Farago’s book sheds light on how historical discourses on “art,” „human exceptionalism,“ “race,” und „climate“ are interconnected and how the related structures of domination have been shaping the discipline of art history structurally.

Claire Farago will introduce the overall project, read from Fugue 3 “Hauntologies of Art: “Race,” Climate, and Genius,” and discuss her work with us.

To register, receive reading materials and the zoom link please visit: /aah/cu-event/book-pre-launch-claire-farago-writing-borderless-histories/

“Memory and Mobility: The Aesthetics of Diasporic Witnessing in Teju Cole’s Open CityĚý˛ą˛Ô»ĺ Everyday is for the Thief“ Chichi Ayalogu, Cultural Mediations PhD student

“The Colonial History of African Literature” Dr. Sarah Brouillette, Department of English Language and Literature

Cultural Transfers is an ongoing workshop series organized as a collaboration between the CTCA and ICSLAC where upper year Cultural Mediations PhD students share their research in dialogue with faculty research.The series has been on a hiatus since 2019 and we are delighted to announce its return in 2024-2025.

During his talk, Wayne Modest draws on three distinct museological episodes in Jamaican history – the request for the loan (and later the return) of Taino objects to Jamaica from a British museum in the 1970s, the acquisition of a large collection of African Art objects by the National museum of Jamaica in the late 1960s,  and the responses by some Jamaicans to the (Great) Jamaica exhibition of 1891 –   to argue that thinking with and from the Caribbean may help museums address what he will describe as the wounds of history. Modest takes wounding here to mean both the physical and emotional injury caused by a traumatic event and the temporal fissure, the gap or break caused by this injury.  Addressing the wounds of colonial history, he proposes, would require that museums reorient their approach to temporality, a reorientation that Modest calls limbo time, or the temporality of repair and return. Such a reorientation, he suggests, would require, first, that museums see colonial injury not as in the past but as part of the folding of time in which past injuries live on in the present; and second, that museums see the potentiality of objects to afford imaginative return, to recover the erasures, to bridge or suture the gaps and fissures that the violence of colonialism created.

Modest will locate his argument within a longer history of scholarly engagement, both from and about the Caribbean, with questions of time. He engages with scholarship on Caribbean temporalities in the wake of colonial violence, specifically Deborah Thomas’s work on prior-ness and simultaneity, then on Caribbeanist work concerned directly with the notion of limbo, specifically that of Kamau Brathwaite and Wilson Harris. This reorientation is, however, not limited to the Caribbean but can help us deal with catastrophic pasts that live on continue to shape our present.

This event includes a 50-minute keynote lecture followed by a 20-minute Q&A session, moderated by Ming Tiampo of the Centre for Transnational Cultural Analysis at ĐÓ°ÉÔ­´´ University.

In English with simultaneous French interpretation
Free. Drop-in activity. No registration needed.

American Sign Language (ASL) interpretation is available for NGC events and programs when requested a minimum of 10 business days in advance of the event. Email info@gallery.ca with the event name, date and time.

ĐÓ°ÉÔ­´´ the Speaker

Photo courtesy of the Wereldmuseum, Netherlands.

Wayne Modest is the director of content at the National Museum of World Culture (a museum group comprising the Tropenmuseum, Museum Volkenkunde, and Africa Museum) and the Wereldmuseum Rotterdam in the Netherlands. He is also a professor (by special appointment) of material culture and critical heritage studies at the Vrije Universiteit, Amsterdam. A cultural studies scholar by training, Modest works at the intersection of material culture, memory, and heritage studies, with a strong focus on colonialism and its afterlives in Europe and the Caribbean. He is currently working on several publication projects, including, with Peter Pels, Museum Temporalities (forthcoming). Previous publications include the co-edited volumes, Victorian Jamaica (with Tim Barringer),  Matters of Belonging: Ethnographic Museums in a Changing Europe (with Nicholas Thomas, et al), and Spaces of Care – Confronting Colonial Afterlives in European Ethnographic Museums (with Claudia Augustat). Among other research projects, Modest is programme leader for the Dutch Research Council funded project: Pressing Matter: Ownership Value and the Question of Colonial Heritage in Museums.

The Centre for Transnational Cultural Analysis and the Department of Art and Architectural History gratefully acknowledges the following for their generous support and partnership: Migration and Diaspora Studies, Department of Sociology and Anthropology, Institute of African Studies, Institute for Comparative Studies in Literature, Art, and Culture, and the National Gallery of Canada.

Joerg Esleben is Associate Professor and Chair of the Department of Modern Languages and Literatures at the University of Ottawa. He teaches in the German program as well as in the MA program in World Literatures and Cultures, and he is cross-appointed with the Department of Theatre. His research interests include the works of Georg Forster, travel writing, the Faust theme, cultural relations between Germany and India, intercultural theatre, and representations of social justice. He has co-edited the book Mapping Channels between Ganges and Rhein (2008), published articles in journals such as Seminar and Monatshefte, and has contributed numerous book chapters. Most recently, his book Fritz Bennewitz in India: Intercultural Theatre with Brecht and Shakespeare was published by the University of Toronto Press in November 2016.

This session is part of The Friday Table, a series of weekly Friday afternoon events organized by the Graduate Steering Committee for the Centre for Transnational Cultural Analysis (CTCA) and the Institute for Comparative Studies in Literature, Art and Culture (ICSLAC) at ĐÓ°ÉÔ­´´ University. We aim to bolster the Centre’s mandate to bring together scholars and students working with transnational approaches to studies in the humanities through regular, informal workshops, roundtables, film screenings, and discussion groups. The Friday Table seeks to foster collegiality and promote student-led research. Events are free and open to all.

Computers will be available to use during the workshop, however participants are free to bring their own laptops. Participants will also be required to sign up for a free Mendeley account if they wish to participate in the guided tutorial portion of the workshop. For more information, please visit .

This workshop is part of The Friday Table, a series of weekly Friday afternoon events organized by the Graduate Steering Committee for the Centre for Transnational Cultural Analysis (CTCA) and the Institute for Comparative Studies in Literature, Art and Culture (ICSLAC) at ĐÓ°ÉÔ­´´ University. We aim to bolster the Centre’s mandate to bring together scholars and students working with transnational approaches to studies in the humanities through regular, informal workshops, roundtables, film screenings, and discussion groups. The Friday Table seeks to foster collegiality and promote student-led research-creation. Events are free and open to all.