Baroque modernity, critique and Indigenous epistemologies in museum representations of the Andes and Amazonia
in Curatopia
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This chapter examines the politics, aspirations and antagonisms that grew out of the curatorial process underlying the exhibition The Potosí Principle (Madrid 2010, Berlin 2011, La Paz 2011), and compares them to other Andean exhibitions including Bolivian Worlds (London 1987) and Luminescence: The Silver of Peru (Vancouver 2012, Toronto 2013). The chapter questions the category of contemporary art and examines its avowed potential as radical critique and the claims that it and other exhibition strategies have marginalised Indigenous epistemologies and obfuscated historical agency. The implications of this conflict between Western and Indigenous curators and curatorial collectives on the right of self-expression and the freedom of interpretation and critique; associated ethical conundrums and the viability of epistemological pluralism will be clearly articulated as problems requiring serious museological attention.


Museums and the future of curatorship


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