The dance between artefact, commodity and fetish: a case study of Brendan Fernandes’ Lost Bodies

dc.contributor.authorMosurinjohn, Sharday
dc.date.accessioned2021-05-28T19:44:21Z
dc.date.available2021-05-28T19:44:21Z
dc.date.issued2017-05-02
dc.description.abstractIn 2015, artist Brendan Fernandes was invited to interpret ‘African collections’ from the Agnes Etherington Art Centre and the Textile Museum of Canada. The result, Lost Bodies, critiques racist ideologies that justified presenting objects from colonised African peoples as evidence of ‘superstition’ or ‘witchcraft’ in early European museums. Fernandes redirects the deferential gestures of ballet, professionalised in Louis XIV’s court at the same moment of the objects’ collection, to reanimate and apologise to them. Considering Lost Bodies, I explore how it is possible to nuance Western museums’ public development narratives by engaging such artefacts without either ignoring their history or rejecting museums on account of their own.en
dc.identifier.citationMosurinjohn, S. (2017). The dance between artefact, commodity and fetish: a case study of Brendan Fernandes’ Lost Bodies. Third World Thematics : a TWQ Journal, 2(2-3), 211–228. https://doi.org/10.1080/23802014.2017.1320199.en
dc.identifier.doihttp://dx.doi.org/10.1080/23802014.2017.1320199
dc.identifier.urihttp://hdl.handle.net/1974/28882
dc.language.isoenen
dc.publisherThird World Thematics: A TWQ Journalen
dc.subjectCritical religionen
dc.subjectRitualen
dc.subjectEnchantmenten
dc.subjectMuseumsen
dc.subjectPost-developmenten
dc.subjectBrendan Fernandesen
dc.titleThe dance between artefact, commodity and fetish: a case study of Brendan Fernandes’ Lost Bodiesen
dc.typejournal articleen
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