Sarah Morris, Untitled (Wanted), 1996
© Staatliche Kunstsammlungen Dresden, Foto: Herbert Boswank

Don't Stop

Werkstatt [Prolog] im Dialog mit der Schenkung Sammlung Hoffmann

Die Zukunft der ethnologischen Museen wird fortwährend erforscht und verhandelt. Viele dieser Museen haben in den letzten Jahren ihren Staub aufgewirbelt, sich geöffnet, umbenannt, sich um mehr Transparenz bemüht oder sich in die Debatten eingebracht. Doch wie geht es weiter?

  • DATES 23/09/2020—30/05/2021
  • Opening Hours currently closed

[Translate to English:] text 1

The future of tthe ethnological museums has been examined and negotiated in workshops and discussion labs. Many of them have stirred up their dust in recent years, opening up and renaming themselves, working to create more transparency and to take part in the debates. But what comes next?

The GRASSI Museum für Völkerkunde zu Leipzig and the Schenkung Sammlung Hoffmann are saying: Don’t stop! We want to question, disrupt and shake up expectations, and above all never stop exploring the past, along with the structures of our thinking, working, collecting and classifying.

© SKD, Foto: Herbert Boswank
Ashley Bickerton, Catalog: Terra Firma Nineteen Hundred Eighty Nine Schenkung Sammlung Hoffmann

[Translate to English:] Film

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Don't Stop. Werkstatt Prolog im Dialog mit der Schenkung Sammlung Hoffmann im GRASSI Museum Leipzig
Don't Stop. Werkstatt Prolog im Dialog mit der Schenkung Sammlung Hoffmann im GRASSI Museum Leipzig

[Translate to English:] text 2

In the context of the GRASSI Museum für Völkerkunde zu Leipzig, the ten selected works from the Schenkung Sammlung Hoffmann take on new meanings. Entered into this unfamiliar environment, they address— some of them with unmistakable clarity—the approachability or else reticence of museums and their collections. They ask: What are the criteria for the in- or exclusion of objects? What are the assessment categories? And how is it that the enquiring mind and the possessive mind tend to coalesce? They direct our attention to the interrelations between possession, property and belonging and to the distinction between what is “one’s own” and what is “foreign”. The object of the dialogue is to strive for a greater permeability and transparency of museum life— the institutions, spaces and categories at work in it. The tension created in the juxtaposition of the artworks opens up questions for discussion. With this dialogue, the museum is taking a further step toward “(Re)inventing Grassi 2023”.

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