79 don’t know where these pieces of art came from originally. 4. The Design Museum collects valuable pieces of ceramic ware. – The Design Museum collects valuable pieces of ceramic ware. 5. The collections were founded by wealthy businesspeople or by members of the nobility. – The collections were founded by wealthy businesspeople or by members of the nobility. 6. The installation is a wire construction with textile applications. – The installation is a wire construction with textile applications. 7. Artists often wear fancy clothes to stick out from the crowd. – Artists often wear fancy clothes to stick out from the crowd. 8. Before we visit the gallery, we’re going to have lunch at the cafeteria. – Before we visit the gallery, we’re going to have lunch at the cafeteria. 1. c, 2. d, 3. e, 4. b, 5. d, 6. f, 7. a, 8. c Exploring vocabulary 3: Grand museums and colonialism (Key) a) 1. trace 2. establish 3. collect 4. store 5. exhibit 6. to explore/exploring 7. recognised 8. erased 9. deal 10. implement 11. addressed b) Sample answer to trace back, to take them back to, to bring attention to, the need to address, impact of colonialism on, related to Test practice: Grand museums and colonialism (Transcript and key) Welcome to our talk on art history and colonialism. My name is Camilla Bartelsky, I am one of the researchers of the modern section on art and art history here at our museum. The topic today is colonialism or you could say the question how the museum should deal with the colonial past and all the acquisitions from that time in a respectful and mutually acceptable way. In addition, we want to take a closer look at how colonial relationships have shaped famous British collections of art. From around 1500 to the mid-20th century, a number of European countries established overseas empires – Britain’s empire was by far the largest and for centuries the most powerful one. Trading routes were established and military outposts were created in many parts of the world and as a result valuable pieces of art found their way to Britain where museums like The British Museum were established. Their history and collections are shaped by the Empire and the colonial exploitation of people and resources. However, if you trace back the history of objects which can be found in museum collections and how they were acquired, it becomes clear that the journeys of these objects are complex and often controversial. Sometimes objects were bought directly from their original owners, but often they were collected first by individuals, organisations or companies, passing through several owners before coming to the museum. In addition, it must be said that the colonialists often took advantage of their position and also of their power to acquire pieces of art, which were taken to Britain to be stored and later exhibited in our museum collections. And by acquire I do not mean to say that these methods were always fair, but often in fact quite the opposite, unfortunately. The key question is: How should museums nowadays deal with these objects? What kind of policies should they implement in order to address these issues in a respectful way? Some of these institutions have started to proactively explore the complex history of their objects and have developed policies of repatriation if it has become clear that an object had a dubious past. Recognising the claims of the formerly colonialised territories has become part of the general research trends in the last 20 years. Many have not tried to reverse the process of colonisation, because this might erase the history behind these objects that should be directly addressed. On the contrary, they have begun to confront themselves and the public with these aspects of the troubled cultural relationships with the former colonies and to explore their complex global histories. This also means that these institutions have to address the needs, demands and desires that go back to these practices in the past. I would now like to show you a few of the most contentious objects we have in our collection here. If you take a look at slide number two … 0: D, 1: F, 2: G, 3: A, 4: E, 5: B, 6: H, 7: I Not used: C, J Test practice: Auction hype – Banksy picture shredded (Transcript and key) The 5th of October 2018 was an evening everybody who was present will never forget. During an 3 4 + 37 5 + 38 Nur zu Prüfzwecken – Eigentum des Verlags öbv
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