Wayne Modest
Datos Biográficos
| ID | 187932 |
|---|---|
| NOMBRE | Wayne Modest |
| NOMBRES | Wayne |
| APELLIDO | Modest |
| FIRMA | MODEST W |
| AFILIACIONES | Material (Belgium) |
| VERIFICADO | No |
| TOTAL DE OBRAS | 13 |
| TOTAL DE CITAS | 36 |
| TOTAL COMO AUTOR | 11 |
| TOTAL COMO EDITOR | 2 |
| PRIMER AÑO DE PUBLICACIÓN | 2012 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 3 |
Toward a Visual Practice of Black Presencing
Iris Kensmil is an artist whose practice spans painting, drawing, and installation. Pulling inspiration from different genres and archives-whether music or dance, novels, archival documents, or images-Kensmil's work pushes against structures that would make the lived experience of Blackness invisible, with special attention to Black women. This interview explores recurring themes in Kensmil's practice, such as Black feminist memory, histories of …
The Future of the Dutch Colonial Past
Institutions across the globe are increasingly questioned on how their foundations are rooted in colonialism and how they aim to ‘decolonize’. The Future of the Dutch Colonial Past provides an overview of critical scholarly reflections on the history of Dutch slavery and colonization, as well as how this translates into critical cultural practices. It also explores possible futures: What can heritage institutions learn from (international) best p…
Other Radicals
This essay is an introduction to a special section that focuses on the life and work of Anton de Kom, and especially on his seminal 1934 Wij slaven van Suriname. It forms part of a larger project that explores how a Caribbean intellectual tradition can be thought differently if greater attention is paid to the Dutch Caribbean. The essays included in the section demonstrate the shifting role that De Kom and his book have played-from the 1930s and …
Victorian Jamaica
Table ronde
Éléonore Kissel, Philippe Peltier, Christine Barthe et Christophe Moulherat © musée du quai Branly - Jacques Chirac, photo Cyril Zannettacci Mme Éléonore KISSEL Le musée du quai Branly a fait un choix tout à fait fondamental de constituer un pôle comportant trois secteurs d’activité, la conservation préventive, les analyses et la conservation-restauration, ce qui nous permet d’avoir une approche très structurée de la préservation. Cette table ron…
Débat
Mme Éléonore KISSEL Au pôle conservation-restauration, nous partons de l’objet. Avec la présentation de Wayne Modest, nous avons vu que l’on peut partir d’encore plus loin et partir directement du matériau et de toutes les interrogations qu’a soulevée la présence même de ce matériau dans tel ou tel objet sur le plan matériel, sur le plan de l’économie, de l’écologie, des symboles. Nous avons également vu que la matérialité des collections peut êt…
Anxious Politics in Postcolonial Europe
n Contains fulltext :\n 175445.pdf (Publisher’s version ) (Closed access)\n
Anxious politics in the European city
At the time of writing this introduction, the news media were still filled with concerns over the New Year's Eve incidents in Cologne. As reported, during those celebrations, close to Cologne's central station, men described as being of Middle Eastern or North African appearance, and as having refugee status, were said to have sexually assaulted over one hundred women in a coordinated fashion. In the immediate period after the incidents, scholars…
Winti, Kabra and the Limbo Imagination
What might it mean to “bring back” the mask and sculptural tradition to the Afro-Surinamese practice of Winti? And, what kind of labor would be involved in such practices of recovery? Did Winti alr
New Roots
This article explores contemporary ontologies of blackness in the Caribbean island of Jamaica. Approaching blackness as an ontological issue – an issue that pertains to the being, or the existence, of a category of people – we emphasize the spatial dimension of such ontologies. Drawing on Jamaican contemporary art and popular music, we propose that the site of blackness, as it is imagined in Jamaica, has shifted from Africa towards ‘the ghetto.’ …
On the Self-Evidence of Blackness
In the introduction to the recently published Dutch Racism, editors Philomena Essed and Isabel Hoving assert an exceptional quality to racism in the Netherlands. Describing it as “complex, paradoxical and a contested domain,” they suggest that the special quality of Dutch racism results from, among other things, its entanglement with willful ignorance and denial, the lack of a shared discourse on racism, a rise in populist mainstreaming of xenoph…
Museums, African collections and social justice
Over the past few decades museums have been undergoing significant changes in how they relate to their numerous publics. From monologue (producing narratives for) to dialogue (producing narratives with); from mono-vocal to poly-vocal, these changes in thinking and practice can be seen to coincide with (and to, in some ways, result from) increasing demands from museum publics to have a say in how ‘their’ museums function to serve them, as well as …
We Have Always Been Modern
In this article, I explore the ways in which notions of the ancient and the modern have helped to shape early museological interest and practices in the Caribbean. I argue that the Caribbean, and for my purposes Jamaica, occupies an ambiguous place between the ancient and the modern worlds-not ancient enough yet not modern enough-which has resulted in the material culture of the modern Caribbean being largely absent from anthropological (and in f…
Anxious politics in the European city
At the time of writing this introduction, the news media were still filled with concerns over the New Year's Eve incidents in Cologne. As reported, during those celebrations, close to Cologne's central station, men described as being of Middle Eastern or North African appearance, and as having refugee status, were said to have sexually assaulted over one hundred women in a coordinated fashion. In the immediate period after the incidents, scholars…
Anxious Politics in Postcolonial Europe
n Contains fulltext :\n 175445.pdf (Publisher’s version ) (Closed access)\n
We Have Always Been Modern
In this article, I explore the ways in which notions of the ancient and the modern have helped to shape early museological interest and practices in the Caribbean. I argue that the Caribbean, and for my purposes Jamaica, occupies an ambiguous place between the ancient and the modern worlds-not ancient enough yet not modern enough-which has resulted in the material culture of the modern Caribbean being largely absent from anthropological (and in f…
The Future of the Dutch Colonial Past
Institutions across the globe are increasingly questioned on how their foundations are rooted in colonialism and how they aim to ‘decolonize’. The Future of the Dutch Colonial Past provides an overview of critical scholarly reflections on the history of Dutch slavery and colonization, as well as how this translates into critical cultural practices. It also explores possible futures: What can heritage institutions learn from (international) best p…
On the Self-Evidence of Blackness
In the introduction to the recently published Dutch Racism, editors Philomena Essed and Isabel Hoving assert an exceptional quality to racism in the Netherlands. Describing it as “complex, paradoxical and a contested domain,” they suggest that the special quality of Dutch racism results from, among other things, its entanglement with willful ignorance and denial, the lack of a shared discourse on racism, a rise in populist mainstreaming of xenoph…
We Have Always Been Modern
In this article, I explore the ways in which notions of the ancient and the modern have helped to shape early museological interest and practices in the Caribbean. I argue that the Caribbean, and for my purposes Jamaica, occupies an ambiguous place between the ancient and the modern worlds-not ancient enough yet not modern enough-which has resulted in the material culture of the modern Caribbean being largely absent from anthropological (and in f…
Museums, African collections and social justice
Over the past few decades museums have been undergoing significant changes in how they relate to their numerous publics. From monologue (producing narratives for) to dialogue (producing narratives with); from mono-vocal to poly-vocal, these changes in thinking and practice can be seen to coincide with (and to, in some ways, result from) increasing demands from museum publics to have a say in how ‘their’ museums function to serve them, as well as …
New Roots
This article explores contemporary ontologies of blackness in the Caribbean island of Jamaica. Approaching blackness as an ontological issue – an issue that pertains to the being, or the existence, of a category of people – we emphasize the spatial dimension of such ontologies. Drawing on Jamaican contemporary art and popular music, we propose that the site of blackness, as it is imagined in Jamaica, has shifted from Africa towards ‘the ghetto.’ …
On the Self-Evidence of Blackness
In the introduction to the recently published Dutch Racism, editors Philomena Essed and Isabel Hoving assert an exceptional quality to racism in the Netherlands. Describing it as “complex, paradoxical and a contested domain,” they suggest that the special quality of Dutch racism results from, among other things, its entanglement with willful ignorance and denial, the lack of a shared discourse on racism, a rise in populist mainstreaming of xenoph…
Winti, Kabra and the Limbo Imagination
What might it mean to “bring back” the mask and sculptural tradition to the Afro-Surinamese practice of Winti? And, what kind of labor would be involved in such practices of recovery? Did Winti alr
Anxious politics in the European city
At the time of writing this introduction, the news media were still filled with concerns over the New Year's Eve incidents in Cologne. As reported, during those celebrations, close to Cologne's central station, men described as being of Middle Eastern or North African appearance, and as having refugee status, were said to have sexually assaulted over one hundred women in a coordinated fashion. In the immediate period after the incidents, scholars…
Table ronde
Éléonore Kissel, Philippe Peltier, Christine Barthe et Christophe Moulherat © musée du quai Branly - Jacques Chirac, photo Cyril Zannettacci Mme Éléonore KISSEL Le musée du quai Branly a fait un choix tout à fait fondamental de constituer un pôle comportant trois secteurs d’activité, la conservation préventive, les analyses et la conservation-restauration, ce qui nous permet d’avoir une approche très structurée de la préservation. Cette table ron…
Débat
Mme Éléonore KISSEL Au pôle conservation-restauration, nous partons de l’objet. Avec la présentation de Wayne Modest, nous avons vu que l’on peut partir d’encore plus loin et partir directement du matériau et de toutes les interrogations qu’a soulevée la présence même de ce matériau dans tel ou tel objet sur le plan matériel, sur le plan de l’économie, de l’écologie, des symboles. Nous avons également vu que la matérialité des collections peut êt…
Anxious Politics in Postcolonial Europe
n Contains fulltext :\n 175445.pdf (Publisher’s version ) (Closed access)\n
Victorian Jamaica
Other Radicals
This essay is an introduction to a special section that focuses on the life and work of Anton de Kom, and especially on his seminal 1934 Wij slaven van Suriname. It forms part of a larger project that explores how a Caribbean intellectual tradition can be thought differently if greater attention is paid to the Dutch Caribbean. The essays included in the section demonstrate the shifting role that De Kom and his book have played-from the 1930s and …
The Future of the Dutch Colonial Past
Institutions across the globe are increasingly questioned on how their foundations are rooted in colonialism and how they aim to ‘decolonize’. The Future of the Dutch Colonial Past provides an overview of critical scholarly reflections on the history of Dutch slavery and colonization, as well as how this translates into critical cultural practices. It also explores possible futures: What can heritage institutions learn from (international) best p…
Toward a Visual Practice of Black Presencing
Iris Kensmil is an artist whose practice spans painting, drawing, and installation. Pulling inspiration from different genres and archives-whether music or dance, novels, archival documents, or images-Kensmil's work pushes against structures that would make the lived experience of Blackness invisible, with special attention to Black women. This interview explores recurring themes in Kensmil's practice, such as Black feminist memory, histories of …
Sociology (7 obras) · History (6 obras) · Political science (6 obras) · History (5 obras) · Art (4 obras) · Caribbean history, culture, and politics (4 obras) · Law (4 obras) · Politics (4 obras) · Colonialism, slavery, and trade (3 obras) · Cultural Heritage Management and Preservation (3 obras)