This thesis examines a collection of drawings by Abraham Delfos (1731-1820), an eighteenth-century engraver and draftsman from Leiden. Housed in the Print Room of Leiden University Libraries, these...Show moreThis thesis examines a collection of drawings by Abraham Delfos (1731-1820), an eighteenth-century engraver and draftsman from Leiden. Housed in the Print Room of Leiden University Libraries, these drawings predominantly consist of reproductions made after seventeenth-century paintings. Despite the fact that reproductions were a common practice and a typical eighteenth-century phenomenon, they have received limited attention from researchers. By examining Delfos' drawings within the broader context of his time, including his role as a director and his involvement in the establishment of drawing academy Ars Aemula Naturae, as well as his art dealership, this research uncovers the historical significance of these artworks. The study explores the factors that influenced changing attitudes towards reproductions and their growing popularity in the eighteenth century. Through a comprehensive analysis of Delfos' drawings, insights are gained into the influences shaping his artistic approach, the role of art education, and the perception of reproductions. These drawings serve as valuable windows into the past, offering a unique perspective on the interplay between art, education, societal development, and the evolving status of reproductions in the eighteenth century. The exploration not only highlights Delfos as an artist but also enriches our understanding of the artistic and cultural landscape of the time.Show less
This thesis conducts a detailed exploration of transcultural curation through the lens of the controversy surrounding Taring Padi's People's Justice at Documenta Fifteen. It delves into the...Show moreThis thesis conducts a detailed exploration of transcultural curation through the lens of the controversy surrounding Taring Padi's People's Justice at Documenta Fifteen. It delves into the thematic and artistic choices of Documenta, focusing on the co-curation model spearheaded by ruangrupa and its impact on transcultural exhibitions. The analysis extends to Germany's historical context concerning Documenta and the response to People's Justice. Additionally, it highlights the influence of Indonesia's Reformasi movement on the art collectives Taring Padi and ruangrupa, shaping the narrative of Documenta Fifteen. This study probes the diverse interpretations and reactions to People's Justice in Germany, alongside the media's depiction of these cultural exchanges. It further explores the 'politics of belonging' concept by Yuval-Davis, shedding light on the complex dynamics of curating politically charged art. By emphasising the critical need for curators and artists to deeply understand the cultural and historical contexts of their work in different contexts, the research advocates for the use of interpretive tools—like spatial arrangements and thematic groupings—to address the complexities of artworks such as People's Justice. Concluding with acknowledging the evolving challenges in the art world, this thesis highlights the tension between artistic freedom and cultural sensitivity. It calls for further research into transcultural curation, audience reception studies, and the impact of co-curation models.Show less
The incorporation of other-than-human agencies in artistic practice has become increasingly popular within artistic institutions worldwide. The proliferation of exhibitions involving living things...Show moreThe incorporation of other-than-human agencies in artistic practice has become increasingly popular within artistic institutions worldwide. The proliferation of exhibitions involving living things signals the willingness to challenge traditional understandings of the human and its positioning in the world. Particular scrutiny will be directed towards the hosting space of such creative endeavors, seeking to shed light on how alternative art institutions, rather than conventional art galleries, provide a particularly promising and prolific context for the overall meaning-making process of multispecies artistic interventions; more specifically, it will be described how those latter provide venues where heightened levels of exploration and ethicality can be attained. The aim of the study is to highlight how cultural institutions’ experimentations with multispecies placemaking lay foundations for the emergence of unprecedented community formations, conscious of the complex and interlinked nature of the societies we cohabit. Simply put, the core inquiry that anchors this thesis is: how do alternative art spaces contribute to our understanding of multispecies coexistence in urban communities?Show less
JODI, a famous artist duo and one of the pioneers of Internet art, started exploring the Internet as an artistic practice in the mid-nineteen nineties. The work wwwwwwwww.jodi.org (1995) will be...Show moreJODI, a famous artist duo and one of the pioneers of Internet art, started exploring the Internet as an artistic practice in the mid-nineteen nineties. The work wwwwwwwww.jodi.org (1995) will be exhibited in the upcoming exhibition REBOOT, among other influential works from the Netherlands. However, how is an online, non-physical artwork exhibited in the context of a physical exhibition? This thesis will look at five different exhibitions in which Jodi.org was displayed and analyze how the work behaved differently depending on the social context and time. By looking at the social biography, through different behaviors of the work, across these five different moments, this thesis aims to design a display model for the upcoming exhibition REBOOT. The designed display is an innovative way of approaching the online work wwwwwwwww.jodi.org and carrying it out into the physical realm.Show less
This research examines majolica pottery produced in Italy during the Renaissance period. More specifically, it is concerned with the provenance of two Italian majolica collections of the 13th to...Show moreThis research examines majolica pottery produced in Italy during the Renaissance period. More specifically, it is concerned with the provenance of two Italian majolica collections of the 13th to the 15th century, the first being composed of Italian majolica fragments from Crete (Greece) and the second being the Pringsheim collection of majolica vessels, some of which are currently exhibited in the Museum Boijmans van Beuningen in Rotterdam (the Netherlands). The scarcity of fragments of Renaissance earthenware in Crete, the largest colony of the Serenissima Republic of Venice, belies the Venetian domination of the island that lasted for almost 400 years. The few fragments uncovered are analyzed herein and discussed with regard to their provenance and the status of majolica production in Crete and the Mediterranean more generally. The story and the origins of the Pringsheim collection of vessels and its relation to Nazi looting of artworks is also presented, allowing for a discussion of the trade in precious earthenware and restitution claims on seized art. The examination of these two significantly different collections also allows for a broader discussion of how museums, heirs, and states deal with the Italian pottery of the post-Medieval period.Show less
In the field of digital cultural heritage, digital libraries have played the role of preserving and sharing cultural material in digital format. These tools (portals, collections and archives) have...Show moreIn the field of digital cultural heritage, digital libraries have played the role of preserving and sharing cultural material in digital format. These tools (portals, collections and archives) have been influenced by the evolution of the digital medium and by new technologies which, over the years, have been provided both by the areas defined as neighbours and by conceptually distant environments. The birth of the web has played a fundamental role in today's concept of digital library, in fact this tool has allowed us to increase the scope of these collections and greatly improve their functions. In this sense it is possible to observe how digital libraries have evolved together with the web and how they have always exploited the technologies offered by cyberspace. This improves the possibilities offered to specialists in the sector and those who rely on these collections, their study, or simply to increase their cultural baggage. These collections however are affected by numerous problems that undermine not only the possibilities offered to users and specialists but also their main functions of sharing and protection. Over the last few years, several specialists and academics have focused their attention on the analysis of these solutions. Nevertheless, many possible solutions have been offered in the past and today. This area suffers from various problems that undermine the operations connected to these collections. The objective of this paper is to analyse the evolution of digital libraries in order to offer an analysis of the aforementioned problems and, as a consequence, to suggest a possible solution. Exploiting the new technologies offered by the digital medium is able to resolve, or at least curb, the weaknesses that grip this area. Through the proposal of an ecosystem for digital libraries of cultural heritage and digital cultural heritage initiatives based on the joint use of IPFS and the Ripple ledger, this work aims to offer a solution able to overcome the critical issues analysed during this study. Yet the proposed ecosystem should not be understood in any way as a conclusive point on the question but the main objective is to offer ideas. On these elements, we may build a debate on the potential of these technologies and their possible application within the field of digital libraries.Show less
The issue of restitution is one that is witnessed throughout the world, at various levels. This thesis explores the type of restitution seen within Romania, and examines the procedures utilised by...Show moreThe issue of restitution is one that is witnessed throughout the world, at various levels. This thesis explores the type of restitution seen within Romania, and examines the procedures utilised by two museums in the return of cultural objects. The focus is placed in the procedures of the Brukenthal National Museum and the Medias Municipal Museum, in Sibiu County. The interesting aspect of these restitutions is that, unlike in many Western museums, restitution cases in Romania are often internal, and carried out between state museums and private individuals. The impact of the Communist regime, and their forceful nationalisation of privately owned cultural objects create a deeper understanding of why current restitution cases occur within the nation. This included their direct and indirect effect on current restitution claims at the two museums. The research was carried out using semi-structured interviews with curators at the museums, along with one former curator at the Medias Municipal Museum, and an interview with the claimant of the Gheorghe Cernea case. These were further supported by written surveys completed by four additional museums: Bran Castle, the National Museum of Transylvanian History, the National Museum of Romanian History, and the Moldovan National Museum Complex. Questions asked included their procedures related to unprovenanced objects, their procedures related to restitution cases, and their personal opinions on the ethics of the return of objects. The findings demonstrate three main points: acquisition procedures from the communist period, and unknown provenance of objects complicate current restitution claims; the Romanian government involved itself in museum exhibitions in an attempt to control the cultural identity made public, and thus by extension influenced the types of objects entered in the collection; and the restitution procedures of the participating museums are judicial in nature. Thus the Communist regime influenced current restitution claims in two ways: indirectly, and directly. The creation of law no. 182/2000 in response to these crimes committed by the government, to aid in the restitution of cultural objects further demonstrates the indirect influence of the former regime. An imbalance remains, favouring the return of immovable cultural heritage, in both laws and organisations helping individuals file claims. Whilst the research is limited in this thesis, it is hoped that it stimulates future studies on the subject, to bring the issue to a greater audience and reduce the taboo around cultural object restitution that remains in Romanian heritage institutions.Show less
In this thesis the Iron Age Italic armament subcollections of two Dutch museums have been investigated. These two museums are the Allard Pierson Museum (APM) in Amsterdam and the Rijksmuseum van...Show moreIn this thesis the Iron Age Italic armament subcollections of two Dutch museums have been investigated. These two museums are the Allard Pierson Museum (APM) in Amsterdam and the Rijksmuseum van Oudheden (RMO) in Leiden. The goals of this thesis were to identify each object in the subcollections, analyse the information that came from this research, find out how both subcollections have emerged, discover the use both museums made of their subcollection and to find out what the position of each museum in the ongoing debates on the acquisition and display of unprovenanced antiquities is through the scope of these small subcollections. The results are that both subcollections emerged through relatively similar causes; a combination of coincidence, the supply of these objects on the art market and a somewhat failed acquisition focus. Each museums has used their subcollection differently; the APM always have had many objects on display, grouped together typologically, while the RMO took a small selection from their subcollection and displayed them in more culturally divided exhibitions. While exhibiting these objects both museums had put on display objects that were only barely researched, if they had been researched at all. All objects of both museums that have been acquired after 1970 were bought legally, although it can be argued that some of these acquisitions are not very ethically responsible. Based on the acquisition history of both museums they kept themselves to the ICOM Code of Ethics since the 1990s-2000s, while still displaying the objects without pre-1970 ownership history. Therefore they do not belong to the Renfrew-Brodie side nor to the Boardman-Cuno side of the unprovenanced antiquities debate. They are positioned between these two parties, siding with Refrew and Brodie on the acquisition part, but with Boardman and Cuno on the display of these objects. It must be stressed that because of the small sample it appeared that there were only antiquities with a pre-1970 ownership history in the RMO, while in previous research it was already concluded that the RMO does have unprovenanced antiquities bought after 1970 in its collection. Therefore it is suggested that for comparable future research a bigger sample should be used to avoid similar situations. The final conclusion of this thesis is that both museums have acquired objects with incomplete ownership histories, and put these objects on display having only very limited information on these objects to inform the visitors. Therefore it can be said that they were “Exhibiting the Unknown”.Show less
The thesis analyses the case of Liuquan mummy, which marked the first repatriation trial between China and the Netherlands in history. The thesis first gives an overview on the attitudes towards...Show moreThe thesis analyses the case of Liuquan mummy, which marked the first repatriation trial between China and the Netherlands in history. The thesis first gives an overview on the attitudes towards the repatriation in the world and the history of some Chinese cultural properties in the Netherlands. Secondly, the thesis provides the historical background of Liuquan mummy because with the human remains involved in the repatriation, identification on the source community and the relationship of descendants are necessary. Meanwhile, the historical background emphasizes how the Liuquan mummy was stolen and how it ended up in the Netherlands. Moreover, the thesis also studies the different attitudes and the evidence held by both the Chinese government and the Dutch owner. The importance of the case is on the issue of ownership and Liuquan mummy enables the thesis to discuss the ownership in two directions: cultural objects and human remains. The thesis will consult both the international legal framework as well as the domestic legal framework on the issue of repatriation in order to build a theoretical perspective on the current repatriation of cultural objects especially in China and the Netherlands. In here, it introduces the related international conventions and the history in the terms of repatriation, which emphasize the role of the conventions playing in the negotiation of the repatriation. Yet, Liuquan mummy is not just about a cultural object, it also contains human remains. Therefore, the thesis uses the legal framework on the repatriation of human remains to build another theoretical perspective, which concentrates on both the indigenous human remains and the non-indigenous human remains. Furthermore, the thesis also concludes some 111 significant factors which may contribute to solve the ownership problem such as the ‘innocent acquisition system’. The three research questions of the thesis are: What are the different conflicts between the domestic recognition of legal status of ‘Liuquan Mummy’ in China and the Netherlands?; secondly, Is there any bilateral or international convention, treaty in aid of settling the dispute over ‘Liuquan Mummy’ ? and When human remains are considered as ‘heritage’ or ‘cultural objects’, what is the current state of the art regarding to human remains and their repatriations?. Besides, after the case has been brought to the Amsterdam court, there are many other new changes appear. Thus, the thesis concludes the new findings and analyses the role of these new changes to the lawsuit and the repatriation. In the end, the thesis provides some constructive suggestions to the case and the future of other similar cases.Show less
This study aims to analyze gender bias in six Spanish museums, covering the Paleolithic epoch. For this purpose, images and texts have been sampled. In the images, the sex, position in the image,...Show moreThis study aims to analyze gender bias in six Spanish museums, covering the Paleolithic epoch. For this purpose, images and texts have been sampled. In the images, the sex, position in the image, activeness/passiveness, the posture, the placement regarding the settlement and the activities carried out by each individual have been identified. The analysis of texts covers the language used and the main topic addressed in each text. It is compared with a travelling exhibition called “Evolución en clave de género” (“Evolution in a gender perspective”), which was created precisely for challenging the more traditional view of the Paleolithic. In museum images, men are generally overrepresented, while specially women and elderly are underrepresented and the activities associated with them overlooked. In texts, men and their activities are considerably privileged. Afterwards, the result of a literature research of the archaeological and ethnographic evidence for contesting the conveyed view is provided. It shows that an alternative, less androcentric, view is possible. It is an attempt to show how feminist archaeology can challenge, not only traditional and popular beliefs but also assumptions made by the mainstream archaeology. Once the bias has been identified, the significance of this study lies in the possibility that museums offer to either solve or reinforce current gender relations and stereotypes. Moreover, it adds the analysis of texts, a very telling but unexploited field.Show less
This study focuses on two exhibitions that took place at the Benaki Museum in Athens, Greece, one of Pre-Columbian art (in 2009) and one of Chinese art (in 2016). Through the analysis of the...Show moreThis study focuses on two exhibitions that took place at the Benaki Museum in Athens, Greece, one of Pre-Columbian art (in 2009) and one of Chinese art (in 2016). Through the analysis of the history of collecting, this research unravels the history of the two rare collections, the George Gondicas collection of Pre-Columbian art and the George Eumorfopoulos collection of Chinese art, which were donated to the Benaki Museum in Greece, a country with no tradition of collecting objects from the Americas and Asia. Through interviews and discussions with the museum staff, as well as the distribution of a questionnaire to visitors, their presentation to the public in the form of temporary exhibitions is also investigated here, as well as the curators’ perspectives, and visitor’s reactions to the exhibitions. Considering the recent surge in interest in exhibitions on foreign cultures in Greece, this study provides valuable insight into the history of these collections, the problems faced by curators, and the expectations and opinions of visitors.Show less
This master’s thesis aim is to investigate approaches to collecting and the formation of collections in Graeco-Roman antiquity with a special focus on collecting practices in Hellenistic Pergamum,...Show moreThis master’s thesis aim is to investigate approaches to collecting and the formation of collections in Graeco-Roman antiquity with a special focus on collecting practices in Hellenistic Pergamum, Alexandria, Lindos, and Late Republican Rome. Ancient and modern collectors share at least one similarity: a genuine interest in the past that they try to preserve and revitalise through objects. Hitherto, research projects on archetypes of museums in Antiquity were mainly conducted within the theoretical framework of current museum studies. This project, however, aims to scrutinise the impact artefacts and works of art used to have on the ancient societies and individuals. In order to achieve this, this thesis will draw from memory and identity studies, actor-network-theory, and cultural object biography. Furthermore, the mutual relationship between individuals/communities and artefacts entering society will be emphasised. Due to its cross-disciplinary approach, the project’s goal is to contribute in manifold manners to issues in current research on museum archetypes and origins of collections. Through this broad focus, we will hopefully be able to gain a better understanding of the role and function of collections in the aforementioned timeline and cultural settings. After scrutinizing current historiography on this topic and evaluation thereof, I am going to present criteria for collecting practices and collections in general, and subsequently, for ancient collecting habits in particular. In order to fully enlighten these criteria, it is crucial to illuminate them with suitable case studies.Show less
It is important the connect visitors in the museum to past societies. Also, showing a story of the origin of civilizations in an area is a core piece of knowledge of an area. Thus, during this...Show moreIt is important the connect visitors in the museum to past societies. Also, showing a story of the origin of civilizations in an area is a core piece of knowledge of an area. Thus, during this thesis, the Olmec were found in ten different museums and the way that they were represented was analyzed. The goal was to see if the museum would represent the Olmec as a separate entity or as an integral part of Mesoamerican culture. Three natural history museums, in three parts of the United States of America, and seven exhibits in Europe, were analyzed. These museum exhibits were created between the 1970’s and 2008. They all mention the Olmec in their own way. However, they all fail to fully connect the Olmec to other ancient Mesoamerican cultures and to present indigenous populations. Part of this thesis also shows the accessibility of new resources on the Olmec. Thus, it is easy for curators to construct labels with accurate information for new exhibits once it is viable for museums to design new rooms. Few visitors that were interviewed in during this process knew where the Olmec objects were in the exhibit. What is even more serious is that some of these visitors were confused by the term Olmec. Another aspect of this research is the object that are in these museums. Their databases show that there has been very little done on the Olmec objects in their collections. Very few artifacts have specific provenances attached to them. The provenances that are attached to some of the objects are tenuous because of the age in which they were acquired by the museums. In researching these objects, the museum will be able to give a better overall picture of the true nature of these artifacts and maybe connect them to their true origins. In these museums, there are very few objects that were given to the museum after archaeological research begun on the Olmec. This thesis shows that some museums in the United States and Europe need to give a better overall picture of the Olmec. In doing so, these museums will give a better foundation to their stories on Mesoamerica and be able to tell a more complete story of the region.Show less
This thesis contributes to the debate on how to display human remains by discussing the way the mummies were presented in the exhibition texts and showcases of the Drents Museum’s exhibition...Show moreThis thesis contributes to the debate on how to display human remains by discussing the way the mummies were presented in the exhibition texts and showcases of the Drents Museum’s exhibition Mummies – Life beyond death, which influenced the perception of them as either people or objects. The effect of this display and the reception of the exhibition by the public and the press was analysed by interviewing the museum personnel and reviewing the comment-book, questions asked by visitors to the mummy-expert and press articles. Also a questionnaire about the reburial and display of human remains was carried out. The results indicate that the level of respect of visitors can be nourished by presenting the mummy as a person. The exhibition showed that there are several ways to do this. However, a boundary seems to exist for displaying mummies as people, as visitors encountered problems with displaying recent mummies as people. The exhibition was received well by the public and the press and together with the results of the questionnaire it is attested that many people find exhibitions about human remains interesting and appropriate. Mostly because they want to be confronted with death and their own mortality.Show less
