The TransAnthropological,
Anachronism,
and the
Contemporary
Roger Sansi
in: Sansi, Roger. “The Trans-Anthropological, Anachronism, and the Contemporary.” In Across Anthropology: Troubling Colonial Legacies, Museums, and the Curatorial, edited by Margareta von Oswald and Jonas Tinius, 375–82. Leuven University Press, 2020. https://doi.org/10.2307/j.ctv125jqxp.25.
![Ariella Aïsha Azoulay. Errata – Publicacions imperials, 2019. Photograph: © Roberto Ruiz](https://freight.cargo.site/t/original/i/2c8c8362b60cd2d73a277992120cf819b060b0f6b6a8273db46df34766c82342/conference_barcelona_picture.jpeg)
While I was reading the chapters of this book, I attended the presentation
of a film by Ariella Aisha Azoulay, Un-documented: Undoing Imperial Plunder
(2019). Azoulay explicitly recognised her indebtedness to Statues Also Die, the
1953 film essay by Alain Resnais and Chris Marker, undoubtedly a great work
of art and a fierce critique of the colonial plunder of Africa. Yet Azoulay also
found it problematic in retrospect; she did not agree with the grand opening
statement of the film: “When men die, they enter history.
When statues die,
they enter art.” Yet statues do not simply die, says Azoulay: “When they are
uprooted from their communities in which they are made, when they are
forced to leave the people to whom they belong and who belong to them,
they are placed under death threat (…) And of course, it is not only they who
are threatened with death. It is their people too.” (Azoulay 2019:122) In fact,
her film, in her words, is an attempt to make coincide the two regimes that
imperialism seeks to keep separated: the treatment of objects (as “well-documented”) and maltreatment of people (as “undocumented”).1
In other
words, the claims for justice and restitution of post-colonial objects should
be inextricably related to post-colonial subjects, the “undocumented”, the
“illegal” immigrants that keep coming from the former colonies to their former colonisers (...).
Un-Documented: Unlearning Imperial Plunder by Ariella Aïsha Azoulay from IZK on Vimeo.
Why does the “transversally agentive” curator come from contemporary art? First, because it is art that has vindicated its position in the ‘contemporary’, this horizontal space that brings together different knowledges. Modern art was built in radical opposition to disciplinary knowledge and practice, as an anti-disciplinary practice. In modern times, the anti-discipline of art was a prophecy of the utopia, of a future world where work and life would be reunited, where there would be no professionals or specialists but just people. Contemporary art has inherited the anti-disciplinary ethos of modern art, but it withdrew from its epochal ambitions and has redrawn its practice by addressing the here and now, the contemporary, not the future – the contemporary as a space in common, a space of “composition” (Smith 2016). As opposed to art, the concept of the contemporary in anthropology has only recently been used.
The post-modern self-critique of anthropology, as strongly formulated by Johannes Fabian (1983), questioned the “denial of coevalness” upon which classical modern anthropology was premised. Anthropology should be radically coeval and address the problems of and in its time. But only much later did anthropologists consider what would be ‘contemporary’. For Paul Rabinow and others (2008), a contemporary approach, or rather, an anthropology of the contemporary, requires an acknowledgement that the object of study of anthropology is no longer a given singular community, located in a singular space for a particular time, but an assemblage of different parts: people, places, objects, concepts, and agencies of different sorts that constitute contemporary assemblages. In these terms, they propose to replace ethnographic fieldwork with “assemblage-work”. This notion of assemblage-work is related to George Marcus’ para-site (2000), participatory spaces where multiple divergent agents and agencies discursively interact across geographic, temporal, and disciplinary boundaries. Working with this assemblage, the role of the anthropologist would resemble that of the curator (Elhaik 2016). And yet it seems that anthropologists are arriving late to the museum assemblage. Contemporary art curators have often already taken this “trans-anthropological” role.
https://www.jstor.org/stable/j.ctv125jqxp.25
︎︎︎Azoulay, Ariella. 2019. Potential History Unlearning Imperialism. New York: Verso.
︎︎︎Elhaik, Tarek. 2016. The Incurable-Image: Curating Post-Mexican Film and Media Arts. Edinburgh: Edinburgh University Press. This content downloaded from 84.130.231.106 on Fri, 19 Nov 2021 13:53:37 UTC All use subject to https://about.jstor.org/terms The Trans-Anthropolo gical , Anachronism, and the Contem porary 381
︎︎︎Enwezor, Okwui, Mélanie Bouteloup, Abdellah Karroum, Émilie Renard, and Claire Staebler Eds. 2012. Intense Proximity: An Anthology of the Near and the Far [La Triennale 2012]. Paris: Artlys.
︎︎︎Fabian, Johannes. 1983. Time and the Other. New York: Columbia University Press.
︎︎︎ Marcus, George E. Ed. 2000. Para-sites: A Casebook against Cynical Reason. Chicago: University of Chicago Press.
︎︎︎ Rabinow, Paul, George E. Marcus, James D. Faubion, and Tobias Rees. 2008. Designs for an Anthropology of the Contemporary. Durham, NC: Duke University Press.
︎︎︎ Rogoff, Irit. 2013. ‘The Expanded Field’, in: The Curatorial: A Philosophy of Curating. London, edited by Jean-Paul Martinon. London: Bloomsbury, pp. 41–48.
︎︎︎ Sansi, Roger. 2005. ‘The Hidden Life of Stones: Historicity, Materiality and the Value of Candomble Objects in Bahia’. Journal of Material Culture 10(2): 139–156. ———. 2015. Art, Anthropology and the Gift. London: Bloomsbury.
︎︎︎ Smith, Terry. 2016. The Contemporary Condition. Berlin: Sternberg Press.