This performative installation aims to challenge the static nature of object display within ethnological museums and reevaluate the way audiences interact with cultural artifacts. By embracing movement, performance, critical voices, and alternative forms of knowledge, it seeks to deconstruct a traditional model of museal display. My work questions the fixed

As part of my master’s thesis, my project interprets a queering strategy implemented by the museum. From June to September 2023, I conducted field research by attending the Ethnologisches Museum’s guided tour Beyond the Norm: A queer look at gender and sexuality in the ethnological collection, analyzing the tour’s formative

Stumbling upon unhelpful information on individual museumized objects-subjects and their diminishing classification within the museum space, we propose an alternative: Our project endeavours to illuminate an intricate web of relations among various elements – so-called “objects”, wall texts, art interventions, media tools etc. – exhibited in the Humboldt Forum, and

When we enter an ethnological museum in the European West, we tend to forget that the objects we see were connected to emotions while in use by their former owners. One curatorial specificity of the Kunstkammer, the first art collection in the original Berliner Schloss that was kept here from

A castle standing next to museum island with a vast collection of objects is submerged in water one day. What is left? Unfortunately—nothing, except for a metaphor. What happens when the idea of producing “non-word-units” meets the guiding metaphor of shard? The notion of ‘shard’ is used in our collaborative

The institution of the ethnological museum is being heavily scrutinized in current discourse in Germany. The audio tour Discussion Atmospheres features different kinds of conversations about colonialism, ethnological museums, and racism in the museum. It does so not in the sense of proposing a new curatorial program but in the

The Child Beside You deals with the handling and representation of so-called museum artefacts by queering the established form of presentation. Instead of asking the audience to draw their attention to a collection of artefacts, the focus is directed to one object: a child mannequin. A video work is projected

Possible relations within the museum context are sheer infinite. Analyzing how vitrines, light, space, sound, materials, barriers, signs and all the other inanimate and animate elements interact, revealed an unwritten rule book on how to act, perceive and shape museums for guests as well as staff, artists and all other