Stealing (as) Art. Performances of Restitution from Mwazulu Diyabanza to Frankfurter Hauptschule
Bibliographic Data
| ID | 23039938 |
|---|---|
| Authors | Marie Rosenkranz (Humboldt-Universität zu Berlin, corresponding author) |
| Year | 2021 |
| Volume | 6 |
| Issue | 1 |
| Pages | 02 |
| Publication date | 2021-07-31 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Cultural Analysis and Social Change (JOURNAL) |
| Journal identifiers | ISSN: 2589-1316 • E-ISSN: 2589-1316 |
| Publisher | Brighteredge Press Resources (PUBLISHER) |
| DOI | 10.20897/jcasc/11119 |
| OpenAlex | W3192020039 |
| Language | EN |
| References cited | 2 |
Restitution, the returning of art works and objects collected under colonial regimes, still is a fictitious act. In the restitution debate, declarations of intent as made by the French president Emmanuel Macron in 2017 have been among the most radical acts so far – at least in politics. In pop culture and the arts, restitution has come to be imagined more and more radically in the recent past. In line with a more general trend of art activism, artists have also turned to enactments of restitution by symbolically stealing looted or colonialist art. In this comment piece, I analyze two different examples of art activism on restitution – actions by Mwazulu Diyabanza and Frankfurter Hauptschule. In my analysis, I address both aesthetic and ethical questions of positionality, artistic agency and the western gaze.
Aesthetics · Agency (philosophy) · Art · Colonialism · Political activism · Political science · Politics · Restitution · Social science · Sociology · Unjust enrichment · Visual arts · African Studies and Ethnography · Cultural Identity and Heritage · Law · North African History and Literature
| Highly cited | No |
|---|