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PRODID:-//Columba Systems Ltd//NONSGML CPNG/SpringViewer/ICal Output/3.3-
 M3//EN
VERSION:2.0
CALSCALE:GREGORIAN
METHOD:PUBLISH
BEGIN:VEVENT
DTSTAMP:20200918T153600Z
DTSTART:20201015T130000Z
DTEND:20201015T140000Z
SUMMARY:Who is the 'Britain' within Tate Britain? A Black Feminist Respon
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UID:{http://www.columbasystems.com/customers/uom/gpp/eventid/}ezr-kf8enk2
 k-mipfza
DESCRIPTION:‘Safe(r) spaces’ has reached mainstream attention with argume
 nts for and against its use and are often presented as an infringement o
 n ‘freedom of speech.’ However\, ‘safe(r) spaces’ date back to the women
 ’s liberation movements of the 1970s\, where feminists were demanding se
 paratists spaces from cis-gendered men. Whilst competing definitions may
  circulate\, this paper will define what a ‘safe(r) space’ is within an 
 arts museum context by problematising whether Tate Britain can be a 'saf
 e(r) space’ to discuss race and cultural differences? Tate Britain is an
  art museum entrusted to the ‘British’ public to display ‘British’ histo
 rical and contemporary artworks\, however\, it’s frequent and most ‘trad
 itional’ audiences are often white and middle class. I will pose\, ‘who 
 is the ‘Britain’ within Tate Britain? And how does it contend with ‘Brit
 ain/Britishness’ that is transnational\, racial and historical\, as rece
 nt events like ‘Brexit’ (2016) the ‘Windrush Scandal’(2018) and the topp
 ling of Colston statue (2020) has shown it to be? By interrogating the h
 istorical\, ontological and textual framings of Tate Britain through com
 parison of the art works: Brunia’s ‘Dancing Scene in West Indies’ (1764-
 96) and Piper’s ‘Go West Young Man’ (1987) and adopting Araeen’s (2010) 
 critique of whiteness and Hall’s questionings of heritage\, nationhood\,
  memorialisation (2008) alongside Critical Race Theory. \n\nThis paper w
 ill explore who is ‘safety’ intended for and what are they seeking safet
 y from? Especially as ‘safety’ is employed through the discourses of sur
 veillance culture\, ‘anti-terrorism\,’ immigration and citizenship to pr
 otect the white-western-neo-liberal-nation-state. Therefore\, how might 
 a site like Tate Britain reinforce such dominant structures through secu
 rity\, curatorial and interpretation? I will conclude by proposing ‘brav
 e(r)’ spaces as both a counter-position to ‘safe(r) spaces\,’ and as a p
 raxis for art museums to address their colonial histories through the le
 nses of intersectionality and decoloniality.\n\nThis seminar will be del
 ivered over Zoom. Please sign up on Eventbrite to receive Zoom details.
STATUS:TENTATIVE
TRANSP:TRANSPARENT
CLASS:PUBLIC
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