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Decolonising art is about a politics of recognition

Ozelwe embethe , 2020. Cow dung, oil paint and gesso on canvas. 170 x 300cm. ( © Mawande Ka Zenzile. Courtesy of Stevenson, Cape Town. Photography Mario Todeschini ) The decolonisation of art and art studies has received a boost following the publication of the 49th issue of OnCurating. The issue is titled Decolonial Propositions and co-edited by Nkule Mabaso and Jyoti Mistry. Set against the growing urgency for transformation in art institutions and universities, it proposes decolonisation as a politics of recognition. OnCurating is an independent journal based at the Zurich University of the Arts in Switzerland and is supported by the university’s Postgraduate Programme in Curating at the Institute for Cultural Studies in the Arts. The journal collaborates with different institutions to focus on questions around curatorial practice and theory and is read in 120 countries.

OnCurating Issue 49: Decolonial Propositions is here

Mrs Palfrey at the Claremont movie review (2006)

Now streaming on: You may think there is no hotel in London like the Claremont, where Mrs. Palfrey becomes a lodger. No hotel where respectable gentlefolk can live by the month and have their breakfasts and dinners served to them in a dining room where good manners prevail. No hotel where the bellman is an aged ruin who nevertheless barks commands at the desk clerk. No hotel where the elevator is a brass cage that rises and falls majestically and discharges its passengers from behind ornate sliding doors. But here and there such relics survive. A very few of my readers will have stayed at the Eyrie Mansion on Jermyn Street when it was run by Henry and Doddy Togna, and they will nod in recognition, although the mansion, to be sure, had no dining room. They will remember Bob the hall porter, who drove Henry crazy by getting drunk every eighth day ( If Bob got drunk every seventh day, on a regular schedule like, we could plan for it ).

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