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dc.contributor.authorBuikema, Rosemarie
dc.date.accessioned2023-10-12T13:13:48Z
dc.date.available2023-10-12T13:13:48Z
dc.date.issued2023
dc.identifierONIX_20231012_9789048560110_3
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/76677
dc.languageDutch
dc.subject.otherpoetics of recycling
dc.subject.otherentanglement
dc.subject.otherdecolonial dialogue
dc.subject.otherMOED
dc.subject.otherRevolt
dc.titleChapter De huid van de feministische dekoloniale wetenschapper
dc.typechapter
oapen.abstract.otherlanguageIn this chapter Rosemarie Buikema elaborates on how decolonial feminist artists and scholars are engaged in knowledge production by means of deploying a poetics of recycling as a way to re-orientate themselves towards the relation between the subject and the object of knowledge, matter and form, signifier and signifed. Buikema analyses the work of El Anatsui and Nandipha Mntambo to illustrate the power of this poetics of recycling and gives the example of an exhibition in which the Museum of Equality and Difference (MOED) re-curated the cultural heritage of abolitionism, giving centre stage to the black, previously enslaved woman Sojourner Truth, rather than the white Dutchman Nicolaas Beets. She concludes that the collective fijield of decolonial feminism envelops engaged scholars and artists like a sensitive skin that continuously responds to the context in which it fnds itself.
oapen.identifier.doi10.5117/9789048560110_Buikema
oapen.relation.isPublishedBydd3d1a33-0ac2-4cfe-a101-355ae1bd857a
oapen.relation.isPartOfBook95ba63c0-4a4a-4684-a56c-73ba347aa51b
oapen.relation.isFundedByb586072e-2e5d-469f-8332-217c0beb5b08
oapen.relation.isFundedBy4d864437-7722-4c66-b80f-140a98d4bca9
oapen.relation.isbn9789048560110
oapen.relation.isbn9789048560127
oapen.pages22
oapen.place.publicationAmsterdam
oapen.grant.number[...]
oapen.grant.number[...]


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