For all its bluntness, Exterminate All the Brutes never once utters the words “rape” or “capitalism.”
Attempting to interrogate its own lens, the documentary Stop Filming Us mixes sharp insights with disappointing shortcomings.
A hacked 3D scan of the famous sculpture shows how traditional models of heritage ownership might change in museums.
What does it mean to reform a game based on a violent history of land theft and appropriation?
Fernández employs motifs of darkness and obscurity to hint at the something beyond what we see.
“Empire and Collecting,” a new self-guided tour, reflects an attempt to help visitors understand the colonial origins of the collection.
From khakis to pith hats, certain items of clothing have become enduring emblems of European colonialism and particular scholars who know these problematic histories choose to engage in the aesthetics of colonialism in their everyday lives.
In Potential History, the violence of photography saturates the very idea of European “progress,” resonating from Palestine to the Congo to Black America.
Director Mads Brügger talks to Hyperallergic about his new documentary Cold Case Hammarskjöld.
In Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox, ten artists explore the implications of colonialism’s violent legacy.
The RISD Museum has held this Benin bronze head in its collection for 80 years. “No one would have given it up unless under duress,” the curators say. But tracing its provenance and repatriating it is no simple matter.
Tomás Gutiérrez Alea’s The Last Supper plays as part of Film Forum’s ongoing series The Hour of Liberation: Decolonizing Cinema, 1966-1981, which presents both classic and overlooked anti-imperialist films.