‘We believe [in a museum] what we are being shown is not only accurate, but the norm of that culture and people. We trust that the objects have been selected to showcase the best of that community, no more no less’. S.204
Source: Samia Ouladzahra, Whose heritage?, ed. Anne Marie-Bonnet, Floorplan papers: 2017. S. 119-204
“Inevitably, the stories of cultural objects do not cease at the point of creation but are inextricably linked to their colonial masters or non-Western influence”. S.119
Source: Samia Ouladzahra, Whose heritage?, ed. Anne Marie-Bonnet, Floorplan papers: 2017. S. 119-204
‘In the show, Rezaire draws parallels between the layout of submarine optic cables (the very architecture of the Internet) and colonial trade routes to point to the powerful symbolism underpinning ‘electronic colonialism’ whereby the Internet has literally been built on routes of Black pain’.
Source: http://tabitarezaire.com/exotictrade.html