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Frankfurt/New York, October 2013

Anomalous and anachronistic:

It’s about working with a collection

that belongs to another time

that belongs to other people

that is deeply connected to the histories

of European colonialism and trade

that is contested and will continue to be contested

whose potential for referentiality is far from expended

whose restitution is undeniable.

Domestic research:

It’s about working with existing architecture not against it

moving between apartments, studios, archives, and labs

finding structural solutions for the installation of artifacts

repositioning collections both conceptually and physically.

It’s about rethinking possibilities

of research inside a museum

through self-critical and recursive inquiry

slow, prone to change, not always visible

reintroducing a laboratory into the practice of a museum

developing new assemblages based on historical collections

building a workshop for the production of prototypes

constructing an exhibition out of this continuing procedure.

Remediation over time:

It’s about daring to change

the anthropological classification of the collection

suspending the logos of ethnos

and earlier organizing principles:

region, religion, ethnic group, culture, society, and function

developing alternative metaphors through dialogical research

healing a deficient situation

shifting medium, enabling interpretation.

Curating neighborhoods:

It’s about inviting artists, designers,

lawyers, writers, historians,

and anthropologists in residence

those who connect to the original source of the collection

those who come from elsewhere

rubbing shoulders through their engagement with the collection.

It’s about making rooms available to visitors

encouraging the public to usurp the museum

to shelter in it, study, and meet

taking in exhibits through the corner of one’s eye

fully deploying the educational brief of the museum

checking the open access digital studio.

The Museum-University:

It’s unequivocally collection-centered

working outward from actual exhibits

deconstructing earlier archives

and histories of ethnographic museums

introducing external impulses,

an epistemological generalism

a democratic intellect

a non-standardized education

as independent as possible

providing a new platform for professional development

connecting the next generation of global cultural protagonists

from curatorial studies, cultural studies, postcolonial studies,

contemporary art, design, performance, art history, anthropology,

creative writing, law, ecology, mathematics, and more,

breaking open the disciplines of the past and their collections.