Zhenmushou (鎮墓獸) are ritual protective tomb sculptures which can be found in multiple notable European museums that house Chinese art. The function, presentation and the impact of these sculptures ...Show moreZhenmushou (鎮墓獸) are ritual protective tomb sculptures which can be found in multiple notable European museums that house Chinese art. The function, presentation and the impact of these sculptures – and that of pre-modern Chinese mortuary objects – on viewer’s perception of China as an object in the 21st century within European museums has, however, not been previously studied in Western scholarship. This study therefore aims to do so by examining the changing functions of zhenmushou over time and place. Firstly, sources and theories on zhenmushou within the context of the Chu state (楚国; 702-221 B.C.E) during the Warring State Period (戰國時期; 481 -221 B.C.E.) were analyzed. The original role of zhenmushou was afterwards put in perspective with its current function within four French and British museums by studying the museums’ display and narrative. Subsequently, critical heritage theory regarding decolonisation, orientalism and provenance theory was applied to deconstruct the narrative and display, and reveal underlying power mechanisms within the discussed museums. Lastly, possible alternative ways of display are briefly discussed. Overall, this study shows that despite the seemingly static materiality, objects displayed in museums do not have a permanent meaning, but are shaped by their context. The function of zhenmushou varied substantially over context and time, and continues to change in museums through new encounters, the juxtapositions with other objects, changed descriptions and other modifications in their environment.Show less
This research explores the conflict that emerges when applying registration practices into performance art. As the ephemerality of performance art is perceived as essential for this art genre,...Show moreThis research explores the conflict that emerges when applying registration practices into performance art. As the ephemerality of performance art is perceived as essential for this art genre, professionals (and sometimes artists) are not always in favor of its total disappearance. Documentation processes have the purpose of partially archiving the memory of these artworks, however, the forms of producing this type of information are not standardized because of the various forms that this art manifestation can have. Some of the strategies museums have been applying were explored during this research to enable enquiring about their compatibility with the nature of performance art. While documentation processes preserve traces of performances’ poetic, the form of perceiving and collecting this artwork as manifestations should not be attached to temporality, but as concepts that can be reinterpreted and have several versions throughout time.Show less
How do Amsterdam Museums deal with their diverse surroundings? This is the main question of this thesis which investigates the tolerant and multicultural history of Amsterdam and the situation of...Show moreHow do Amsterdam Museums deal with their diverse surroundings? This is the main question of this thesis which investigates the tolerant and multicultural history of Amsterdam and the situation of the Amsterdam Museum specifically. It also answers the question why multiculturalism is a current issue: due to changes in museum studies and the cultural policy of the Netherlands.Show less
This thesis puts the topic of community museums into the light of museology, museum ethics and indigenous human rights. In order to achieve this, the first thing that is looked at is the...Show moreThis thesis puts the topic of community museums into the light of museology, museum ethics and indigenous human rights. In order to achieve this, the first thing that is looked at is the traditional public museum. Then a history and definition of the community museum is given. Museum ethics is discussed after that. Human rights of indigenous peoples are discussed at some length and through this a solid basis for the indigenous claims to their own heritage is established. After this, four case studies of community museums in Mexico are discussed. In the last part practice and theory are combined and the research question, how can community museums in Mexio profit from and contribute to museology, museum ethics and indigenous human rights debates?, are answered. There is also a section on the responsibility of local and foreign scientists and professionals towards indigenous communities and community museums.Show less
