Latest news with #artifacts
Telegraph
15 hours ago
- Telegraph
The anti-woke brigade won't like it, but this ‘inclusive' museum is actually rather good
Past mountainous warehouses, down a listless canal, and into the quiet academic quarter with its beige halls soaring into skies that never seem to cease to rain, stands Manchester Museum. With the institution freshly glistening with ' European Museum of the Year 2025 ' status, I ventured in to see if this superlative accolade is justified, immersing myself in ancient earrings, psychedelic rickshaws and the tooth of an 80-million-year-old shark, the mellow rain of Manchester pattering on the roof. The museum's purpose is written in the atrium: 'To build understanding between cultures and a more sustainable world.' This isn't really a museum about Manchester, more of artefacts, animals and artworks that have ended up in the museum's collection, and a mosaic of perspectives from ethnic minority communities living in, studying at, or in some way associated with Manchester. It strives to be 'the most inclusive, imaginative and caring museum you'll ever visit'. Essentially, the museum is about belonging. It is this bold curatorial line that gives it a distinctive flavour, with each of the four main galleries contributing to the central theme in interesting and surprising ways. I first entered Ancient History, Contemporary Belonging, a gallery of ancient and medieval artefacts from Anatolian earrings to marvellously-preserved Roman playing pieces, ancient Egyptian cat idols to hoards of delicate medieval silver coins. The rooms are a little over-stuffed, and some of the information plaques positioned so low that all the stooping became exhausting. I had to be economical in what I examined, but this made me worry that I was overlooking some gems, sometimes quite literally. Despite these gripes – entrance is free, anyhow, so you can always come back – a strong flavour of displacement emerged, a synergy between the migration of ancient historical objects and of people. More topical than ever at a time when George Osborne is reportedly negotiating a 'reciprocal, long-term loan' which would send the Elgin Marbles back to Greece, it was hard to peruse the collection without wondering how on earth so many of these rare finds ended up in Manchester and the answers, one suspects, are not always savoury. You're encouraged to consider the human stories of migration, the sometimes traumatic tales of persecution, forced upheaval and dreams of a better life that help to explain how a Mesopotamian hair-pin fetched up in front of you. Many museums now engage in this kind of soul-searching, but here it is taken a step further. Manchester University students of migrant heritage have been invited to respond. The juxtaposition of an 'official' plaque next to a personal response presents a person's lived experience as an echo of the narrative. On paper, this is fraught with risk, threatening to debase the whole thing into mawkish amateurishness. But many of the responses are in fact profoundly moving, making the galleries feel less lofty and academic than their equivalents in, say, the Ashmolean or the British Museum. The next gallery focuses on animals that belong – or should belong, if we weren't doing so much to make the earth uninhabitable. Cinematically lit, with a veritable menagerie of taxidermy and lifelike models, this is an emporium of wonder, at times a cacophony of delighted children's wails. It was exhilarating to stare into the eyes of an African hunting dog, a North American woodchuck, or Maude the tigon – a cross between a male tiger and a lioness, once a beloved feature of Manchester's Belle Vue Zoo – finally on display after 70 long years existing as a rolled-up skin in a storage vault. Stuck on one glass panel, in stark red letters, is the word 'Decolonise!' – signalling its inclusion in the museum's Decolonise! Trail. Of course, this will make some people groan. But the manner in which it is done, at least, is original. It feels like a Just Stop Oil-style organisation has placed it here; a performative act of self-sabotage. It's just one act of curatorial dandyism. Elsewhere, an empty glass box commemorates species that became extinct. In another display, the stuffed heads of tigers and lions loom like phantoms of guilt over black-and-white photographs of hunters. It's only when the curatorial voice slips from posing questions to telling you the answers that the device galls. I felt this peering into a surrealist reconstruction of a curator's office, eerily frozen in time since the 1920s, all mahogany desks and exotic bric-a-brac. It is, we are told, 'like a glimpse of our colonial unconscious' – yet all I could think about was how cosy and charming it looked compared with soulless modern offices. The South Asia Gallery – bright, airy, perfectly spaced – casts a spotlight on the experiences of British Asian communities. Scenes of oppression, violence and starvation under the East India Company and the Raj are included, as one might expect, appearing as incongruously beautiful panels in the atrium. Objects that were 'violently plundered', were are told, have not been included. One of the most poignant parts of this gallery are the displays that bring to life 'hidden' voices within British-Asian communities. The prejudice historically felt by mixed-race Asians is rendered palpable and real. The exhibition on LGBT people of British Asian heritage is particularly moving: their feelings of loneliness, confusion and self-loathing, as well as hope, are all conjured from cuttings from 1990s magazines, help forum notices and leaflets. A final gallery attempts the same thing (slightly less successfully) from an East Asian perspective. I was fascinated to learn that Manchester has a higher proportion of Chinese émigrés than any other city in Europe. It's one of the few revelations we get about Manchester itself. I hankered for more on how this great industrial behemoth came to be, and its later metamorphosis into a modern city of culture. Many, no doubt, would find the emphasis upon displacement, multicultural identity and preserving the environment preachy and over-rehearsed. Some might even declare the whole thing a Trojan's Horse of woke tosh (when I'd read that the museum has 'safe spaces' for anyone who finds the exhibitions traumatising, I did cringe). But Manchester Museum nails its colours to the mast. And it's only fair to judge something by what it is trying to achieve. Does it succeed on its own terms? Overwhelmingly, yes.
Washington Post
a day ago
- Washington Post
Netherlands returns 119 looted artifacts known as Benin Bronzes to Nigeria
ABUJA, Nigeria — The Netherlands on Thursday returned 119 artifacts looted from Nigeria, including human and animal figures, plaques, royal regalia and a bell. The artifacts, known as the Benin Bronzes and mostly housed in a museum in the city of Leiden, were looted in the late 19th century by British soldiers.
Sustainability Times
6 days ago
- Science
- Sustainability Times
'Lost City Rises Again': Submerged Indian Metropolis Stuns Archaeologists and Forces a Rethink of All Human Civilization Timelines
IN A NUTSHELL 🌊 The discovery of a submerged city in the Gulf of Khambhat challenges established historical timelines. challenges established historical timelines. 🗺️ Researchers found artifacts like skeletons and pottery dating back to about 7000 BC , predating known civilizations in the region. , predating known civilizations in the region. 🧩 The site has sparked intense debate, dividing the scientific community over its origins and significance. 🔍 This finding encourages further exploration and analysis, with the potential to reshape our understanding of ancient civilizations. In the depths off the Indian coast, a fleeting glimmer seems to brush against the silent remnants of a mysterious civilization. The contours of a submerged city emerge in the Gulf of Khambhat, challenging everything we thought we knew about India's origins. As fragments of pottery, forgotten skeletons, and submerged avenues come to light, the puzzle slowly takes shape. This discovery progresses at the pace of passionate debates, cautious researchers, and the call of legends. Here, every find appears capable of reshaping our understanding of the past. A Shocking Underwater Discovery: An Entire Civilization Sleeps in the Gulf of Khambhat Imagine the moment when certainties vanish. Off the coast of India, the silhouette of a forgotten city emerges from the depths, potentially dating back nine thousand years. Such a prospect sends shivers down the spine. For a team of Indian archaeologists, the discovery of a submerged site changes everything. Have we underestimated a complete chapter of the subcontinent's history? The question arises: could a great lost civilization be on the verge of rewriting our vision of India's origins? This revelation has prompted a reevaluation of ancient timelines. As the exploration continues, the implications of such a discovery could be profound. The potential for reshaping our understanding of early human civilizations is immense. With every artifact uncovered, the story of our past becomes richer and more complex. The coming years will undoubtedly be filled with further exploration and analysis, as researchers strive to uncover the full significance of this underwater find. 'Bible Battle Confirmed': Archaeologists Uncover Shocking Evidence of Ancient War at Megiddo, the Real Site of Armageddon When the Sea Reveals Its Secrets: The Emergence of an Ancient City Years of research, often fraught with frustration, teetering on the edge between legend and reality, finally bore fruit in December 2000. The team from the National Institute of Ocean Technology scrutinized the depths of the Gulf of Khambhat on India's northwestern coast, expecting nothing extraordinary. Yet, over a span of nearly five miles, sonar technology revealed the outline of a vast urban complex, almost the size of a metropolis, lying 120 feet below the surface. Not mere stones this time. Skeletons, tooth fragments, pottery—all surfaced, causing a stir. Each analysis yields surprising results: dating suggests origins around 7000 BC, significantly earlier than the first official traces of civilization in the Indus Valley. It's essential to note that in archaeology, using multiple dating methods often helps mitigate certain biases. While these results appear impressive, caution is advised. 'I Held Her Skull in That Ceremony': Oxford's Shocking Use of Enslaved Woman's Remains Sparks Global Outrage In the Shadows: A Mystery Dividing the Scientific Community An echo from the past presents a genuine conundrum for researchers. Each object found raises new questions. Are the artifacts truly from the site? Could sediments have transported pottery and skeletons from the mainland as sea levels rose at the end of the Ice Age? The debates are intense: some envision the thrilling tale of a lost city, while others advocate for caution, considering the fragile analyses and the complexities of radiocarbon dating for objects exposed to saltwater. It is impossible to separate these ruins from myths, like the legend of Kumari Kandam, thought to have once linked India to Madagascar and Australia. Can we already speak of a great lost civilization? The investigation must continue, with more analyses and cross-referencing of evidence. Two decades of research have not unraveled everything, and the mystery remains thick. As one researcher put it, 'Every great discovery begins with an unsettling detail. Only after long confrontations of ideas, methods, and occasional setbacks does the puzzle gradually reveal itself.' 'Archaeologists Couldn't Believe It': 20,000-Year-Old Stone Tools Found on South African Cliff Rewrite Everything About Early Humans A Site That Challenges Everything—Or Not What unfolds in the Gulf of Khambhat offers archaeology a rare opportunity: to explore, probe, and perhaps reshape our understanding of Indian prehistory. The ripple effect is assured: a sonar detection today, and tomorrow? Perhaps entire chapters to add to our history. Navigating this strange submerged laboratory means accepting surprises. Nothing is predetermined. The quest continues for archaeologists and for all those who hold hope for new revelations: sometimes, at the bottom of the sea, the most discreet anomaly can illuminate an entire chapter of history, or simply remind us that science loves to challenge its own limits. Explorer's Tip: In the face of the unexpected, remain open-minded and remember that sometimes, the most astonishing discoveries are as valuable as the questions they raise. As we delve deeper into this underwater world, we are reminded that history is not a static narrative but a dynamic and ever-evolving story. Each new find in the Gulf of Khambhat adds another layer of intrigue and complexity. What other secrets lie hidden beneath the waves, waiting to reshape our understanding of the ancient world? Our author used artificial intelligence to enhance this article. Did you like it? 4.4/5 (25)
Yahoo
09-06-2025
- Entertainment
- Yahoo
London's V&A Storehouse museum lets visitors get their hands on 5,000 years of creativity
LONDON (AP) — A museum is like an iceberg. Most of it is out of sight. Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London's Victoria and Albert Museum has opened up its storerooms for visitors to view — and in many cases touch — the items within. The 16,000-square-meter (170,000-square-foot) building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn. The V&A is Britain's national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival. 'It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. Get up close to objects In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. The Order an Object service offers 'a behind-the-scenes, very personal, close interaction' with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit. Parsons said there has been 'a phenomenal response' from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and 'someone last week who was using equipment to measure the thread count of an 1850 dress.' She says strangers who have come to view different objects often strike up conversations. 'It's just wonderful,' Parsons said. 'You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn't know.' A new cultural district The V&A's flagship museum in London's affluent South Kensington district, founded in the 1850s, is one of Britain's biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games. As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London's most deprived districts. Designed by Diller, Scofidio and Renfro, the firm behind New York's High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some 10 meters (more than 30 feet) high. Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate. Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center, a home for the late London-born musician's archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September. Museums seek transparency One aim of the Storehouse is to expose the museum's inner workings, through displays delving into all aspects of the conservators' job – from the eternal battle against insects to the numbering system for museum contents — and a viewing gallery to watch staff at work. The increased openness comes as museums in the U.K. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, 'so that we can talk very openly about where things have come from, how they ended up in the V&A's collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects. 'On average, museums have one to five percent of their collections on show,' she said. 'What we're doing here is saying, 'No, this whole collection belongs to all of us. This is a national collection and you should have access to it.' That is our fundamental principle.'
Washington Post
09-06-2025
- Entertainment
- Washington Post
London's V&A Storehouse museum lets visitors get their hands on 5,000 years of creativity
LONDON — A museum is like an iceberg. Most of it is out of sight. Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London's Victoria and Albert Museum has opened up its storerooms for visitors to view — and in many cases touch — the items within. The 16,000-square-meter (170,000-square-foot) building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn. The V&A is Britain's national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival. 'It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. The Order an Object service offers 'a behind-the-scenes, very personal, close interaction' with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit. Parsons said there has been 'a phenomenal response' from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and 'someone last week who was using equipment to measure the thread count of an 1850 dress.' She says strangers who have come to view different objects often strike up conversations. 'It's just wonderful,' Parsons said. 'You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn't know.' The V&A's flagship museum in London's affluent South Kensington district, founded in the 1850s, is one of Britain's biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games. As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London's most deprived districts. Designed by Diller, Scofidio and Renfro, the firm behind New York's High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some 10 meters (more than 30 feet) high. Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate. Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center , a home for the late London-born musician's archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September. One aim of the Storehouse is to expose the museum's inner workings, through displays delving into all aspects of the conservators' job – from the eternal battle against insects to the numbering system for museum contents — and a viewing gallery to watch staff at work. The increased openness comes as museums in the U.K. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, 'so that we can talk very openly about where things have come from, how they ended up in the V&A's collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects. 'On average, museums have one to five percent of their collections on show,' she said. 'What we're doing here is saying, 'No, this whole collection belongs to all of us. This is a national collection and you should have access to it.' That is our fundamental principle.'
