“A complete overhaul of the Western museum tradition” —Publishers Weekly
“An impressive critique of the universal museum as complicit in the damages inflicted by colonial power” —Isaac Julien, artist and filmmaker
“Should fascinate anyone interested in social justice, post-colonialism and the arts” —Euronews
“Powerful and so relevant” —Diacritik
The Western museum is a battleground—a terrain of ideological, political and economic contestation. Almost everyone today wants to rethink the museum, but how many have the audacity to question the idea of the universal museum itself?
In A Programme of Absolute Disorder, Françoise Vergès puts the museum in its place. Exploring the Louvre’s history, she uncovers the context in which the universal museum emerged: as a product of colonialism, and of Europe’s self-appointed claim to be the guardian of global heritage.
Vergès outlines a radical horizon: to truly decolonize the museum is to implement a “programme of absolute disorder”, inventing other ways of apprehending the human and non-human world that nourish collective creativity and bring justice and dignity to the dispossessed.
Françoise Vergès is a political scientist, activist, historian, film writer, and public educator. She is the author of A Decolonial Feminism and A Feminist History of Violence. She is also a senior research fellow at the Sarah Parker Remond Centre for the Study of Racism and Racialisation, University College London.
İçerik tablosu
Preface
Introduction
1. A Programme of Absolute Disorder
2. The Museum: A Battlefield
3. The Louvre, Napoleon, Capture, the Slave
4. Black is the model, white the frame
5. A Museum without Objects
Epilogue: Decolonial Tactics
Notes
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Melissa Thackway is an independent researcher and translator. She lectures in African Cinema at Sciences-Po and INALCO in Paris. Her recent translations include A Feminist Theory of Violence by Françoise Vergès, Contemporary African Cinema by Olivier Barlet, Tropical Dream Palaces: Cinema-Going in Colonial West Africa by Odile Goerg and African Diasporic Cinema: Aesthetics of Reconstruction by Daniela Ricci.
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