Planetary Patchwork
Upcoming Session
Back with a new series of sessions from October 2022 onwards ♾
Archive
Ece Canlı (Porto)
Beneath the Thick Skin, Behind the Brick Wall
Robert Glas (Rotterdam)
On the film-installation '1986 Or A Sphinx's Interior'
Łukasz Stanek (Manchester)
Socialist Worldmaking
Dawit Benti (Addis Ababa)
Challenges of Urban Heritage Conservation during State-Led Gentrification of Addis Ababa's City Centre
Taputukura Raea (Wellington) & Digital Pasifik
Re-Claiming Pacific History - Making Pacific Cultural Heritage Visible and Accessible
Laura Ammann (Berlin)
The Appeal of the Colonial Baroque to the Brazilian Modernists
Paul Basu (Bonn/London) & Ozioma Onuzulike (Nsukka) & Ikenna Onwuegbuna (Nsukka)
[Re:]Entanglements: Colonial Collections in Decolonial Times
Between Zones of Conflict and the Realm of Dreams: Planetary Perspectives on Film and Filmmaking
Workshop I
Mykola Ridnyi (Kyiv)
Mariana Martínez-Bonilla (Mexico-City)
Yashaswini Raghunandan (Bangalore)
Chihab El Khachab (Oxford)
Christian Thiam (Dakar)
Roundtable: Fide Dayo (Rome) & Norma Gregory (Nottingham)
Alyssa K. Barry (Dakar)
Navigating the Digital Spaces
Ndapewoshali Ndahafa Ashipala (Windhoek) & Tuuda Haitula (Windhoek) & Museums Association of Namibia
Museum Development as a Tool for Strengthening Cultural Rights – A Case Study
Njabulo Chipangura (Manchester)
Community Museums in Zimbabwe as an Alternative Form of Representing Living Cultures
Annalisa Bolin (Kalmar) and David Nkusi (Kigali)
Decolonizing Heritage Management in Rwanda: Community Engagement and Homegrown Solutions
Chantal Umuhoza (Kigali)
Decolonizing Conservation Practices in Rwanda Museums
Alessandra Ferrini (London)
Unruly Connections
Hiba Shalabi (Tripoli) with translation by Malak Altaeb (Tripoli/Paris)
#SaveTheOldCityOfTripoli
Banji Chona (Rome)
Ngoma zya Budima: Exploring Grief and Death, Celebrating Life and Love, Batonga Drum Story
Victoria Phiri (Lusaka), Samba Yonga (Lusaka) & Mulenga Kapwepwe (Lusaka) & the Women’s History Museum Zambia
Decolonization of Cultural Objects in the Process of Restitution and Repatriation. The Case of Zambian Cultural Objects in Swedish Museums
Schedule
No upcoming sessions
May 24
Laura Ammann (Berlin)
The Appeal of the Colonial Baroque to the Brazilian Modernists
  • Tarsila do Amaral - Vista de Ouro Preto 1924 © Laura Ammann

The Baroque of Minas Gerais, in colonial Brazil, flourished in the 18th century and constitutes a unique example of the school’s manifestation if compared to further baroque experiences in the country. A local manifestation of the European style, the Baroque of Minas was reassessed by the modernists artists of São Paulo in the 1920s, for whom the colonial Baroque provided a foundational myth of Brazilian artistic and cultural identity. According to the modernist interpretation, the Baroque of Minas was the first authentic national artistic manifestation: on the one hand it mirrored the anti-colonial desires of the population; on the other, it derived its particular characteristics from Brazil’s ethnically mixed people—the mestiço. The modernist interpretation of the colonial Baroque was governed by ideological interests, and emerged in a context of postcolonial and neocolonial discussions that were occupying many Latin-American thinkers at the beginning of the 20th century. The Paulista modernists did not interpret the Baroque monuments in Minas as a historical phenomena in their own right, but attributed to it diverse meanings that negotiated pressing topics such as the one of a Brazilian identity.