Beyond Restitution: Heritage, (Dis)Possession and the Politics of Knowledge

Introduction

On the backdrop of ongoing debates to decolonialize museums, BEYONDREST asks if the return of looted art can be regarded as a closure of historical wounds. The project probes the focus on restitution that inadvertently casts dispossessed art in terms of contested property.

Exploring Loss

Instead, BEYONDREST explores what kind of loss dispossessed art engenders, and how this loss has shaped the knowledge production on heritage. It focuses on the interlocution between Western Europe, the Near and Middle East, and North Africa, mapping relationships between people and “things” that have largely been left out of current debates.

Historical Context

The project starts in the mid-19th century, which witnessed the rise of the museum in its modern form as well as violence unleashed by imperial and colonial projects and dispossession. Innumerable objects made their way into international collections, categorized mostly as “Islamic art,” or as the “universal heritage of humankind” that nonetheless symbolically and proprietarily belongs to the “West.”

Approach to Dispossession

BEYONDREST tackles dispossession not as a loss to be mended but as a means to transform knowledge through inquiries into absence. The interdisciplinary research group will employ a wide methodological matrix, including:

1. Ethnographic interviews
2. Visual analysis of exhibitions
3. Archival research
4. Textual analysis of the laws governing cultural assets

This approach aims to capture the proprietary stakes in the interplay of epistemic remembering and forgetting.

Centering on Absence

BEYONDREST takes risks by centering on what is absent, rather than present, on what is lost, rather than found. It argues that the dispossession of art is not merely a problematic of colonialism or empire, that is of the past, but an ongoing process that is constitutive for the governance of heritage in its national and transnational formations.

Working Hypothesis

BEYONDREST’s working hypothesis is that the dispossession of art and cultural heritage is not an aberration, but a precondition for the ways in which art and cultural assets circulate.