The Museum Of Found Objects Toronto Maharaja And

The Museum of Found Objects is a project initiated by artists Sameer Farooq (Canada) and Mirjam Linschooten (Netherlands/France). In response to the AGO exhibition Maharaja: The Splendour of India's Royal Courts, The Museum of Found Objects proposes to create an archive of everyday objects fueled by Toronto's South Asian neighbourhoods. A direct line will be drawn between historic objects and present-day objects, cleverly updating the AGO's Maharaja exhibition. Toronto-based artist, Sameer Farooq and his Paris, France-based collaborator, Mirjam Linschooten apply the strict methodologies of a museum - collecting, preparing, interpreting and displaying - to a selection of objects collected from neighbourhoods such as Brampton, Mississauga, Scarborough and Milton. The work challenges a museological portrayal of "culture" by introducing non-precious, surprising, and mundane objects into a place of importance. The Museum of Found Objects was first developed in Istanbul, as a commission from the Turkish Ministry of Culture during the Istanbul 2010 European Capital of Culture. This artists' book continues the exhibition's museological approach, with a collection of catalogue-style photographs, which are accompanied by the humourous and subjective captions that were used in the exhibition. A series of notes, written by Haema Sivanesan, offers insight into the way The Museum of Found Objects critiques and challenges the museum's authorial role in defining culture, while also reflecting upon ideas about the urban South Asian consumer.

Seventy years on, the Partition of India fades from memory. Can it be restored?

A beautiful book that presents nearly four centuries of artistic creation from one of the largest former princely states in India, the kingdom of Marwar-Jodhpur in southwestern Rajasthan​ Peacock in the Desert traces the evolution of royal identity in the kingdom of Marwar-Jodhpur in southwestern Rajasthan from the 17th century to the establishment of independence after 1947, presenting the area as a microcosm of India's extraordinarily vibrant culture. An international team of contributors has contextualized these regional narratives in relation to external--and even global--forces. The book thus offers a new perspective on the acquisition and commissioning of objects through patronage, diplomacy, matrimonial alliances, trade, and conquest. It sheds fresh light on the influential role of women at the royal courts and examines monarchies as lenses onto cross-cultural relationships, the unrecognized roles of groups marginalized in earlier accounts, cultural heterodoxy, and large-scale multicultural exchange. Exploring these webs of connection, Peacock in the Desert makes a transformative contribution to scholarship. Its multidisciplinary approach to artistic and cultural exchange offers pathbreaking insights, adding crucial chapters to the story of India's royal visual splendor. Distributed for the Museum of Fine Arts, Houston Exhibition Schedule: The Museum of Fine Arts, Houston (03/04/18-08/19/18) Seattle Art Museum (10/18/18-01/21/19) Royal Ontario Museum, Toronto (03/09/19-09/02/19)

This volume combines some of the most influential published research in this emerging field with newly commissioned essays on the issues, problems and lessons involved in collaborating museums and source communities. Focusing on museums in the UK, North America and the Pacific, the book highlights three areas which demonstrate the new developments most clearly: the museum as field site or 'contact zone' - a place which source community members enter for purposes of consultation and collaboration visual repatriation - the use of photography to return images of ancestors, historical moments and material heritage to source communities exhibition case studies - these are discussed to reveal the implications of cross-cultural and collaborative research for museums, and how such projects have challenged established attitudes and practices. As the first overview of its kind, this collection will be essential reading for museum staff working with source communities, for community members involved with museum programmes, and for students and academics in museum studies and social anthropology.

Everything is Relevant: Writings on Art and Life, 1991-2018 brings together texts by Canadian artist Ken Lum. They include diary entries, articles, catalogue essays, curatorial statements, a letter to an editor, and more. Along the way, the reader learns about late modern, postmodern, and contemporary art practices, as well as debates around issues such as race, class, and monumentality. Penetrating, insightful, and often moving, Lum's writings are essential for understanding his varied practice, which has often been prescient of developments within contemporary art.

"Communicative interactions in international negotiations on cultural property not only provide information about the emergence and proliferation of arguments, rhetorics, and registers, but also permit valuable insights into actors' positions, strategies and alliances. They significantly influence local and national practices and views related to cultural property debates. What can be gained from a deep analysis of the communicative patterns and strategies that actors engage in - the entailing text and talk of negotiations - is a better understanding of the process itself: how do different actors argue, what kind of strategies and rhetorics do they use, to which instruments and institutions do they refer, and in what way do actors react to each other? An analysis of communicative interactions contributes to the question of how international negotiations work. The analytic inclusion of sociolinguistic practices allows insights into positions, strategies, and perspectives pertaining to cultural property. By looking at not only what actors say, but also at how and in what contexts they do so, it is possible to make more accurate statements about their positions and perceptions in cultural property debates. As these communicative interactions influence outcomes considerably, an approach from linguistic anthropology is not only beneficial for an understanding of specific negotiations, but also for the analysis of broader cultural property issues"--Provided by publisher

Over 200 high-quality images of the author's works, delves into his work process and explores the cultural, intellectual and biographical contexts of his work.