By Erica Lehrer, Cynthia E. Milton, Monica Patterson
This quantity inscribes an leading edge area of inquiry, bringing museum and history reports to undergo on questions of transitional justice, reminiscence and post-conflict reconciliation. As practitioners, artists, curators, activists and academics, the contributors explore the demanding situations of bearing witness to earlier conflicts.
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Additional info for Curating Difficult Knowledge: Violent Pasts in Public Places
For the physical exhibition, we abandoned all rigid materials—frames, glass, fiberboard—and instead constructed the entire exhibit out of large fabric banners (one for each participant). We conducted tests to assess which type of canvas would best resist crinkling, tearing, and fading so that the banners, curatorial text, map, and additional images could be easily rolled up and shipped. We contacted the airlines serving northern Canada to determine the maximum allowable dimensions for packaging, and opted to crate the exhibition in thick cardboard tubes and custom nylon packages that would make the cost of shipping much lower than a typical touring exhibition, enabling us to bring it to many smaller communities across the North.
At that particular opening, the slide show also acted as a catalyst for conversation and reminiscing, and most of the former students present, many of whom had traveled from neighboring communities to attend, stayed at the Prince of Wales Northern Heritage Centre to catch up with each other over tea and bannock bread long after they finished touring the exhibition. Despite the convivial atmosphere that permeated the Yellowknife opening, it has been our policy to approach openings as potential sites for the re-inscription of trauma and to take therefore a number of precautions to create a safe space for exhibition visitors, many of whom we expect will be residential school Survivors or their relatives.
New York: Viking USA. Erica Lehrer and Cynthia E. Milton 19 Lynch, Bernadette T. and Samuel J. M. M. Alberti (2009). ” Museum Management and Curatorship 25(1): 13–35. Macdonald, Sharon (2006). ). A Companion to Museum Studies. Malden, Mass. and Oxford: Wiley-Blackwell, 1–13. Maclear, Kyo (1999). Beclouded Visions: Hiroshima-Nagasaki and the Art of Witness. Albany: State University of New York Press. Milton, Cynthia E. and María Eugenia Ulfe (2011). ” In Ksenija Bilbija and Leigh A. Payne (eds).