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Kritische Weißseinsforschung in der praktischen Museumsarbeit
Künstlerische Verhandlungen kultureller Differenz in der Bundesrepublik Deutschland, 1960-1990. Eine postkoloniale Relektüre
Strategien rassismuskritischer Theaterarbeit
Series: Theater, 87
Zur Repräsentation von Gender und Race in Ausstellungen

and the discourses in which it partakes. Many texts in visual culture studies follow this pattern when they study the stereotypeswithwhich discriminated groups are visualised.This researchwas and is important in order to render the history of such stereotyping visible and thus to underline the visual dimension of both manifest and, more espe- cially, latent racism in all its manifold cultural symptoms. But it does also have its strategic pitfalls: when the concept of the gaze is used in this way, the gaze is identical with the images it has produced. Put another way

most thorough analysis of the problem. In a society shaped by racism over centuries, every effort to create a new image had to struggle with firmly established stereotypes in de- picting the black American. Langston Hughes broached this subject in the poem Minstrel Man of 1925: Because my mouth Is wide with laughter And my throat Is deep with song, You do not think I suffer after I have held my pain So long? Because my mouth Is wide with laughter, You do not hear My inner cry? Because my feet Are gay with dancing, You do not know I die?8 The same subject had been

that which Swiss society recognises as symbolical capital.3 As in other countries in Western Europe, both everyday racism and structural racism create barriers that prevent these young people from accessing the corresponding cultural resources, which are, in principle, abundantly available in Switzerland. They are faced with forms of everyday racism, for example in the fact that based on their surname, they have less opportunities than others to find an apartment, 1 | See (the date of access for all web sites is 13

der Tat. Vermessung, Transformationen und Ambivalenzen des Antirassismus in Europa. St. Pölten: Sozaktiv 2002, S. 119-141. 306 DI E KUNST DER GRENZÜBERSCH REITUNG Bratic, Ljubomir: Diskurs und Ideologie des Rassismus im Österreichi- schen Staat, 2003, o.S. Online unter URL: antirassismus/texte/diskurs_ideologie.htm [ 17.03.2011]. Bratic, Ljubomir/Koweindl, Daniela: Eine kurzfristige Parallelisierung von Interessen. Einleitende Worte zu Allianzenbildung und SOHO IN OTTAKRING. In: BratiC, Ljubomir/Koweindl, Daniela/Schnei- der, Ula

by the German consulate general.4 The motto of the event was “tolerance.” In the preface to the Osnabrück catalogue it is claimed that the exhibition is to “initiate a stand against xenophobia and racism,” a goal to be achieved “by providing a profound insight into the creative diversity and energy of these mostly anonymous artists of Africa.”5 In this respect Klimmt empha sized that “authentic African art” was being exhibited in Russia for the very first time.6 In many respects, the Osnabrück opening can be seen as a repeat of the event in St Petersburg on

museums, based on her practice at the Horniman Museum in London. The collaboration with the Caribbean Women Writers Alliance (CWWA) at the Horniman Museum in the 1990s offers an early example.21 Under the title re-writing the museum and working with both young and established writers, the workshops conducted in this project focused not only the collection’s objects, but also on the institution and on the museum’s existing displays and the racism and exoticism to be observed in them. Thus the group critically engaged in writing with a panel that still showed the