Contested Desires: Constructive Dialogues, Research Centre for Museums and Galleries (RCMG)
Date Issued
June 21, 2024
Author(s)
Abstract
Introduction
This report sets out to provide background research of direct use to the Contested Desires:
Constructive Dialogues consortium. Contested Desires: Constructive Dialogues responds creatively to
the legacies of European colonisation and the politics of division evident across Europe through a deep
recognition of the potential of museums and heritage to become sites where complex questions of
culture and identity can be hosted, framed and explored in ways that are inclusive, accessible and
productive. Contentious collections and sites are central to this endeavour as project lead ECCOM
(2024) sets out: ‘The most important outcome of the project will be to provide heritage professionals
with methods, resources and – above all – the confidence to use contested heritage as a focus for
constructive, democratic dialogue that reflects the best of European values and contributes to
reconciliation across the divisions of the past’. 22 artists from 11 countries will work with heritage
partners and local communities to respond to specific contentious collections and sites and generate
new artworks, exhibitions, workshops and events. Contested Desires: Constructive Dialogues has, at
its heart, an ambition to be a driver of innovation and change, generating new interpretations and
relationships and driving inclusive transformation in both the partner heritage organisations and
amongst participating groups and communities. Led by discussions at the Contested Desires:
Constructive Dialogues kick-off meeting in Rome in January 2024, the report provides background
research on:
● key terminology and the conceptual framings of ‘decolonising’ and ‘decoloniality’ in European
museums;
● the role of art and artists in generating meaningful dialogue amongst visitors and stakeholders
related to contested collections, histories and identities;
● wide-ranging examples of arts-led and arts-centred decolonising practices focused on
collections and from a range of lineages of socially engaged art;
● RCMG’s work on ethical frameworks and how this method could support Contested Desires:
Constructive Dialogues collaborations;
● RCMG’s work on evaluation and the ways that an emphasis on decoloniality and collaboration
will impact what is evaluated and why.
This report sets out to provide background research of direct use to the Contested Desires:
Constructive Dialogues consortium. Contested Desires: Constructive Dialogues responds creatively to
the legacies of European colonisation and the politics of division evident across Europe through a deep
recognition of the potential of museums and heritage to become sites where complex questions of
culture and identity can be hosted, framed and explored in ways that are inclusive, accessible and
productive. Contentious collections and sites are central to this endeavour as project lead ECCOM
(2024) sets out: ‘The most important outcome of the project will be to provide heritage professionals
with methods, resources and – above all – the confidence to use contested heritage as a focus for
constructive, democratic dialogue that reflects the best of European values and contributes to
reconciliation across the divisions of the past’. 22 artists from 11 countries will work with heritage
partners and local communities to respond to specific contentious collections and sites and generate
new artworks, exhibitions, workshops and events. Contested Desires: Constructive Dialogues has, at
its heart, an ambition to be a driver of innovation and change, generating new interpretations and
relationships and driving inclusive transformation in both the partner heritage organisations and
amongst participating groups and communities. Led by discussions at the Contested Desires:
Constructive Dialogues kick-off meeting in Rome in January 2024, the report provides background
research on:
● key terminology and the conceptual framings of ‘decolonising’ and ‘decoloniality’ in European
museums;
● the role of art and artists in generating meaningful dialogue amongst visitors and stakeholders
related to contested collections, histories and identities;
● wide-ranging examples of arts-led and arts-centred decolonising practices focused on
collections and from a range of lineages of socially engaged art;
● RCMG’s work on ethical frameworks and how this method could support Contested Desires:
Constructive Dialogues collaborations;
● RCMG’s work on evaluation and the ways that an emphasis on decoloniality and collaboration
will impact what is evaluated and why.
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D51 Background Research Report for RCMG website (3).pdf
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