dc.contributor.author
Durgun, Pinar
dc.date.accessioned
2023-08-06T08:39:51Z
dc.date.available
2023-08-21T08:39:51Z
dc.identifier.uri
https://refubium.fu-berlin.de/handle/fub188/40539
dc.identifier.uri
http://dx.doi.org/10.17169/refubium-40259
dc.description.abstract
Whether the cake on Mona Lisa’s “face” at the Louvre [1] or a Trojan Horse with oil company BP’s logo in front of the British Museum [2], recent art news consists of climate change, restitution, indigenous rights, transparency, representation, and fair employment protests in museums. But protest in museums is not new: In 1914 the Rokeby Venus painting by Velazquez was sliced as a protest against the arrest of a suffrage leader. In 1974, Picasso’s Guernica was spray painted in an act of protest against the perpetuators of Vietnam War massacres. More recently, “Just Stop Oil” protests have raised awareness of climate change issues, which stirred up new controversies around protests in museums.
en
dc.rights.uri
https://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subject.ddc
900 Geschichte und Geografie::900 Geschichte::901 Geschichtsphilosophie, Geschichtstheorie
dc.title
Is Protest Really the Problem in Museums? (Imagine) Museums as Places of Dialogue, Collaboration, and Disruption
dc.type
Wissenschaftlicher Artikel
dcterms.bibliographicCitation.journaltitle
Forum Kritische Archäologie
dcterms.bibliographicCitation.pagestart
21
dcterms.bibliographicCitation.pageend
24
dcterms.bibliographicCitation.volume
12 (2023)
dcterms.bibliographicCitation.url
https://www.kritischearchaeologie.de
refubium.affiliation
Geschichts- und Kulturwissenschaften
refubium.resourceType.isindependentpub
no
dcterms.accessRights.openaire
open access
dcterms.isPartOf.issn
2194-346X