#weltmuseum

[barbucomedie]

Light Cavalry Armour and Weapons from Wallachia, Romania dated to 1549 on display at the Weltmuseum in Vienna, Austria

Photographs taken by myself 2022

#armour #armor #uniform #fashion #art #romanian #romania #16th century #renaissance #cavalry #military history #weltmuseum #vienna #barbucomedie

[peoplematchingartworks]

#peoplematchingartworks #georgenuku #weltmuseum #stefandraschan #photography #contemporaryart #vienna

[katykerryautorin]

Ein Besuch im Weltmuseum!🥰 Heute war ich mit meiner Freundin in der Maori-Ausstellung von George Nuku, der zum 1. Mal in Österreich ausstellte, natürlich gab es auch andere Kulturen zu sehen, aber nachdem ich mich zukünftig in der Welt der Maoris herumtreiben werde, hat dies mein Interesse besonders geweckt.🥰 "Es gibt nur ein einziges Nadelöhr, durch die der schwarze und der rote Faden passt", wie wahr! Die Maori Maske von Kerry J. Wilson hat nachhaltigen Eindruck bei mir hinterlassen. 😊 Wollt ihr mehr Fotos sehen, schaut doch einfach mal bei Facebook vorbei! ❤️#museum #Weltspartag #weltmuseum #maoriart #georgenuku #Neuseeland #urvölker #authorslife #austrianblogger (hier: Weltmuseum Wien) https://www.instagram.com/p/CkZRCO1DBmn/?igshid=NGJjMDIxMWI=

#museum #weltspartag #weltmuseum #maoriart #georgenuku #neuseeland #urvölker #authorslife #austrianblogger

[chefkevinashton]

Return To Vienna

I was surprised when my wife told me that it had been seven years since we last visited Vienna, how time flies! On that occasion, however, we barely spent any time in Vienna because the purpose of our trip was to explore Styria, the bread basket of Austria, and visit Zotter Chocolate and other wonderful foodie destinations. We enjoyed our visit to Austria so much that my wife and I returned to…

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#Archduke Ferdinand II #Captain Cook #chef kevin ashton #Chez Bernard Restaurant #Demel pastry shop #Georgiberg #Gustav Klimt #Hotel Motto #Kunsthistorisches Museum #Pieter Bruegel the Elder #Styria #vienna #vulcano ham #Weltmuseum Wien #zotter chocolate #厨师凯文·阿什顿

[thisiskiwi]

Beyond the Future

Exhibition at Weltmuseum Vienna (30/03/23-09/01/24)

#Art #create #calligraphy #Vienna #weltmuseum Wien #uploads

[honeybee-p]

About two or three weeks ago i said i would make a post about my opinion on Namor wearing a penacho in the new Black Panther movie, so sorry for the delay i'm currently working on my senior thesis and my mind is all over the place right now, but i'm taking advantage of my insomnia and my need for a distraction to finally talk about this:

I knew that Namor would wear a penacho since the first look at the character got leaked, but I remained hesitant since it looked more like a helmet and the helmets were worn by high rank warriors in allusion to animals that represented deities with the belief that if they wore them they would be granted the abilities of those animals in battle (sounds familiar?), but with the new trailer for the movie I think it was practically confirmed that the penacho is Namor's crown.

Why this bothers me? Well penachos were never crowns! Actually the rulers of different mesoamerican civilizations wore as 'crowns' the xiuhuitzolli (a turquoise and gold tiara) or the copilli (a small feather diadem).

Penachos, or quetzalapanecáyotl/apanecatl in náhuatl, were this big feather arrangements worn by priests (called teomamaque) or warriors during rituals tied to their backs, never as a headdress.

The reason penachos are believed to be crowns is thanks to the wrongly called 'Penacho of Moctezuma', that thing was most likely a diplomatic gift from the mexicas to the spaniards (before the genocide) and went on to be marketed across Europe until it reached Austria, where it is exhibited now at the Weltmuseum Wien. When it was 'rediscovered' historians back then didn't know what it was, with a little research they discovered that it came from México and since they thought it was very beautiful, their logic was that it could only belong to royalty, so they attributed it to Moctezuma, one of the last mexica emperors.

And I know that this is fiction and the production can take their liberties, but the reason why this irks me is because for a long time mexican politicians have used that headdress as a symbol of their nationalist rhetoric and it eclipses the other artifacts that are in european museums and were actually stolen and have more historical value to the cultures they belong to, and i'm not saying that the penacho is not important but politicians have tainted it's historical value so horribly and even continue to teach that false story of the penacho as a stolen crown in basic education for the sole purpose of its bs propaganda despite the fact that it has already been proven wrong by many historians and anthropologists, so that a mainstream production uses a penacho as a crown takes away my hope that this will change in the future.

And look, i'm aware that this is hollywood, this is disney, and I know that I will probably receive some comments saying that these cultures are not more special than others to say that they should be respected, believe me I know, I received many comments like this the last time I spoke about this, but if a big company is not willing to learn and represent properly, shouldn't we be more open to learning and educating so that our history is not more distorted than it already is?

#i'm just really passionate about history thats all #namor #namor the sub mariner #black panther wakanda forever #mcu #marvel cinematic universe

[delmana]

Science Fiction(s): If There Were a Tomorrow

On Tuesday, we visited the special exhibition "Science Fiction(s): Wenn es ein Morgen gäbe (If There Were a Tomorrow)" at the Weltmuseum in Vienna, which deals with the interface between science fiction and culture. One topic I was particularly interested in was the theme of colonialism in (South) America. This was a topic I had not been in close touch with before. Of course, I was already aware that the colonization process was characterized by violence, the exploitation of indigenous peoples and the imposition of European culture and religion. But to be shown this again, together with the effects of colonization, which are still noticeable today, sharpens the awareness of colonialism. I also found it particularly interesting how indigenous populations fight to preserve their cultural heritage and traditional way of life.

[itsjustmarle]

Science Fiction(s): If there were a tomorrow

Big return.

Our last inspiring experience was entirely dedicated to lost ourselves in the corners of the Weltmuseum in Vienna.

The main attraction was the big exhibition about a speculative narrative of the future. I found definitely interesting the way for combining past and future going through the shapes of the present.

Moving through the spots:

1. Science fiction as a narrative of conquest and how indigenous artists from the USA and Canada use the movie Star Wars to tell the story of their own conquest.

2. Science fiction as creative resistance by artists from Brazil showing struggle against land grabbing and the destruction of their cultural identity.

3. Science fiction as a social experiment, journey into the unknown in which the first Syrian cosmonaut, who now lives as a refugee in Istanbul, continues his journey to Mars.

4/5. Science fiction as a discussions about the rights of non-human beings and the disappearance of humanity.

Science fiction as impulse to remember that is up to us to build new worlds to ensure that a positive future does not remain science fiction.

Free-thought spaces that I loved

Can you imagine our future? What it looks like?

Finally, I would like to share something I read recently that elicited automatic connections between these two reflective experiences.

#science fiction #exhibition #afrofuturism #indigenous futurism

[sysk-ehess]

Sheelasha Rajbhandari & Hit Man Gurung

Mardi 12 décembre 2023 à 17h (heure de Paris)

Tuesday December 12th 2023, 5pm (Paris time)

Co-commissaires de la 17e Biennale Jogja 2023 et de Colomboscope 2024 / Co-curators for 17th Biennale Jogja 2023 and Colomboscope 2024

Sheelasha Rajbhandari (née en 1988) est une artiste et une curatrice opérant partir de Katmandou. Ses travaux s'appuient sur une lignée de féminités incarnées et spéculatives pour remettre en question le positionnement des femmes à travers le temps, les paysages et les cosmologies. Sa pratique incite à réfléchir au-delà de la conception néolibérale du temps, afin de décentrer les structures patriarcales qui perpétuent les cycles d'extraction industrielle et d'épuisement individuel. Pour elle, l'art consiste à créer un espace pour l'action collective. Ce questionnement alimente sa récente approche artistique et curatoriale qui recompose les notions d'indigénéité, de genre, de valeur et de productivité. Elle a été co-commissaire de la Triennale Katmandou2077, du Pavillon du Népal à la Biennale de Venise (2022), de "Garden of Ten Seasons" à Savvy Contemporary, Berlin (2022) et de "12 Baishakh", Bhaktapur (2015) aux côtés de Hit Man Gurung. Son installation textile a été exposée au Museum of Art and Design de New York (2022) et au Footscray Art Center de Melbourne (2022). Son installation dans l'exposition itinérante " A beast, a god and a line " (2018-2020) a été présentée à Para Site, Hong Kong ; TS1, Yangon ; Museum of Modern Art, Varsovie ; Kunsthall, Trondheim ; et MAIIAM Contemporary Art Museum, Chiang Mai. Elle a également été artiste en résidence au Bellas Artes Projects (2019) et au Para Site (2017). Elle a en outre exposé au Weltmuseum Wien (2019) et à la Triennale de Katmandou (2017). Dans le cadre de son collectif, elle a participé au Dhaka Art Summit (2020) et à la Biennale de Sydney (2020). Elle est également cofondatrice d'ArtTree Nepal, un collectif d'artistes, et d’un espace artistique, Kalā Kulo.

Hit Man Gurung (né en 1984) est un artiste et un curateur basé à Katmandou. Ses diverses pratiques s'intéressent au tissu des mobilités humaines, aux frictions de l'histoire et aux échecs des révolutions. Bien qu'ancrés dans l'histoire récente du Népal, ses travaux démêlent un réseau complexe de liens de parentés et d'extractions à travers les géographies qui soulignent l’exploitation inhérente au capitalisme. Ces récits tournent autour des expériences vécues par les migrant·e·s, pris·e·s entre une industrie transnationale déshumanisante fondée sur le travail, et un État-nation apathique. Il invoque en outre les méthodologies et épistémologies indigènes pour reconfigurer dans ses fondements la praxis artistique contemporaine. Il a été co-commissaire de la Triennale de Katmandou2077 (2022), du Pavillon du Népal à la Biennale de Venise (2022), de "Garden of Ten Seasons" à Savvy Contemporary, Berlin (2022) et de "12 Baishakh", Bhaktapur (2015), aux côtés de Sheelasha Rajbhandari. Il a également cofondé ArtTree Nepal, un collectif d'artistes, et l’espace artistique Kalā Kulo. Il a participé à des expositions à SAVVY Contemporary, Berlin (2020) ; Biennale de Sydney (2020) ; Artspace Sydney (2019) ; Weltmuseum Wien (2019) ; Kathmandu Triennale (2017) ; Yinchuan Biennale (2016) ; Para Site, Hong Kong (2016) ; Asia Pacific Triennial of Contemporary Art, Brisbane (2015-16) ; et Dhaka Art Summit (2014, 2016, 2018, 2020).

[EN] Sheelasha Rajbhandari (b. 1988) is an artist and curator based out of Kathmandu. Her works draw upon an embodied and speculative lineage of femininities to question the positioning of women across time, landscapes, and cosmologies. Her practice is a provocation to reflect beyond neo-liberal conception of time in order to decenter patriarchal structures that perpetuate cycles of industrial extraction and individual exhaustion. For her, art-making is about making space for collective action. This questioning feeds into her recent artistic and curatorial approach that recompose notions of Indigeneity, gender, worth, and productivity. She co-curated the Kathmandu Triennale 2077, Nepal Pavilion at Venice Biennale (2022), ‘Garden of Ten Seasons’ at Savvy Contemporary, Berlin (2022) and ’12 Baishakh,’ Bhaktapur (2015) alongside Hit Man Gurung. Her textile installation was exhibited at Museum of Art and Design; NewYork (2022), Footscray Art Center; Melbourne ( 2022). Her installation in the traveling exhibition “A beast, a god and a line” (2018-2020) was presented at Para Site, Hong Kong; TS1, Yangon; Museum of Modern Art, Warsaw; Kunsthall, Trondheim; and MAIIAM Contemporary Art Museum, Chiang Mai. She has also been an artist in residence at the Bellas Artes Projects (2019) and Para Site (2017). She has furthermore exhibited at Weltmuseum Wien (2019); and Kathmandu Triennale (2017). As a part of her collective, she has been a part of Dhaka Art Summit (2020) and Biennale of Sydney (2020). She is also the co-founder of ArtTree Nepal, an artist collective and Kalā Kulo, an arts initiative.

Hit Man Gurung (b. 1984) is an artist and curator based in Kathmandu by way of Lamjung. Gurung’s diverse practice concerns itself with the fabric of human mobilities, frictions of history, and failures of revolutions. While rooted in the recent history of Nepal, his works unravel a complex web of kinships and extraction across geographies that underscore the exploitative nature of capitalism. These narratives revolve around the lived experiences of migrants caught between a dehumanizing transnational labor-based industry and an apathetic nation-state. He furthermore invokes Indigenous methodologies and epistemologies to fundamentally reconfigure contemporary artistic praxis. Gurung is one of the curators for 17th Biennale Jogja 2023 and Colomboscope 2024. He was co-curator for the Kathmandu Triennale 2077 (2022), Nepal Pavilion at Venice Biennale (2022), ‘Garden of Ten Seasons’ at Savvy Contemporary, Berlin (2022) and ’12 Baishakh,’ Bhaktapur (2015) alongside Sheelasha Rajbhandari. He has also co-founded ArtTree Nepal, an artist collective and Kalā Kulo, an arts initiative. He has participated in exhibitions at SAVVY Contemporary, Berlin (2020); Biennale of Sydney (2020); Artspace Sydney (2019); Weltmuseum Wien (2019); Kathmandu Triennale (2017); Yinchuan Biennale (2016); Para Site, Hong Kong (2016); Asia Pacific Triennial of Contemporary Art, Brisbane (2015-16); and Dhaka Art Summit (2014, 2016, 2018, 2020)

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : [email protected]

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte

#artist #producer #something you should know #sysk #ehess #Sheelasha Rajbhandari #Hit Man Gurung

[gazetteoesterreich]

[korrektheiten]

Dirigent Jurowski zwingt Publikum, Klimaklebern zuzuhören

Tichy:»Spätestens als Jonathan Fine, TE-Lesern bekannt von unserer Recherche zur Unterstützung der Klimakleber durch Museen, von seinem Posten als Direktor des Weltmuseums an die Spitze des Museumsverbands des Kunsthistorischen Museums in Wien befördert wurde, war klar, dass der institutionelle Einsatz für Klimaextremisten in der Welt von Kunst und Kultur keineswegs ein Akt des Widerstands, als Der Beitrag Dirigent Jurowski zwingt Publikum, Klimaklebern zuzuhören erschien zuerst auf Tichys Einblick. http://dlvr.it/Sw2DLL «

[barbucomedie]

Mamluk Armour from Syria dated to the Early 16th Century on display at the Weltmuseum in Vienna, Austria

Photographs taken by myself 2022

#art #armour #military history #cavalry #fashion #16th century #renaissance #syria #syrian #mamluk sultanate #weltmuseum #vienna #barbucomedie

[peoplematchingartworks]

#peoplematchingartworks #hugodarnaut #weltmuseum #stefandraschan #photography #contemporaryart #vienna

[hinterfragen]

Weltmuseum Wien, 2. Juli 2023.

[lennys-criticaldesign]

第３話 - 理未来想・Science Fiction(s)

A bit ago, i went to see an exhibition called “Science Fiction(s)” with my critical design uni course.

The Zenith (2022) by Cara Romero Science Fiction(s) – Weltmuseum Wien

i was quite fascinated by this exhibition which allowed me to view art that is different from the Western art i am more used to, in terms of motifs, materials & patterns. One example that i found really nice were figures of star wars characters made from tiny beads. In general, i thought all the star wars stuff was very cool (although i’m not a star wars fan).

Ten Beaded Star Wars Figures (2019) by Farlan & Alesia Quetawki, Museum of Northern Arizona, USA Science Fiction(s) – Weltmuseum Wien

It was interesting to see Western media being interpreted by indigenous artists, bringing attention to their cultural heritage, for example, by drawing parallels to their own culture. Also, artists used their culture's art to highlight and criticize historical & current wrongdoings by the West/colonizers as well as their consequences that still affect (indigenous) people around the world.

But if there is one thing that’s really stuck in my mind regarding this exhibition, it would be corn🌽. Most memorable for me was the picture with the corn in space (see above). I really like it and also the other corn-themed artworks.

（🌽モロコシおいちぃね～　😸） In that sense, thanks for reading & bye! :) ―　つづく　―

[thisiskiwi]

Viennese Waltz

OKAMOTO Tadasi

岡本正志

Ink on paper

Beyond the Future - exhibition at Weltmuseum Vienna

#Art #create #calligraphy #Tadasi Okamoto #uploads #Vienna