OBJECTS OF DISPLACEMENT
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Over time, numerous ethnographic objects from previous colonies ended up in Western museums. And yet much of their contextual background remained unexplained. Objects of Displacement sheds light on this absence of information regarding provenance, the meaning and purpose of the objects, as well as the details about the process in which the objects were removed from their original context.
Background context:
Current provenance research in the Mission Museum in Steyl: the Papuan skulls
Current provenance research in the Mission Museum in Steyl: the Papuan skulls
Current provenance research is underway at the Mission Museum in Steyl, focusing on the Papuan skulls. Colonial collections have sparked widespread public debate, prompting critical inquiries from visitors to the Mission Museum in Steyl regarding the collection's origins. Consequently, the museum has initiated its inaugural provenance research. The museum houses five skulls from Papua New Guinea, originating from the Sepik River area. These skulls are adorned and modified with clay, likely representing ancestors who served as intermediaries between the realms of the living and the dead.
The significance of the skulls has evolved over time, transitioning from sacred artifacts to coveted curiosities, then to trophies reinforcing the perceived necessity of missionary work, and later to anonymous objects, now part of a collection with a contentious reputation.The interpretation of the skulls varies among stakeholders. Their current meaning holds significance for the community of origin, the Papuan diaspora in the Netherlands, as well as the Society of the Divine Word (SVD) and the monastic village of Steyl.
The museum's objective in conducting provenance research is to facilitate a dialogue where diverse perspectives can be voiced. Additionally, the research aims to shed light on the acquisition methods of the skulls. Were they looted or obtained through other means? Answers to these questions will clarify who holds the authority to determine the fate of the objects.
Ultimately, by unraveling the narrative surrounding the skulls, the museum endeavors to provide visitors with an accurate contextual understanding of their significance.
The significance of the skulls has evolved over time, transitioning from sacred artifacts to coveted curiosities, then to trophies reinforcing the perceived necessity of missionary work, and later to anonymous objects, now part of a collection with a contentious reputation.The interpretation of the skulls varies among stakeholders. Their current meaning holds significance for the community of origin, the Papuan diaspora in the Netherlands, as well as the Society of the Divine Word (SVD) and the monastic village of Steyl.
The museum's objective in conducting provenance research is to facilitate a dialogue where diverse perspectives can be voiced. Additionally, the research aims to shed light on the acquisition methods of the skulls. Were they looted or obtained through other means? Answers to these questions will clarify who holds the authority to determine the fate of the objects.
Ultimately, by unraveling the narrative surrounding the skulls, the museum endeavors to provide visitors with an accurate contextual understanding of their significance.
PROJECT DESCRIPTION
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As a case study, Dana explored one museum in particular; the Mission Museum in Steyl, a village in the south of The Netherlands. Over the course of a century missionaries in Steyl strived to convert people overseas to the Christian faith. The museum opened its doors in 1931 as an attempt to materialize the somewhat immaterial process of conversion. Since 1931, the exhibition set up has not changed. The museum became a so-called “time capsule”, making visitors of today walk through the same narrative as
people did a century ago; a narrative shaped solely by the ones who “collected” (the missionaries). Nowadays, the museum has commenced their first provenance research, a step in the right direction.Nevertheless, the mission museum in Steyl still lacks the necessary information for the visitor to gain knowledge of a more comprehensive narrative. This puts the museum in a difficult position in relation to contemporary discussions around ownership and restitution of cultural heritage.
Objects of Displacement aims to highlight the absence of information behind the ethnographical objects of the Mission Museum in Steyl by placing them in front of a green screen. The green screen, a tool often used in the film industry, removes any background and therefore decontextualizes the objects. As the objects stand against the green screen, their narrative takes on a new shape, confronting the viewer with
the void, making them acknowledge what is absent. By acknowledging missing information, the project seeks to raise awareness around the biased viewpoint of many museums and encourages the viewer to critically reflect upon such museum collections.
people did a century ago; a narrative shaped solely by the ones who “collected” (the missionaries). Nowadays, the museum has commenced their first provenance research, a step in the right direction.Nevertheless, the mission museum in Steyl still lacks the necessary information for the visitor to gain knowledge of a more comprehensive narrative. This puts the museum in a difficult position in relation to contemporary discussions around ownership and restitution of cultural heritage.
Objects of Displacement aims to highlight the absence of information behind the ethnographical objects of the Mission Museum in Steyl by placing them in front of a green screen. The green screen, a tool often used in the film industry, removes any background and therefore decontextualizes the objects. As the objects stand against the green screen, their narrative takes on a new shape, confronting the viewer with
the void, making them acknowledge what is absent. By acknowledging missing information, the project seeks to raise awareness around the biased viewpoint of many museums and encourages the viewer to critically reflect upon such museum collections.
Raymond Corbey and Frans Karel Weener
Rebecca Loder-Neuhold
Sander van der Horst
artist book/articles recommendation
VIDEO PIECEs
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3-channel video installation, 01’27’’, 01’33’’, 01’29’’, loop. 2023
installation images
