« Mise-en-intrigue »
Too often when Aboriginal artworks from Australia are exhibited in museums or commercial galleries, they are decontextualized from the sociopolitical context of their production. I examine the museum practices elaborated during two exhibitions of art by Aboriginal people (1988 and 2012) enabling collaboration amongst knowledge-making institutions such as museums, indigenous artists and curators. Analyzing the different indexical forms deployed by curators, museums, and artists in temporary exhibitions, I ask how to rethink certain practices towards a decolonization of museums’ « mise en scène ».