[CALL FOR PROPOSALS – English Version

CALL FOR PROPOSALS

roots§routes is a magazine with an editorial vision announced by its editorial board, which guarantees the quality and coherence of its contents. We consider it crucial to maintain an ongoing receptivity towards any submission of quality, provided it corresponds with the final vision shared among the editors. We therefore not only solicit work from artists and scholars, but also encourage submissions from contributors working in contexts that we do not know directly.

roots§routes announces a Call For Proposals, asking artists and scholars to submit proposals, beginning with the magazine’s theme for the upcoming quarter. Submissions should be sent in the form of an abstract, with a maximum of 350 words, to the following email address: redazione@roots-routes.org, with the subject heading “Article Submission.” Abstracts written in English, Italian, French, Portugues or Spanish are acceptable. In case of interest on the part of the editorial board, an email requesting the full paper will be sent to the author of the abstract. The paper is to be written in the language of the author’s choosing. The editorial board, upon receiving the full paper, reserves the right to request partial edits, or to reject the piece, in the case that it does not align with the earlier proposal.
For those interested in submitting materials, the themes for the upcoming issue of the magazine will be announced on this section of the website.

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NEXT ISSUE
Year IX, n°30, May - August 2019
§ I non-detti del museo
(what the museum does not say)

curated by
Anna Chiara Cimoli
Maria Chiara Ciaccheri

What does the museum not say because it cannot, does not want to or believes it has not the time to do so? Does it only talk to specialists because it does not know who else to talk to or does it speak in such a low voice that no one hears it? Does it lack the tools to communicate or common practices to refer to such as over the treatment of human remains, practices that differ according to culture and location.
Does the museum remain silent because it fears society is not ready to listen; because it does not believe that this is its role or because opposing voices within the institution are stronger? Does the museum feel trapped, confined by its collections, enclosed in its cases, its storage and its archives? Perhaps it is a matter of time and what it needs and wants to say will emerge. In the meantime do such silences serve better than words.
Such overarching, philosophical considerations prompt more practical questions:

Who, within and beyond the institution, makes decisions, and how?
How much awareness does the museum have of its educational role, what level of priority does it give to this and what space does it assign for this purpose?
What is its relationship with the concept of “neutrality”?
How was its collection developed?
Who writes the catalogue, the labels, the gallery text, and what influences the choice of words?
What political or strategic context influences both acquisition or disposal of collections?
What are the risks, if any, of what some may consider as too great an emphasis on “political correctness” and participation?

If the museum is an autobiography – of a city, a territory, a society – then it will have gaps and omissions. It will have been embellished, manipulated, even raped. In this context what space is left for visitors to knock on the door and ask the reasons for such shadows and silences? Is this where the space for protest opens up? Who organises such protests, and in whose name? And if not protest, what dialogue can emerge, what requests can be responded to; what participatory methods can be applied?

In Marvel’s movie Black Panther, Erik Killmonger, the super-criminal from the imaginary realm of Wakanda, in front of a showcase displaying African art objects at the British Museum asks the curator (red hair, British accent, suit): “Where do you think these objects come from?”. She, like an automaton, cites country and century. Killmonger urges: “How do you think your ancestors got these? Do you think they paid a fair price, or did they take it, like they took anything else?”. The scene does not end well for the curator.
Black Panther’s museum scene, although somewhat caricatured, has become an icon of the Decolonize Our Museums movement, which supports forms of protest and occupation in the name of a fair, respectful and multi-vocal representation of the cultures exhibited in the museum (one of the most recent protests took place at the Brooklyn Museum, following the appointment of a white curator as head of the African art department).

While Senegal was preparing for the inauguration of the Musée des Civilizations Noires in Dakar, on December 6, 2018, in France the Rapport sur la restitution du patrimoine culturel africain signed by Felwine Sarr and Bénédicte Savoy exploded like a bomb on a system totally unprepared for the counterblow of the post-colonial critique, as the events linked to the establishment of the Musée National de l’Historie de l’Immigration in Paris had clearly demonstrated a few years earlier. Other European institutions, such as the Africa Museum in Tervuren (Belgium), the Tropenmuseum in Amsterdam or the Grassi in Leipzig, have been adopting profoundly new, radical positions, both through a new layout and performative, critical and dialogical practices.
Citizens too have been active in this sphere. In England, the independent art historian Alice Procter conducts her Uncomfortable Art Tours in various London museums, including the British Museum and the National Gallery, bringing to light uncomfortable histories, previously silenced colonial events, omissions and rewriting of history. In December the Stolen Goods Tour took place at the British Museum: an unauthorized tour of all the colonial appropriations, plundering and lack of recognition evident in the museum’s displays. The visit included a series of interactions by artists, activists, citizens responding to objects or works of art related to their lived experience or their culture.
The tropes common to these forms of protest are rooted in popular tradition: among them is the occupation of space in front of the entrance that redraws it and marks a new threshold, that of the atrium as an “introspective piazza”, with recognisable visual codes (the choice of colours, the format of the billboards or banners, clothing…), the use of the megaphone and or the microphone. Hence the visibility through digital communication channels, using manifestos, fanzines and texts.

These actions are influenced by the specific historical, cultural and political context of the countries in which they take place: In Italy, for example, showcasing certain examples of equality and activism might inspire practices and reflections that contribute to social justice. Such examples might be inappropriate in other contexts. In some instances the use of “politically correct” vocabulary and choices will be necessary but in other cases this might lead to unconstructive debates about censorship, inspire revenge and undermine attempts for constructive dialogue. Protests underpinned by democratic intentions have sometimes produced reactionary outcomes, such as the demolition of some monuments of the US confederates (without articulating multiple interpretations) or, the removal the Pre-Raphaelite work of John William Waterhouse, Hylas and the Nymphs he Manchester Art Gallery, because it depicts a young naked nymph (without inviting audiences to explore how gender representations have shifted over time).
Paradoxes and contradictions are multiple. The second number of roots§routes of 2019 is therefore dedicated to all such stories – small or big – that are unspoken, that have shaped the profile of museums as we know them, in their fullness and in their voids. It aims to explore questions of power, legality and opportunities, highlighted in post-colonial studies but that also transcend it. In fact, it is a question of articulating new modes of comparison, internal and external, so that diversity (whatever it is) can be understood and represented in all its complexity.
There have been both conscious and guilty silences, due to issues of provenance, the history of collecting in any institution, the different socio-political contexts in which museums operate, their methods and practices and lack of information. Such factors have affected all aspects the museum – leadership and management, curatorship, documentation of collections, writing of texts and educational material, the museum’s image, the diversity of their audiences and its relationship with those they do not reach.

But there are also, perhaps, poetic silences, unanticipated interruptions and musical interludes that can allow other stories and reflections to come to the surface – it seems the right time to align and uncover these.

DEADLINE

FIRST PUBLICATION

publication 15th May 2019
abstract by 10th March 2018
article by 30th April 2018

SECOND PUBLICATION

publication 15th July 2019
abstract by 10th May 2019
article by 28th June 2019