Exhibition review by Emilia Epstajn
AFRIKA – Studije umetnosti i kulture/AFRIKA – Studies in art and culture, 2009
Prikaz izložbe "Tranzit(i)" i instalacije "Omaž Zdravku Pečaru" umetnika Bartelemi Togoa u MAU, ... more Prikaz izložbe "Tranzit(i)" i instalacije "Omaž Zdravku Pečaru" umetnika Bartelemi Togoa u MAU, 2006. g.
Review: "Transit(s)" exhibition & "Hommage to Zdravko Pečar" installation by artist Barthélémy Toguo at the MAA, 2006
AFRIKA – studije umetnosti i kulture/AFRIKA – Studies in art and cultureI KULTUR/, 2015
Izlоžbа „Оdјеci... iz zvučnog arhiva Kraljevskog muzeja za Centralnu Afriku“ pоstаvlјеnа је u Мuz... more Izlоžbа „Оdјеci... iz zvučnog arhiva Kraljevskog muzeja za Centralnu Afriku“ pоstаvlјеnа је u Мuzејu аfričkе umеtnоsti (MAU) u Bеоgrаdu nоvеmbrа 2014. gоdinе i rеzultаt је sаrаdnjе МАU sа bеlgiјskim Krаlјеvskim muzејom zа Cеntrаlnu Аfriku (KMCA) u Теrvurеnu, nadomak Brisela. Za obe strane uključene u projekat (KMCA/Belgija i MAU/Srbija) kreiranje izložbe izvan okvira matične institucije bilo je posebno značajno s obzirom na činjenicu da je decembra 2013. godine KMCA zatvoren usled velikog poduhvata renoviranja i ozbiljne reinterpretacije svoje stalne postavke.
The „Echos…From the Royal Museum for Central Africa Sound Archives“ exhibition was mounted at the Museum of African Art (MAA) in Belgrade in November 2014. It was the result of a collaboration between the MAA and the Belgian Royal Museum for Central Africa (RMCA), which is located in Tervuren, within reach of Brussels. For both parties involved in the project (RMCA/Belgium and MAA/Serbia) developing an exhibition outside the home institution carried special significance, due to the fact that the RMCA was closed down in December 2013 for a large renovation project that included a major reinterpretation of its permanent display.
Catalogue by Emilia Epstajn
Autori: dr Marija Aleksić, Emilia Epštajn, Ivana Vojt, Đorđe Balmazović, Robert Kozma, Ivana Bogi... more Autori: dr Marija Aleksić, Emilia Epštajn, Ivana Vojt, Đorđe Balmazović, Robert Kozma, Ivana Bogićević-Leko, Snežana Skoko, Zagorka Aksentijević
Godina: 2015.
Jezik: Srpski/Engleski
Izlоžbа „Grаnicа је zаtvоrеnа“ plоd је sаrаdnjе Мuzеја аfričkе umеtnоsti sа nеvlаdinоm оrgаnizaciјоm „Grupа 484“, umеtnicimа: Snežanоm Skоkо, Lukоm Knеžеvićеm Strikоm, umеtničkim kоlеktivоm „ŠKАRТ” i pozorišnom i radio rediteljkom Ivаnоm Bоgićеvić-Lеkо. Kustoski tim izložbe čine Ivana Vojt, istoričarka umetnosti / pozorišna i radio rediteljka i Emilia Epštajn, antropološkinja / MA studije kulture i roda./
Katalog dostupan na linku: http://mau.rs/images/Exhibitions/The_Border_is_Closed/granica_je_zatvorena_katalog_srp.pdf
“The Border is Closed” is the collaborative project of the Museum of African Art and the NGO – Group 484 with Belgrade-based artists: Snežana Skоkо, Luka Knеžеvić Strika, the art collective „ШКАРТ” and theatre and radio director Ivana Bogićević-Lеkо. Curatorial team: Ivana Vojt, art historian / theater and radio director and Emilia Epstajn, anthropologist / MA cultural and gender studies.
Available on the link: http://mau.rs/images/Exhibitions/The_Border_is_Closed/granica_je_zatvorena_katalog_eng.pdf
(Re)konceptualizacija Muzeja afričke umetnosti – zbirke Vede i dr Zdravka Pečara
Priredile: Emil... more (Re)konceptualizacija Muzeja afričke umetnosti – zbirke Vede i dr Zdravka Pečara
Priredile: Emilia Epštajn i dr Ana Sladojević
Autori: grupa autora
Godina: 2017.
Jezik: Srpski/Engleski
Etiopska umetnost iz zbirke Nine Seferović/Ethiopian Art from the Nina Seferović Collection, 2011
Predmeti iz poklon zbirke porodice Seferović, keramičke figure Beta Izrael/Objects from the Sefer... more Predmeti iz poklon zbirke porodice Seferović, keramičke figure Beta Izrael/Objects from the Seferović family gift collection, the Beta Israel Ceramic Figurines
ГРАНИЦА ЈЕ ЗАТВОРЕНА/THE BORDER IS CLOSED, 2015
Tekst izložbe o migracijama i identitetima/Text for the exhibition on migrations and identities
Papers by Emilia Epstajn
"In Whose Name We (Cannot) Speak: Of Sojourner Truth and 'Experience” as Startin... more "In Whose Name We (Cannot) Speak: Of Sojourner Truth and 'Experience” as Starting Point for Living and Considering the Political Subject" Summary: This paper investigates the political subject of African American women created on the social constructions and experiences of the black female body. Based on a genealogy of the African American women’s identity, its main focus is to define the formation of black subjectivity on the supposed gender/race axis, as opposed to the single gender or single race axis in which identity politics have traditionally been anchored. The paper will analyze the theoretical dealings with the body in black feminist writing placing black feminist scholarship in the forefront and their particular theoretical interpretations with the categories of gender and race, which draw heavily on gendered black experience. Historically this experience is based in slavery and the particularities of being a black woman, during and in the aftermath of slavery. Applying an intersectional approach which assumes that the experiences of women are a complex interrelation of gender/sex/class/race realities, the paper investigates the limits and potentials of identity politics and politics of difference respectively, for African American women, as well as the implications of using the category of experience as the starting point of subjectivity. Key words: Sojourner Truth, body, black, white, female, gender, experience
Feministička teorija je za sve, 2019
"Tracing Veda Zagorac at the Museum of African Art Abstract"
Little is known of Veda Zagorac who... more "Tracing Veda Zagorac at the Museum of African Art Abstract"
Little is known of Veda Zagorac whose name is inscribed on the entrance of the Museum of African Art in Belgrade. Immune to self-promotion on account of work itself and the collective in general, Veda Zagorac has been forgotten and removed from the main museum and (wider social) discourse despite the key role she played in initiating a unique social, cultural, ultimately political project – the founding of a museum of African arts in the Yugoslav context. The process of learning about Veda Zagorac through the Museum’s archival material, revealed the scope of her character and her work, which transcend the limits of the institution she bequeathed, for she appears before us as a feminist of her own making. Tracing Veda Zagorac through the museum archive is an act of feminist reading of museum history, and at the same time, a practical and urgent move in response to the presence of a gender-excluding model of collective remembrance. By exposing data relating to her life, my aim is to clearly position Veda Zagorac within the framework of the overall “knowledge archive” that this Museum safeguards and communicates.
Keywords: Veda Zagorac, the Museum of African Art, archive, remembrance
"In Whose Name We (Cannot) Speak: Of Sojourner Truth and 'Experience” as Starting Point for Livin... more "In Whose Name We (Cannot) Speak: Of Sojourner Truth and 'Experience” as Starting Point for Living and Considering the Political Subject"
Summary: This paper investigates the political subject of African American women created on the social constructions and experiences of the black female body. Based on a genealogy of the African American women’s identity, its main focus is to define the formation of black subjectivity on the supposed gender/race axis, as opposed to the single gender or single race axis in which identity politics have traditionally been anchored. The paper will analyze the theoretical dealings with the body in black feminist writing placing black feminist scholarship in the forefront and their particular theoretical interpretations with the categories of gender and race, which draw heavily on gendered black experience. Historically this experience is based in slavery and the particularities of being a black woman, during and in the aftermath of slavery. Applying an intersectional approach which assumes that the experiences of women are a complex interrelation of gender/sex/class/race realities, the paper investigates the limits and potentials of identity politics and politics of difference respectively, for African American women, as well as the implications of using the category of experience as the starting point of subjectivity.
Key words: Sojourner Truth, body, black, white, female, gender, experience
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Exhibition review by Emilia Epstajn
Review: "Transit(s)" exhibition & "Hommage to Zdravko Pečar" installation by artist Barthélémy Toguo at the MAA, 2006
The „Echos…From the Royal Museum for Central Africa Sound Archives“ exhibition was mounted at the Museum of African Art (MAA) in Belgrade in November 2014. It was the result of a collaboration between the MAA and the Belgian Royal Museum for Central Africa (RMCA), which is located in Tervuren, within reach of Brussels. For both parties involved in the project (RMCA/Belgium and MAA/Serbia) developing an exhibition outside the home institution carried special significance, due to the fact that the RMCA was closed down in December 2013 for a large renovation project that included a major reinterpretation of its permanent display.
Catalogue by Emilia Epstajn
Godina: 2015.
Jezik: Srpski/Engleski
Izlоžbа „Grаnicа је zаtvоrеnа“ plоd је sаrаdnjе Мuzеја аfričkе umеtnоsti sа nеvlаdinоm оrgаnizaciјоm „Grupа 484“, umеtnicimа: Snežanоm Skоkо, Lukоm Knеžеvićеm Strikоm, umеtničkim kоlеktivоm „ŠKАRТ” i pozorišnom i radio rediteljkom Ivаnоm Bоgićеvić-Lеkо. Kustoski tim izložbe čine Ivana Vojt, istoričarka umetnosti / pozorišna i radio rediteljka i Emilia Epštajn, antropološkinja / MA studije kulture i roda./
Katalog dostupan na linku: http://mau.rs/images/Exhibitions/The_Border_is_Closed/granica_je_zatvorena_katalog_srp.pdf
“The Border is Closed” is the collaborative project of the Museum of African Art and the NGO – Group 484 with Belgrade-based artists: Snežana Skоkо, Luka Knеžеvić Strika, the art collective „ШКАРТ” and theatre and radio director Ivana Bogićević-Lеkо. Curatorial team: Ivana Vojt, art historian / theater and radio director and Emilia Epstajn, anthropologist / MA cultural and gender studies.
Available on the link: http://mau.rs/images/Exhibitions/The_Border_is_Closed/granica_je_zatvorena_katalog_eng.pdf
Priredile: Emilia Epštajn i dr Ana Sladojević
Autori: grupa autora
Godina: 2017.
Jezik: Srpski/Engleski
Papers by Emilia Epstajn
Little is known of Veda Zagorac whose name is inscribed on the entrance of the Museum of African Art in Belgrade. Immune to self-promotion on account of work itself and the collective in general, Veda Zagorac has been forgotten and removed from the main museum and (wider social) discourse despite the key role she played in initiating a unique social, cultural, ultimately political project – the founding of a museum of African arts in the Yugoslav context. The process of learning about Veda Zagorac through the Museum’s archival material, revealed the scope of her character and her work, which transcend the limits of the institution she bequeathed, for she appears before us as a feminist of her own making. Tracing Veda Zagorac through the museum archive is an act of feminist reading of museum history, and at the same time, a practical and urgent move in response to the presence of a gender-excluding model of collective remembrance. By exposing data relating to her life, my aim is to clearly position Veda Zagorac within the framework of the overall “knowledge archive” that this Museum safeguards and communicates.
Keywords: Veda Zagorac, the Museum of African Art, archive, remembrance
Summary: This paper investigates the political subject of African American women created on the social constructions and experiences of the black female body. Based on a genealogy of the African American women’s identity, its main focus is to define the formation of black subjectivity on the supposed gender/race axis, as opposed to the single gender or single race axis in which identity politics have traditionally been anchored. The paper will analyze the theoretical dealings with the body in black feminist writing placing black feminist scholarship in the forefront and their particular theoretical interpretations with the categories of gender and race, which draw heavily on gendered black experience. Historically this experience is based in slavery and the particularities of being a black woman, during and in the aftermath of slavery. Applying an intersectional approach which assumes that the experiences of women are a complex interrelation of gender/sex/class/race realities, the paper investigates the limits and potentials of identity politics and politics of difference respectively, for African American women, as well as the implications of using the category of experience as the starting point of subjectivity.
Key words: Sojourner Truth, body, black, white, female, gender, experience
Review: "Transit(s)" exhibition & "Hommage to Zdravko Pečar" installation by artist Barthélémy Toguo at the MAA, 2006
The „Echos…From the Royal Museum for Central Africa Sound Archives“ exhibition was mounted at the Museum of African Art (MAA) in Belgrade in November 2014. It was the result of a collaboration between the MAA and the Belgian Royal Museum for Central Africa (RMCA), which is located in Tervuren, within reach of Brussels. For both parties involved in the project (RMCA/Belgium and MAA/Serbia) developing an exhibition outside the home institution carried special significance, due to the fact that the RMCA was closed down in December 2013 for a large renovation project that included a major reinterpretation of its permanent display.
Godina: 2015.
Jezik: Srpski/Engleski
Izlоžbа „Grаnicа је zаtvоrеnа“ plоd је sаrаdnjе Мuzеја аfričkе umеtnоsti sа nеvlаdinоm оrgаnizaciјоm „Grupа 484“, umеtnicimа: Snežanоm Skоkо, Lukоm Knеžеvićеm Strikоm, umеtničkim kоlеktivоm „ŠKАRТ” i pozorišnom i radio rediteljkom Ivаnоm Bоgićеvić-Lеkо. Kustoski tim izložbe čine Ivana Vojt, istoričarka umetnosti / pozorišna i radio rediteljka i Emilia Epštajn, antropološkinja / MA studije kulture i roda./
Katalog dostupan na linku: http://mau.rs/images/Exhibitions/The_Border_is_Closed/granica_je_zatvorena_katalog_srp.pdf
“The Border is Closed” is the collaborative project of the Museum of African Art and the NGO – Group 484 with Belgrade-based artists: Snežana Skоkо, Luka Knеžеvić Strika, the art collective „ШКАРТ” and theatre and radio director Ivana Bogićević-Lеkо. Curatorial team: Ivana Vojt, art historian / theater and radio director and Emilia Epstajn, anthropologist / MA cultural and gender studies.
Available on the link: http://mau.rs/images/Exhibitions/The_Border_is_Closed/granica_je_zatvorena_katalog_eng.pdf
Priredile: Emilia Epštajn i dr Ana Sladojević
Autori: grupa autora
Godina: 2017.
Jezik: Srpski/Engleski
Little is known of Veda Zagorac whose name is inscribed on the entrance of the Museum of African Art in Belgrade. Immune to self-promotion on account of work itself and the collective in general, Veda Zagorac has been forgotten and removed from the main museum and (wider social) discourse despite the key role she played in initiating a unique social, cultural, ultimately political project – the founding of a museum of African arts in the Yugoslav context. The process of learning about Veda Zagorac through the Museum’s archival material, revealed the scope of her character and her work, which transcend the limits of the institution she bequeathed, for she appears before us as a feminist of her own making. Tracing Veda Zagorac through the museum archive is an act of feminist reading of museum history, and at the same time, a practical and urgent move in response to the presence of a gender-excluding model of collective remembrance. By exposing data relating to her life, my aim is to clearly position Veda Zagorac within the framework of the overall “knowledge archive” that this Museum safeguards and communicates.
Keywords: Veda Zagorac, the Museum of African Art, archive, remembrance
Summary: This paper investigates the political subject of African American women created on the social constructions and experiences of the black female body. Based on a genealogy of the African American women’s identity, its main focus is to define the formation of black subjectivity on the supposed gender/race axis, as opposed to the single gender or single race axis in which identity politics have traditionally been anchored. The paper will analyze the theoretical dealings with the body in black feminist writing placing black feminist scholarship in the forefront and their particular theoretical interpretations with the categories of gender and race, which draw heavily on gendered black experience. Historically this experience is based in slavery and the particularities of being a black woman, during and in the aftermath of slavery. Applying an intersectional approach which assumes that the experiences of women are a complex interrelation of gender/sex/class/race realities, the paper investigates the limits and potentials of identity politics and politics of difference respectively, for African American women, as well as the implications of using the category of experience as the starting point of subjectivity.
Key words: Sojourner Truth, body, black, white, female, gender, experience