Conceptual Materialism: Installation Art and the Dismantling of Caribbean Historicism

This a icle was downloaded by: [UGR-BTCA G al Uni e si a ia] On: 01 Ap il 2014, A : 06:41 Publishe : Rou ledge In o ma L d Regis e ed in England and Wales Regis e ed Numbe : 1072954 Regis e ed o ice: Mo ime House, 37-41 Mo ime S ee , London W1T 3JH, UK Thi d Tex Publica ion de ails, including ins uc ions o au ho s and subsc ip ion in o ma ion: h p://www. and online.com/loi/c e20 Concep ual Ma e ialism Ca los Ga ido Cas ellano Published online: 28 Ma 2014. To ci e his a icle: Ca los Ga ido Cas ellano (2014) Concep ual Ma e ialism, Thi d Tex , 28:2, 149-162, DOI: 10.1080/09528822.2014.896493 To link o his a icle: h p://dx.doi.o g/10.1080/09528822.2014.896493 PLEASE SCROLL DOWN FOR ARTICLE Taylo & F ancis makes e e y e o o ensu e he accu acy o all he in o ma ion ( he “Con en ”) con ained in he publica ions on ou pla o m. Howe e , Taylo & F ancis, ou agen s, and ou licenso s make no ep esen a ions o wa an ies wha soe e as o he accu acy, comple eness, o sui abili y o any pu pose o he Con en . Any opinions and iews exp essed in his publica ion a e he opinions and iews o he au ho s, and a e no he iews o o endo sed by Taylo & F ancis. The accu acy o he Con en should no be elied upon and should be independen ly e i ied wi h p ima y sou ces o in o ma ion. Taylo and F ancis shall no be liable o any losses, ac ions, claims, p oceedings, demands, cos s, expenses, damages, and o he liabili ies wha soe e o howsoe e caused a ising di ec ly o indi ec ly in connec ion wi h, in ela ion o o a ising ou o he use o he Con en . This a icle may be used o esea ch, eaching, and p i a e s udy pu poses. Any subs an ial o sys ema ic ep oduc ion, edis ibu ion, eselling, loan, sub-licensing, sys ema ic supply, o dis ibu ion in any o m o anyone is exp essly o bidden. Te ms & Condi ions o access and use can be ound a h p://www. and online.com/page/ e ms-and-condi ions Concep ual Ma e ialism Ins alla ion A and he Disman ling o Ca ibbean His o icism Ca los Ga ido Cas ellano E e y hing’s black, as i he space inside had swallowed he ligh and wi h i all ha you know, all ha ’s ecognizable. You s ep uneasily in o he blackness. The loo is spongelike. Walking is en a i e. You mus do so slowly. You ee a e like a blind man’s inge s. You senses sha pen. You a e alone he e, o no . You a e implica ed. Tania B ugue a, 2002 1 ‘Implica ion’ is an ap wo d o he expe ience o Cuban a is Tania B ugue a’s un i led ins alla ion o he 7 h Ha ana Biennial in 2000. 2 Visi o s we e in i ed o en e a oom in La Fo aleza de la Caban˜a, a o me o i ica ion used as a p ison in he mid- wen ie h cen u y by bo h Fulgencio Ba is a and E nes o ‘Che’ Gue a a. La Caban˜a is a p omi- nen and well-known landma k o Cuban he i age, so nobody could ha e an icipa ed he sense o diso ien a ion and loss el by isi o s as hey en e ed he space o he ins alla ion. In o al da kness, hey had o walk o e a smelly, uns able su ace ha , only a e hei eyes had adap ed o he lack o ligh , e ealed i sel o be moulde ing suga cane. Losing hei sense o ime and space, isi o s came o ealize ha hey we e no alone: naked ac o s inhabi ed he oom, and om ime o ime a p ojec ion showed oo age o Fidel Cas o declaiming on p oduc i i y, mode niza ion and p og ess. The cla i y o he sc een ligh and o Fidel’s esolu e message we e, howe e , challenged by he opp essi e, anguished a mosphe e, and he eeling ha isi o s we e, somehow, implica ed. I is in e es ing ha we can ead B ugue a’s ins alla ion mo e in ensely as a senso y expe ience han as an epis emological ool. While i in e sec s wi h colonial his o y, he plan a ion economy and he poli ical p esen o Cuba, i eaches us no hing abou hose issues. The e was no message Thi d Tex , 2014 Vol. 28, No. 2, 149–162, h p://dx.doi.o g/10.1080/09528822.2014.896493 #2014 Thi d Tex 1. Tania B ugue a, Un i led (Ha ana 2000), bounda y 2, ol 29, no 3, au umn 2002 2. See h p://uni e ses-in- uni e se.de/ca /habana/ bien7/cabana1/e-b ugue a. h m. Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014 hidden in he epulsi e unnel o La Caban˜a. Al hough complex laye s o meaning a e embedded wi hin i , suga cane was no a symbol o any- hing; i was a eal, unpleasan p esence. Visi o s we e mo e likely o lea e quickly han o ind enjoymen o aes he ic app ecia ion. I was no in spi e o , bu h ough he ouch and smell o suga cane ha isi o s engaged wi h he a wo k. They expe ienced i h ough senso y, ephem- e al means – he smell p oduced by he decay o he ma e ial medium o he ins alla ion. Meaning a ose as a pa ial, incomple e app oach o he a wo k, d i en by senso y s imulus. Only by en e ing he o , by being he e, could one ully app ehend he expe ience designed by he a is . In B ugue a’s ins alla ion, engagemen , expe ience and ma e ial cul u e we e indissolubly en angled. As a way o in es iga ing his en anglemen u he , his a icle con- side s he uses o ma e ial cul u e by Ca ibbean ins alla ion a is s Nikolai Noel (bo n Po -o -Spain, T inidad, 1976), Ma cos Lo a Read (bo n San o Domingo, Dominican Republic, 1965) and Blue Cu y (bo n Nassau, Bahamas, 1974). In so doing, I sea ch o a way o a icula ing he ela ions be ween he ma e iali y o hings included in ins alla ions, 3 he his o ical and economic e e en s hey enac , and he a is ic de ice ha connec s hem. All h ee a is s pay special a en- ion o he senso y, ma e ial aspec s o hei wo k. They sha e simila conce ns wi h he use o di e en media, he sea ch o in e na ional audiences and wi h se ing in ain ambi alen discou ses. Finally, in all h ee cases we ind a simila in e es in sepa a ing a is ic p ac ice om di ec in e p e a ions o explana ions o ex e nal issues, con e ing on each p ojec an aes he ic dimension ha does no p eclude pa allel poli ical o social aspi a ions. I a gue ha , al hough cha ged wi h his- o ical e e en s, he a wo ks analysed he e do no ep esen his o y, no do hey add ess his o ical symbolisms. Ra he , hey appea o be si es o senso y and ma e ial nego ia ion no a ached o a single, speci ic empo ali y, bu o a holis ic, mul i-senso y app oach o colonial and pos colonial p ocesses. In ha sense, he eco e y o he A lan ic ma e ial cul u e hey in end is no a way o ashioning his o ical na a ions o he pas ; a he , i is a ool used o open new in e p e a ions and possibili ies wi hin Ca ibbean p esen and u u e li es. The main idea I wish o exp ess he e is ha ins alla ion a oubles no ions o he e e en ial and o isual ecogni ion, es ablishing a ‘his o y o illegi imacy’ and enabling a h ee old app oach o ma e ial cul u e. 4 This has o do in he i s place wi h he na u e and meaning o a e ac s and ma e ials: Whe e do hey come om? Who owned hem? Wha did, and do, hey mean o pas and p esen socie ies? I ela es secondly o hei his o ici y: wha is hei ‘cu iculum i ae’? 5 In o he wo ds, how did his si ua ion e ol e and b oaden h ough his o y in e ms o p oduc ion, ci cula ion and consump ion? The hi d idea is linked o he display and pe cep ion o a e ac s and ma e ials, and implies no only a conce n wi h hei loca ion in he pas , bu also abou he media ion ha de e mines hei p esen a ion in he p esen o he ins alla ion. In his, mo eo e , we can ace a me a-a is ic hough ela ed o he way hose hings se e as a space o nego ia ion o he posi ion o Ca ibbean a is s wi hin an in e na ional, pos colonial a scene. 150 3. Fo a discussion o he di e ence be ween ‘ hings’ and ‘objec s’ see Ian Hodde , En angled: An A chaeology o he Rela ions be ween Humans and Things, Wiley- Blackwell, Hoboken, New Je sey, 2012. Since I y o highligh he senso y and social media ions implied no only in human-made objec s bu also in aw ma e ials, I will op o he i s e m h oughou his a icle. 4. Rebecca Schneide , ‘Solo Solo Solo’, in Ga in Bu , ed, A e C i icism: New Responses o A and Pe o mance, Blackwell, Ox o d, 2005, p 37. Schneide uses he model o he jazz solo o concep ualize a model whe e he quali y o ac ions ‘become p o oundly iddled wi h he echoes o p ecedence and he o ecas echoes o u u e esponse’, p 37. My app oach o he ma e iali y o ins alla ion a is close o he challenge o canons posed by Schneide . 5. See A jun Appadu ai, ed, The Social Li e o Things: Commodi ies in Cul u al Pe spec i e, Camb idge Uni e si y P ess, Camb idge, 1986; Ch is Gosden and Y onne Ma shall, ‘The Cul u al Biog aphy o Objec s’, Wo ld A chaeology, ol 31, no 2, 1999, pp 169–178. Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014 SUGAR, SUN CREAM, KAPOK WOOD Th ee ins alla ions and h ee ma e ials can be ound a he beginning o his analysis. The i s a ises om a se o a wo ks made by T inidadian a is Nikolai Noel be ween 2009 and 2012 as an expe imen wi h he sensi i e quali ies o suga and i s his o ical implica ions. In one o his ea lies and mos powe ul composi ions, en i led Nigh and Suga and shown o he i s ime in 2011, a ligh bulb was co e ed in b own suga , which colou ed and modi ied he ligh bu also made he bulb blow a e a while. Two main elemen s condi ioned he senso y pe cep ion o he isi- o s he e: he absence o illumina ion, he ligh bulb being he only sou ce o ligh , and he pa icula odou o he suga hea ing up and hen des oying he bulb. In o he un i led ins alla ions displayed he same yea , Noel d ew a ious silhoue es on he wall using suga . 6 The su ace was in ended o blu wi h he wa ming o he exhibi ion space caused by he a i al and he b ea h o spec a o s, lea ing an imp in in he wall and, again, an ol ac o y ace. Senso y pe cep ion was bo h essen- ial o he ins alla ion and impossible o igno e. Mo e ecen ly, he a is used suga o ashion suga mache es ha de e io a ed du ing he ins alla- ions. 7 Th ough he me onymic ac ion o cons uc ing he blade om he ma e ial i was designed o cu , he p oduc i e objec became aw ma e ial and ice e sa, con eying he in e connec ed and a ainable cha ac e o Ca ibbean his o ies. In mo e ecen ins alla ions c ea ed in 2012 (Some Kind o Vessel,The Swee o My B own and un i led composi ions), Noel placed inge s and human jaws made o suga on ea h pedes als. Raised o he s a us o elics, hey we e ‘condemned’ o a ini e exis ence, which he public could con empla e. 8 A cloying a mosphe e akin o ha c ea ed by Noel is employed by Bahamian a is Blue Cu y. Fo he Six h Li e pool Biennial in 2010, Nikolai Noel, Un i led, 2012, ea h/soil, wa e , cas b own suga , dimensions a iable, pho o cou esy he a is 151 6. See h p:// nikolainoelp ojec s. blogspo .co.uk/. 7. Ibid 8. Ibid Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014 Cu y exhibi ed a cus omized shimme ing blue cemen mixe illed wi h gallons o sun c eam ha was in con inual ope a ion du ing he exhibi- ion. As he cemen mixe spun, he swee smell o he sun c eam in aded he en i e oom a G eenland S ee , Li e pool. As a con ibu ion o ano he p ojec , he a is silk-sc eened a sun-c eam pa e n co e design on o he exhibi ion ca alogue, gi ing i a s icky ex u e and he same ol ac o y sensa ion. He has also used sun c eam pain ed di ec ly on o he walls o he exhibi ion space o ac as an elemen in his ecen ins alla ions. Pa icula ly spa ing, his and o he wo ks o Cu y o e a senso y appeal ha makes i di icul o elici a di ec meaning. None o his wo ks is i led; ins ead he lis s he ma e ials o which hey a e com- posed, and his is wha e eals possible in e p e a ions. Tha lack o desc ip i e meaning, consciously adop ed by he a is , opens his wo ks o a senso y app oach. To his conside a ion we mus add he noise p o- duced by he indus ial cemen mixe , some hing ha made he ins alla- ion esemble a cons uc ion si e. As i s smell pe mea ed he space, sun c eam was hus inse ed in o a ans o ma i e con ex . The wo k o he Dominican a is Ma cos Lo a Read also shows a conce n o he con adic ions be ween he empo al condi ion o ma e ial li e and he pe manence a ached o he i age i ems. Since 1990, Lo a has used pa chmen and pape o e lec on ma e iali y, echnology and he a chi e. Tha combina ion is behind p ojec s like Cinco ca - osas pa a la his o ia (1991), 9 p esen ed in 2009 in Pa is as pa o he ‘K e ´yol Fac o y’ exhibi ion. 10 The ins alla ion consis ed o i e wooden canoes, which Lo a u nished wi h wheels be o e hanging hem on he wall. The s uc u e o he canoes was co e ed wi h wo ds aken om documen s he ound in he A chi o de Indias in Se ille, ela ing o he i s sla es b ough o La Espan˜ola, he island ha now con ains bo h Hai i and he Dominican Republic. Each boa con ained ei he a swo d o a ose made Nikolai Noel, Membe , 2012, cas b own suga , sal , wa e , dimensions a iable, pho o cou esy he a is 152 9. The i le con ains wo d play ha does no ansla e easily in o English. On one le el i eads as Fi e Ca iages o His o y, bu he Spanish ‘ca ozas’ o ‘ca iages’ is al e ed o ‘ca - osas’ so ha i inco po a es he ‘ osas’ o ‘ oses’ o he ins alla ion. In La in-Ame ican Spanish he p onuncia ion o he wo spellings is iden ical. 10. See h p://www.kyas.com/ P/Ma cos/02.h ml. Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014 o me al and ca dboa d. To make he canoes Lo a used kapok ees om Sabana de la Ma , a coas al own loca ed in he no he n pa o he Dominican Republic ha aces he peninsula o Samana ´ac oss a bay. The zone has his o ically been he poin o depa u e o illegal mig a ion owa ds Pue o Rico and is he loca ion o he building o yolas, he small boa s used o c oss he Mona Passage, he s ai ha sepa a es he coun ies. The use o local wood ecalls no only p esen -day illegal mig a ion by Dominicans bu also he displacemen o Taino communi ies ac oss he Ca ibbean. Those communi ies also used he ba k o he kapok, and would ex ac and disca d he ee’s hea ; a di icul p ocess as he su ace o he kapok ee is co e ed by ho ns. The e is a symbolism in he ac ha he ans o ma ion o a ee by hollowing ou i s co e enabled he mobili y and he miscegena ion o indigenous communi ies. The ma e ialism o his p ocess is hidden by se e al conscious measu es ha a e also open o in e p e a ion: he canoes a e co e ed wi h ex , hung om he museum wall, and displayed as museum objec s. In ab up ly inco po a ing hem in o museum discou se, Lo a p oduces an es ange- men o hei ma e ial biog aphy ha is ne e heless a conscious pa o he ins alla ion display. Blue Cu y, Un i led, 2010, cus omized cemen mixe , sun c eam, Li e pool, Li e pool Biennial, pho o cou esy he a is 153 Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014 Wha do he a is s examined he e ha e in common? Fi s , hey sha e an in e es in explo ing he e e yday ma e iali y o he A lan ic landscape. Th ough he use o o dina y ma e ials and objec s, hey ack he poli ics o consump ion and accessibili y o hose p oduc s om bo h a his o ical and a p esen -day pe spec i e. Suga , sun c eam and wood o e a senso y expe ience ha can ell us mul iple hings no only abou how he Ca ib- bean landscape looks, bu also abou he unconscious ha pe aded he ela ions be ween hings and human beings wi hin he A lan ic space. Second, in none o he analysed cases is he sense gi en; a he , ins alla- ions con on he public wi h a my iad o s imuli ha appeal o all he senses, no only o sigh . Thi d, hings become ‘epide malized’ when inse ed in he ins alla ions, since hey acqui e a ma e ial dimension ha speaks eloquen ly abou he sha ed li es o human beings and ma e ial cul u e. 11 In ha sense, a is s make hings o be asc ibed and ela ed o a human scale, ma e ializing his o ic p ocesses. ATLANTIC MATERIAL CULTURE Wha does ‘ma e ialized’ mean in his con ex ? How can we de ine hose ma e ial objec s? In o he wo ds, wha do suga , sun c eam and wood mean o ou pu poses he e? How can we app oach hem? A simple, gene al, answe could be: hey a e hings. In ecen yea s we Nikolai Noel, Some Kind o Vessel, 2012, showing de ail o suga mache e, cas b own suga , dimensions a iable, pho o cou esy he a is 154 11. Jenni e A Gonza ´lez, Subjec o Display: Re aming Race in Con empo a y Ins alla ion A , Uni e si y o Minneapolis P ess, Minneapolis, Minneso a, 2008, p 5 Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014 ha e wi nessed he eme gence o he s udy o ma e ial cul u e associa ed wi h a g ea e accep ance o he senses as sou ces o knowledge, a de elopmen ha can be obse ed in se e al disciplines, among hem a chaeology, 12 an h opology and sociology, 13 a 14 and collec ions and museum s udies. 15 In his sec ion I will ou line some aspec s o his deba e and subjec he wo k I ha e in oduced o u he analysis. As se e al au ho s ha e poin ed ou , objec s a e no isola ed. They shape ou li es and ou wo ld, as we shape hei o m. They a e ‘ he e y subs ance o ou socie ies’. 16 Ne e heless, as Hodde has poin ed ou , we end o ex ac om hem wha we need, a pa icula aspec o hem, ins ead o conside ing ha hings ha e hei own li e and se o alues and ela ions. 17 Acco ding o him, bo h a e ac s and na u al hings – and he bo de be ween hem ends o blu – p esen hemsel es in eco-sys ems. 18 Despi e ha , we a e so used o some objec s ha we conside hem pa o he landscape, which enables us o ela e o hem in a non-discu si e way. This pe spec i e con e s an ac i e oice o hings. Each hing has, in ha sense, a biog aphy. This biog aphy, howe e , is an e e -changing, oubled one. 19 I we ag ee o con e on hings a li e o hei own, hen, how can we app oach hem? In his case, we ha e o conside se e al implica ions o owne ship, accessibili y, consump ion and exchange. Ma cos Lo a Read, Cinco Ca - osas pa a la his o ia, 2008, Pa c de la Ville e, Pa is, dimensions a iable, pho o cou esy he a is 155 12. See Hodde , En angled,op ci ; Ch is ophe Tilley, ed, Handbook o Ma e ial Cul u e, Sage, London, 2006. 13. See Ann B owe S ahl, ‘Colonial En anglemen s and he P ac ice o Tas e: An Al e na i e o Logocen ic App oaches’, Ame ican An h opologis , ol 104, no 3, 2002, pp 827–845; Da id Howes, Sensual Rela ions: Engaging he Senses in Cul u e and Social Theo y, Uni e si y o Michigan P ess, Ann A bo , Michigan, 2003. 14. See Elizabe h Edwa ds and Janice Ha , Pho og aphs, Objec s, His o ies: On he Ma e iali y o Images, Rou ledge, London, 2004; Helen Pheby, ‘Con empo a y A : an Inma e ial P ac ice?’, in Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014 Wi h ega d o possession, collec ing appea s o be an ac indissolubly linked o ou app oach o hings. Ch is Gosden has ques ioned, 20 a e W J T Mi chell, 21 wha objec s wan , poin ing ou he exis ence o an in e -a e ac ual domain ha in e ac s wi h human communi ies. Mo e- o e , hough simple, e e yday ges u es such as ea ing and d inking imply a complex se ing o powe ela ions ha egula e ou posi ion in ela ion o o he human beings. Agency, hen, comes in o discussion, 22 allowing us o conside con ac be ween cul u es as sub le, long- e m manoeu es implying in e dependence. In ha sense, al hough con- s uc ed ac oss si ua ions o accessibili y, inequali y and p i ilege, objec s and aw ma e ials can also be app oached as si es o di e gence, di e ence and con es . In ou case, he ins alla ions we ha e examined e e o he ma e ial cul u e o he A lan ic. The social li e o A lan ic a e ac s and ma e ials is no isola ed in a colonial pas ; a he , i is li ed, ans o med and chal- lenged in pos colonial nego ia ions o place, his o y and dominance. We can easily asse , o example, ha o many Ca ibbean communi ies suga cane – no only i s image, bu also i s odou , i s as e, he sound p oduced when he canes a e us led by he wind – is mo e han a simple e e ence o he pas . All hose senso y expe iences belong o he ealm o he e e yday. Things and aw ma e ials ha e played a decisi e ole in con igu ing ou unde s anding o colonialism and colonial e i o ies as a cen al pa o he mode ni y p ocess. 23 The his o y o colonialism and sla e y and he exchanges ha shaped he colonial pas and p esen can also be ead in ma e ial e ms. 24 A lan ic his o y is no only ma ked by ansna ional luxes o pe sons, bu also by he displace- men s, disloca ions and eloca ions o hings. We can ead colonial and pos colonial p ocesses ha shaped his his o y by looking a he ma e ial cul u e ha eme ged om hem. 25 DEFYING MEANING Wha happens i we ansla e his app oach o A lan ic ma e ial cul u e o he h ee ins alla ion a p ac ices we a e examining? Wha kind o knowledge can we in e om he use o suga , sun c eam and wood in he ins alla ions o Noel, Cu y and Lo a espec i ely? I belie e ha any app oach o hose ques ions has o begin wi h a ecogni ion: in hese ins alla ions, meaning is de ied. In o he wo ds, answe ing hese ques ions has mo e o do wi h e ealing he implica ions eco ded in he wo k han wi h disco e ing a hidden message, a uni ying eading. Ins alla ion a is an imme si e p ac ice ha deals wi h mul iple laye s o knowledge and sensibili y. Jus as he e canno be a single way o enga- ging wi h ins alla ion a , so i is impossible o de i e a single meaning om i . When looking a an ins alla ion, we a e no s a ic. Expe ience, empo ali y and mo emen a e insepa able om ou aes he ic engage- men wi h i . This o ces us o adop a e sa ile app oach wi h he capaci y o challenge he p edominance o isuali y in ou engagemen wi h a and o ans o m a wo ks in o ‘ac i e si es o cul u al p oduc ion’. 26 When conside ing he ins alla ions unde examina ion he e, we can say ha he e is a signi ican di e ence be ween a i ing a he exhibi ion 156 Sand a H Dudley, ed, Museum Ma e iali ies: Objec s, Engagemen s, In e p e a ions, Rou ledge, London, 2010, pp 71–89. 15. See Susan Pea ce, ed, In e p e ing Objec s and Collec ions, Rou ledge, London, 1994; Daniela Bleichma and Pe e C Mancall, eds, Collec ing ac oss Cul u es: Ma e ial Exchanges in he Ea ly Mode n A lan ic Wo ld, Uni e si y o Pennsyl ania P ess, Philadelphia, Pennsyl ania, 2011. 16. B uno La ou , We Ha e Ne e Been Mode n, Ha a d Uni e si y P ess, Camb idge, Massachuse s, 1993, p 4 17. Hodde , En angled, op ci , p3 18. Ibid, p 4 19. Elizabe h Edwa ds, Ch is Gosden and Ru h Phillips, eds, Sensible Objec s: Colonialism, Museums and Ma e ial Cul u e, Be g, Ox o d, 2006, p 13 20. Ch is Gosden, ‘Wha Do Objec s Wan ?’, Jou nal o A chaeological Me hod and Theo y, ol 12, no 3, 2005, pp 193–211 21. W J T Mi chell, ‘Wha Do Pic u es “Really” Wan ?’, Oc obe 77, 1996, pp 71–82 22. Al ed Gell, A and Agency: An An h opological Theo y, Cla endon, Ox o d, 1998 23. See, o example, he classic wo k o Sidney Min z, Swee ness and Powe : The Place o Suga in Mode n His o y, Viking, New Yo k, 1985. 24. See Ann Lau a S ole , ‘Racial His o ies and hei Regimes o T u h’, Poli ical Powe and Social Theo y 11, 1997, pp 183–255. 25. See Cons ance Classen and Da id Howes, ‘The Museum as Sensescape: Wes e n Sensibili ies and Indigenous A i ac s’, in Edwa ds, Gosden and Downloaded by [UGR-BTCA G al Uni e si a ia] a 06:41 01 Ap il 2014