues. And in the latest in our series Lonely Works—about objects in museums that are closed due to the virus—the artist Michael Rakowitz tells us about some ancient Sumerian figurines in the Oriental Institute in Chicago. See acast.com/privacy for privacy and opt-out information.

Michael Rakowitz’s Iraqi heritage is a cultural thread running through much of his art. We follow him at work on a new installment of a long-running project called The Invisible Enemy Should Not Exist, which creates what he calls ‘ghosts’ of archaeological objects that have been destroyed or looted from Iraq in the 21st century. Sarah Geis follows him throughout the process of recreating carved reliefs which adorned a room of the Northwest Palace of Nimrud, destroyed in 2015 by the Islamic State group. However, he’s not making them from stone but colourful Arabic food packaging and cardboard – for a fast-approaching exhibition. We check back in with Michael in March 2020 to see how the project has progressed.

Vi samlar tre kritiker i studion för att diskutera mästerverk, kontroverser och katastrofer. Dessutom en krönika om decenniet när den samiska kulturen tog plats. Plus ett farväl till Luke Skywalker. Det är Kulturredaktionens Cecilia Blomberg, Mårten Arndtzén och Karsten Thurfjell som tittar i backspegeln.  Ur diskussionen: Årets viktigaste utställningar internationellt och i landet. Mårten Arndtzén: Venedigbiennalen förstås. Jag vill lyfta fram den franska paviljongen p g a dess sätt att behandla klimattemat. Och kan jämföra med utställningar på samma tema runt om landet (Malmö, Uppsala och Umeå) under året. Cecilia Blomberg: Jag måste nog också säga Venedigbiennalen. Svårt att gå runt en av de viktigaste och återkommande konsttillställningarna. Två av vinnarna av Guldlejonen är också särskilt intressanta. Arthur Jafa bästa konstnär och Litauiska paviljongen som bästa paviljong. Dessutom Pipilotti Rist på Louisiana. Karsten Thurfjell: Två gamla godingar som publikdragare:först Rembrandt i våras och nu Leonardo. På hemmaplan fler tillbakablickar: 1989 på Nationalmuseum i Stockholm, inte minst en tidskapsel av konsten från de åren, liksom att Greta Knutson Tzara plockades fram ur konsthistorien i Norrköping och Mjällby. Även charmtrollen Gilbert & George på Moderna Museet i Stockholm var en bit konsthistoria. Att små institutioner som Rikstolvan utanför Simrishamn kan visa Laurie Anderson och Kummelholmen i Stockholms-förorten visa William Kentridge. Och att OpenArt i Örebro fortsätter som Nordens största utomhusbiennal. Årets viktigaste händelser och debatter på konstområdet: Mårten Arndtzén: Accelerator, ny konsthall i Stockholm. Viktig händelse internationellt: de framgångsrika protesterna mot mecenater och ledamöter i museistyrelser (Sackler, Kanders). Cecilia Blomberg: Jag tycker också Sackler är enormt intressant. Jag har även läst Jonas Cullbergs bok som går rakt in i Opioidkrisen och tar upp Nan Goldins proteströrelse mot Sackler. Jag gick också förbi Notre Dame när jag var i Paris nyligen och brandens omfattning blir så påtaglig. Och det är ju faktiskt nästan besynnerligt att det fantastiska rosettfönstret klarade sig när man ser skadorna. Och när det handlar om Venedig och konsthistoriska arvet där går det ju också hand i hand med klimatkrisen. Politiseringsdebatten. Jag ogillar ren dumhet som de väldigt vinklade informationsskyltarna på Nationalmuseum. Däremot tycker jag inte att Moderna Museet har hamnat där de nu gjort om hängningen av samlingarna. Att tro att konsthistorien är neutral och bara fortsätta som förut tycker jag däremot inte heller är en framkomlig väg. Jag skulle gärna lyfta fram nya James Simon Gallery i Berlin som binder ihop alla muséerna på Museum Insel. En lyckad tillbyggnad tycker jag av David Chipperfield.  Och en av invigningsutställningarna där 200 år av gipser skulle jag gärna prata om som ett av de mest lyckade försök jag sett att ha en modern ingång till hur man visar en samling med en samtida ingång. Decenniets viktigaste utställningar, debatter och konstnärliga tendenser Mårten Arndtzén: Ursprungsbefolkningar är "det nya svarta" i konstvärlden. Ex: Documenta 14, år 2017. Som också demonstrerade decenniets tråkigaste utveckling: politiseringen. Olu Oguibes flyktingmonument i Kassel. Hemmavid: Modernautställningen 2018. Också en fråga om institutionernas självförståelse: förslaget till ny museidefinition som inte gick igenom under året (men som svenska museer stod bakom). Galleriernas nya betydelse som andningshål. Cecilia Blomberg: Då vill jag lyfta fram ett antal viktiga solopresentationer av viktiga kvinnliga konstnärskap som tidigare befunnit sig i skuggan. Ett av de största namnen där Louise Bourgeois har också gått bort under decenniet. Men det är som om det nu tillkommer ett nytt sätt att närma sig hennes verk, vilket syntes på Moderna-utställningen 2018. Andra viktiga kvinnliga konstnärskap som fått plats i stora separatutställningar under decenniet och som tidigare varit lite mer i periferin är också Hilma af Klint, Lee Lozano, Yayoi Kusama, Atsuko Tanaka, Paula Modersohn-Becker, Gabriele Münter, Judith Chicago, Adrien Piper, Lygia Pape. Både det samtida och det konsthistoriska blir på det här sättet mer balanserat. Karsten Thurfjell: Trots ständiga nedskärningar av kulturbudgetar och några snöpta museer och konsthallar, så fortsätter ändå nya utställningslokaler att öppna. Flera etablerade konsthallar och konstmuseer trummar också på med nya, ofta egenproducerade utställningar, från Havremagasinet i Boden till Ystad konstmuseum i söder. Tips på utställningar att se just nu, i Sverige: Mårten Arndtzén: Michael Rakowitz på Malmö konsthall + Vejen till Palmyra på Glyptoteket, Köpenhamn (över sundet). Cecilia Blomberg: Jag tycker inte att man ska missa Meta Isaeus-Berlins utställning på Waldemarsudde i Stockholm och då kan man ju också passa på att se Edward Burne-Jones och Prerafaeliterna. Karsten Thurfjell: Och det finns fortfarande möjlighet att frysa med William Kentridge på Kummelholmens konsthall i Stockholm. Helene Alm har gjort krönikan om den samiska kulturens intåg på riksscenen. Mer ur P1 Kultur: Joakim Silverdal har sett Star Wars-filmen som avslutar sviten som påbörjades 1977. Dagens OBS är den andra av två essäer om Drottning Kristina och är gjord av latinforskaren Anna Blennow. Programledare: Gunnar Bolin. Producent: Mattias Berg.

Vi frågar oss hur mycket man egentligen lär sig om antiken i grundskolan. Och vad de massakrerade världsarven Palmyra och Nimrud kan lära oss för framtiden. Dessutom: Hur är det att vara fladdermus? Det är Kulturredaktionens kritiker Mårten Arndtzén som besöker Michael Rakowitz utställning på Malmö Konsthall, där han återskapar delar av den assyriska högkulturens Nimrud i godispapper, och en utställning med skatter från det förstörda Palmyra på Glyptoteket i Köpenhamn. Vi talar också med gymnasieläraren Cecilia Düringer från podden P3 Historia i debatten om antikundervisningen i skolan - och om att intressera unga för historia i radio. Filmfestivalen Cinemafrica drar också igång i dag i Stockholm. En av festivalens huvudfilmer handlar om den franske psykiatern och debattören Frantz Fanon, som var en viktig röst för den koloniala befrielserörelsen. Journalisten och Fanon-kännaren Nathan Hamelberg kommer till studion och presenterar honom närmare. Vi får också höra den tredje delen av fyra i Helena Granströms långessä för OBS - i dag om förståelse, inlevelse och empati. Bland annat om ifall det finns en möjlighet för oss människor att förstå hur det faktiskt är att vara en fladdermus. Programledare: Gunnar Bolin. Producent: Mattias Berg.

Nyhetssändning från kulturredaktionen P1, med reportage, nyheter och recensioner.

Ep5 of our mini-series in partnership with the V&A to celebrate their fantastic exhibition FOOD: Bigger than the Plate. Recorded live at the V&A museum, in the last episode of the series, we chatted to three artists from the Eating section of the exhibition: Karen Guthrie, Jasleen Kaur and Michael Rakowitz, all who are challenging the way we think about eating and especially to think about cooking and eating as creative acts. Visit the exhibition: Listeners can get 40% off tickets to the exhibition using promo code: FOOD40  @vamuseum  #plateup   More information on the artists:  Karen Guthrie - House of Ferment https://www.somewhere.org.uk/ Jasleen Kaur - The Five Ks and Tala Curry Measure http://jasleenkaur.co.uk/ Michael Rakowitz - Spoils, Enemy Kitchen -  http://www.michaelrakowitz.com/  To be the first to hear about new recordings of Honey & Co: The Food Talks, follow @honeyandspicedeli on instagram or sign up to our mailing list. If you enjoyed this episode please help us reach more people - subscribe, rate, review!  x The Honeys   

©Photo courtesy of Chris Collie. Melissa Bianca Amore is an Australian/Italian international curator, art critic and independent scholar based in New York. Her primary area of exploration surrounds the study of phenomenology, the limitations of perceived space and interactive spatial aesthetics. A highly acclaimed critic and essayist, Amore has written for leading publications and authored exhibition catalogues since 2005.  Amore is currently a visiting critic and curator for selected organizations and academic institutions including Parsons School of Design, The New School University, New York; Residency Unlimited, New York and Art Omi Artists Residency, New York.Amore co-founded, alongside William Stover, a non-profit arts organization titled Re-Sited, which re-evaluates the architecture of “site” and the “conceptual space”- its materiality, particularities and relationship to the work of art. Re-Sited examines the spatial intersections between sculpture, architecture and space. The collaborative recently curated Traveling Spaces, a group exhibition that addressed ideas of “site” and “space” and questioned how we travel and move through space. The exhibition featured a series of site interventions and perceptual interruptions, which included works by Caroline Cloutier and Willem Besselink. In 2017, Re-Sited curated Sites of Knowledge at Jane Lombard Gallery, New York. Sites of Knowledge examined spatial semiotics and language as a visual structure of knowledge, and included works by Richard Artschwager, Henri Chopin, Sophie Tottie and Michael Rakowitz. Amore curated a solo exhibition titled ThreeFold, on Australian/American installation artist Natasha Johns-Messenger, at El Museo de Los Sures, in New York. ThreeFold was a large-scale site installation, an optical prism, predominantly made of mirrors and periscopic devices. Amore has also been the curatorial advisor for public art-work commissions both locally and in Australia, and continues today to advise for a private dealer based in New York City, alongside her curatorial projects.  In 2012, Amore was appointed the Creative Director and Senior Curator for a non-profit arts organization, NotFair, in Melbourne, Australia. NotFair is a curated art fair-launching emerging and undiscovered contemporary artists across the Asia Pacific Region. Amore curated a large-scale exhibition Bal Taschit Thou Shalt Not Destroy, in 2006, at the Jewish Museum of Australia. The exhibition featured over thirty-five artists who examined early scripture including, readings from the Torah, the Talmud and biblical prescriptions about structures of knowledge and the environment.  Amore held the position as Exhibition Manager and Artist Liaison at Arc One Gallery, Melbourne, Australia for over seven years, where she managed Australia's most important contemporary artists. She received a Masters of Fine Arts (MFA) in Art Criticism and Writing, at SVA, New York in 2014, and a Degree in Philosophy, History of Ideas, and a B.A in Creative Writing (Literature) and Art History (Minor) in 2005, Melbourne Australia, where she graduated with honors and also commenced a bachelor of psychology for two years.

The American sculptor Michael Rakowitz on how his own Iraqi heritage drove him to make art about the disappearance of artefacts and people. From shame to sympathy - New Generation Thinker Emily Cock looks at the way the British State used facial disfigurement to mark criminals for life. Nicholas Jubber has travelled Europe from Iceland to Turkey exploring the popularity of ancient epic tales - and ahead of the British Academy's summer showcase, we hear from Turkey about new ways of involving local villages in the cultural heritage around them.....and how a conversation between primatologists and archaeologists are refining the story of how stone tool use developed. Michael Radowitz Whitechapel Gallery London 4 June 2019 – 25 August 2019 Nicholas Jubber's book 'Epic Continent' out now Emily Cock teaches at Cardiff University and holds a Leverhulme Fellowship for her research project Fragile Faces: Disfigurement in Britain & its Colonies (1600–1850). Isilay Gursu Cultural Heritage Management Fellow British Institute at Ankara and Tomos Proffitt, Institute of Archaeology, British Academy Postdoctoral Research Fellow University College London both appearing in British Academy Summer Showcase 21 - 22 June 2019 https://www.thebritishacademy.ac.uk/ New Generation Thinkers is a scheme run by the BBC and the AHRC to select ten academics each year who can turn their research into radio. Image: Michael Rakowitz (portrait) with The invisible enemy should not exist (Northwest palace of Nimrud, Room N) 2018 (Photo John Nguyen/PA Wire, Courtesy Whitechapel Gallery) You can hear a discussion of The Odyssey with Amit Chaudhuri, Karen McCarthy Woolf, Daniel Mendelsohn and Emily Wilson https://www.bbc.co.uk/programmes/b09kqjc0 Producer: Jacqueline Smith

When news that Michael Rakowitz withdrew from the 2019 Whitney Biennial was published by the New York Times on February 25, people wondered why the Iraqi-American artist decided to sit out the biannual art event. Later, in April, when the Leonard Cohen: A Crack in Everything opened at the Jewish Museum, many people noticed that Rakowitz's work about the renowned Canadian crooner’s relationship with Zionism and Israel — which appeared in the original exhibition at the Musée d’art contemporain de Montréal — wasn’t there. Why? Rakowitz talks to me about the controversies with both exhibitions and his thoughts on museums and power. He also reads his 2015 letter to Leonard Cohen, which he mailed to the singer a year before the legend died. And, as a special treat, the music in this podcast is performed by Rakowitz himself.

In this episode we welcome back three long lost friends. We pull Richard Holland and Christian Kuras out of retirement to speak deeply and profoundly about the complexities of museum funding. We visit the studio of Michael Rakowitz to talk about what it's like to be considered for the Whitney biennial and to choose not to participate. Then to have that choice forced to become a public act and to find the people wanting for a conversation about the future of our museums.   https://www.theartnewspaper.com/news/whitney-announces-lineup-for-2019-biennial https://hyperallergic.com/486805/artists-and-activists-prepare-political-responses-to-whitney-biennial/ http://www.frieze.info/article/2019-whitney-biennial-names-participating-artists-michael-rakowitz-drops-out-protest?language=de  

Michael Rakowitz, Iraqi-American artist of Fourth Plinth commission 'The Invisible Enemy Should Not Exist' and author of upcoming cookbook A House With A Date Palm Will Never Starve, to be released in the summer of 2019. Rakowitz’s Lamassu is made from empty tins of Iraqi date syrup, alluding to the fact that historical monuments are not the only thing destroyed by war; they also decimate local economies, including the industry for date syrup which collapsed as a result of the war.  A House With A Date Palm Will Never Starve by Michael Rakowitz is out June 2019, published by Plinth Instagram: @PlinthUk Twitter: @PlinthUkArt

Journalist Ray Hanania Talked with Iraqi American artist Michael Rakowitz about his efforts to recreate Iraqi art and iconic heritage lost to war and ISIS/ISIL violence Originally aired: Friday 8 June 2018 US Arab Radio can be heard on wnzk 690 AM, WDMV 700 AM,and WPAT 930 AM. Please visit: www.facebook.com/USArabRadio/ Web site : https://arabradio.us/ Twitter : https://twitter.com/USArabRadio Instagram : https://www.instagram.com/usarabradio/ Youtube : US Arab Radio

The best art helps us to see and feel in new ways - it can challenge and provoke. Michael Rakowitz uses sculpture, installation, and site specific experiences to transmit a vision which reflects his Iraqi Jewish heritage and preoccupations which range from war to family, to food. He has made it his mission to test the boundaries of what we think of as art and has won plaudits around the world. What does his work tell us about the state we are in? (Photo: Iraqi-American artist Michael Rakowitz at the unveiling of his work, the new fourth plinth sculpture titled The Invisible Enemy Should Not Exist, Trafalgar Square, London, 2018. Credit: Getty Images)

The best art helps us to see and feel in new ways - it can challenge and provoke. Michael Rakowitz uses sculpture, installation, and site specific experiences to transmit a vision which reflects his Iraqi Jewish heritage and preoccupations which range from war to family, to food. He has made it his mission to test the boundaries of what we think of as art and has won plaudits around the world. What does his work tell us about the state we are in? (Photo: Iraqi-American artist Michael Rakowitz at the unveiling of his work, the new fourth plinth sculpture titled The Invisible Enemy Should Not Exist, Trafalgar Square, London, 2018. Credit: Getty Images)

For the 12th edition of the 'Fourth Plinth' project in Trafalgar Square London, the artist Michael Rakowitz unveils 'The Invisible Enemy Should Not Exist'. The sculpture is inspired by Lamassu, a 7th century winged bull which was destroyed near Mosul by ISIS in 2015. The piece is made out of 10,500 empty Iraqi date syrup cans.  Michael Rakowitz talks to us about heritage, the mourning of the dead through objects, and the treasures found in everyday trash. More on www.culturealt.com 

We speak to Thomas Laird about his new sumo-sized book on Tibetan murals, and to the artist creating the new work for the Fourth Plinth commission in London's Trafalgar Square. See acast.com/privacy for privacy and opt-out information.

In spring 2018, Radio Silence continues with the premiere of Michael Rakowitz's highly anticipated radio series. This special radio event will be broadcast on WPPM PhillyCAM radio and other community radio stations across the country, and distributed nationally by PRX (Public Radio Exchange). Episodes will also be available for streaming and download on this website and as a podcast on iTunes.

Michael Rakowitz is a Chicago based artist whos works have appeared in venues worldwide including dOCUMENTA (13), P.S.1, MoMA, MassMOCA, Castello di Rivoli, the 16th Biennale of Sydney, the 10th Istanbul Biennial, Sharjah Biennial 8, Tirana Biennale, National Design Triennial at the Cooper-Hewitt, and Transmediale 05. He has had solo exhibitions at Tate Modern in London, Lombard Freid Gallery in New York, Alberto Peola Arte Contemporanea in Torino, and Kunstraum Innsbruck. The works find their roots across history, architecture, and cultural exchange. They ask us to play remote witness to atrocity and triumph as we are made complicit in the challenges and trials of a globalized world. Check out his current exhibitions at the Graham Foundation and Rhona Hoffman Gallery.    

This week: The amazing stupendous Michael Rakowitz!!

  This week we bring together artist who work with war, teaching, and infrastructure for a discussion about what the hell we think we are doing when we blend art and politics. We welcome Michael Rakowitz, Abigail Satinsky, and Jim Duignan! Thanks to EXPO Chicago for handing us the space and context for having the discussion live in 2014 and now brought to you via tape or more correctly, silicon.  

The artist Michael Rakowitz speaks with independent curator Regine Basha and scholar Ella Habiba Shohat about the disappearance of Arab Jewish identity, in the context of their recent collaboration Dar Al Sulh, a temporary restaurant serving Iraqi Jewish cuisine in Dubai.

This week: Duncan and Richard at CAA 2014! We talk to Michael Rakowitz in the first of what will eventually be a multiple interview series, this time we discuss his work The Breakup, currently on view at Rhona Hoffman Gallery. Next Richard's new hero Jenna Frye on Makerness, BAS pal, artist, curator Jesse Malmed on WACH, and art book genius Matthew Smith of http://arenotbooks.com/. This show is an epic. E P I C. So we put our hands up like the CAA can’t hold us. Who on Earth eats spearmint gummy. Yuck.

Världens viktigaste konstutställning, så brukar den kallas - Documenta - som äger rum i Kassel vart femte år. Denna upplaga, nummer 13, sprider sig också över världen, bland annat öppnar ett litet Documenta i Kabul nästa vecka. Kosmo har varit där och mött både konstscenens största namn och flera som kan få en knuff i karriären genom utställningen. 1955 var startpunkten för Documenta då grundare, konstnären och läraren Arnold Bode, lyfte fram den konst som nazisterna hade benämnt Entartete Kunst - degenererad konst – med verk från 20- och 30-talen av konstnärer som Kandinsky, Picasso och Nolde. Documenta har sedan haft fokus på samtida konst och sedan 1972 äger den rum vart femte år. I början visades det främst konst från Europa och USA, men så småningom kom utställningen att ta in resten av världen. Den 9:e juni öppnades Documenta 13 som pågår i hundra dagar.  Vid rodret detta år är kuratorn Carolyn Christov-Barkagiev som i år sprider Documenta över världen och där också forskningen har en speciell plats. The Refusal of Time heter den numera världsberömda sydafrikanska konstnären Williams Kentridges verk. Det är en föreställning på cirka 20 minuter. I taket finns trattformade högtalare där olika röster och musik hörs, som William Kentridges egna funderingar över tidens filosofiska aspekter, som vad svarta hål är. Cecilia Blomberg mötte honom och där han berättar hur verket även handlar om hur man som konstnär ska lyckas att ta sig ur förutsägbara uttryck. Mårten Arndtzén har mött två konstnärer som också deltar i Documentas satelitutställning i Afghanistans huvudstad Kabul -  Mariam Ghani och Michael Rakowitz. Båda utgår från hjärtat på Documenta: Fridericianum, byggt i slutet av 1700-talet och Europas första öppna, offentliga museum. Hör också den egyptiske konstnären Wael Shawky som, för två år sedan, påbörjade en serie filmer om korstågen, ur ett arabiskt perspektiv. Och den libanesiske konstnärer Rabih Mroué som både i sin föreläsning och installation på Hauptbahnhof analyserar i detalj mobilfilmade klipp från folkresningen i Syrien. På Documenta13 kretsar mycket av konsten kring historien. Den kanadensiska konstnären Janet Cardiff tar i sitt verk avstamp i den gamla centralstationen i Kassel och specifikt från spår 13 där transporter till Auschwitz och Theresienstadt avgick i början av 40-talet. I tyske Clemens von Wedemeyers videoninstallation Rushes tas man till Benedictinerklostret Breitenau strax söder om staden. En plats som bär på många lager av 1900-talshistoria. Före andra världskriget var Breitenau ett av de första koncentrationslägren. Under andra världskriget döptes det om till arbets- och uppfostringsläger. Efter kriget blev det en ungdomsvårdskola för flickor. Därefter har det varit öppen psykiatrisk anstalt, och historisk minnesplats. På Documenta 13: Mårten Arndtzén och Cecilia Blomberg Producent: Marie Liljedahl

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Michael Rakowitz talks about his mobile art project, Enemy Kitchen (Food Truck), which serves Iraqi cuisine with US veterans acting as servers and sous-chefs.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Michael Rakowitz talks about Saddam Hussein's chinaware and the different ways he has included the plates in his art.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

One of the opening exhibitions at SALT Galata, Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914 presents the rich and intricate story of archaeology in the Near East in a chronological narrative around selected archaeological sites. Exploring archaeological activities in social, cultural and political contexts across a wide geographical area that spans from Greece to Egypt, the exhibition examines local and foreign archaeological initiatives undertaken in the land of the Ottoman Empire over a period of nearly two centuries. Taking the inauguration of the British Museum, the first museum in the modern sense of the word, as a starting point and following the development of the Museum of Islamic Pious Foundations in the Ottoman Empire (today’s Museum of Turkish and Islamic Arts), the exhibition explores transformations in the historical narrative of the Ottoman Empire in parallel to studies focusing on Western interest in “the cultural heritage of the classical era.” Principal materials in the exhibition include reports by Western and Ottoman explorers, books that share their experiences travelling across this region with plans and maps, and selected documents and photographs expressing the involvement of the Imperial Museum in the Ottoman Empire (today’s İstanbul Archaeology Museums) and the race to attain artifacts immediately after the museum’s establishment. These materials are corroborated by objects excavated and transported from major archaeological excavation sites in Greece, Turkey, Iraq, Syria, Lebanon and Egypt to İstanbul at the time. The main theme of the exhibition however, is the story of how an interest in the past transformed into a field of “struggle” over artifacts – a process that began in the mid-18th century. The basis of this transformation sees a shift in the motivation for archaeological activity; an act that had originally served as an argument for pursuing the origins of European civilization by the 19th century became eclipsed by the desires of an imperialistic project. The Ottoman investment in the archaeological scene was based on the rise of historical consciousness, which emerged in parallel to these imperialistic arguments. In the exhibition, the changing perspective on the practice of archaeology is addressed by emphasizing the interaction among European and Ottoman actors. Scramble for the Past was conceptualized and prepared by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. A commissioned installation by Celine Condorelli functions as a support structure for the exhibition, with graphic design by Aslı Altay. In addition, two specially composed installations by artists Mark Dion and Michael Rakowitz further address some of the issues raised by the conceptual framework of the exhibition and touch on our everyday understanding of and relationship to the field of archaeology.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

SALT Galata’nın açılış sergilerinden Geçmişe Hücum: Osmanlı İmparatorluğu’nda Arkeolojinin Öyküsü, 1753-1914, arkeolojinin Yakın Doğu’daki zengin ve karmaşık hikâyesini seçili arkeolojik bölgeler üzerinden kronolojik bir anlatımla sahneliyor. Yunanistan’dan Mısır’a uzanan geniş bir coğrafyadaki arkeoloji faaliyetlerini sosyal, kültürel ve politik bağlamlarıyla inceleyen sergi, yaklaşık 200 yıl boyunca Osmanlı topraklarında gerçekleştirilmiş yerli ve yabancı arkeolojik girişimleri irdeliyor. Sergi ayrıca, Batı’nın “klasik dönemin kültürel mirasına” ilgisine odaklı araştırmalara paralel olarak Osmanlı tarih anlatısındaki dönüşümleri kapsıyor; modern anlamda ilk müze olan British Museum ile Osmanlı’nın Evkaf-ı İslâmiye Müzesi (bugünkü adıyla Türk ve İslâm Eserleri Müzesi) arasındaki izleği sürüyor. Serginin ana malzemeleri, Batılı ve Osmanlı kâşiflerin raporları ile seyahat izlenimlerine ilişkin kitaplar, bölgelerin detaylı çizimlerini içeren planlar ile Osmanlıların, Müze-i Hümayun’un (bugünkü adıyla İstanbul Arkeoloji Müzeleri) kuruluşu itibariyle eski eser mücadelesine dâhil oluşunun izdüşümünü sunan belge ve fotoğraflardan meydana geliyor. Bu malzemeler, Yunanistan, Türkiye, Irak, Suriye, Lübnan ve Mısır’daki önemli arkeolojik kazı alanlarından o dönemde çıkartılıp İstanbul Arkeoloji Müzeleri’ne getirilmiş objeler ile destekleniyor. Serginin ana temasını ise, geçmişe yönelik ilginin 18. yüzyılın ortalarından itibaren bir “mücadele” alanına dönüşmesinin hikâyesi oluşturuyor. Bu dönüşümün temelinde, Avrupa’da uygarlığın kökenlerini antik kültürlerde arama iddiasına hizmet eden arkeoloji faaliyetlerinin, 19. yüzyıl itibariyle emperyalist projelere dâhil edilmesi yatıyor. Osmanlıların arkeoloji arenasında yer bulmaya başlaması da, yine bu emperyal iddialara paralel olarak ortaya çıkan tarih bilincinin yükselişine dayanıyor. Arkeolojiye bakışın geçirdiği bu dönüşüm, sergide Avrupalı ve Osmanlı aktörlerin aralarındaki etkileşime vurgu yapılarak inceleniyor. Geçmişe Hücum, Zainab Bahrani, Zeynep Çelik ve Edhem Eldem tarafından kavramsallaştırılıp hazırlandı. Grafik tasarım çalışmalarını Aslı Altay yürüttü. Celine Condorelli’nin enstalasyonu, serginin destek yapısı işlevini görüyor. Mark Dion ve Michael Rakowitz’in özel olarak hazırladığı iki enstalasyon ise, serginin kavramsal altyapısının öne çıkardığı bazı meselelere gönderme yaparak, arkeolojiyle ilişkimizi ve bu dala dair gündelik algımızı ele alıyor.

April 21, 2010 Known for his award-winning paraSITE (1998) in which inflatable homeless shelters attach to exterior vents of a building’s heating or cooling system, Rakowitz describes how his art challenges notions of social economies.

Imaginatively drawing out the surprising connections between sci-fi and Saddam Hussein, Michael Rakowitz's new project is on show at Tate Modern. In this talk the artist discusses his ongoing interest in the Middle East and displacement.