ABSTRACT
This article articulates a post-human feminist museology within cultural heritage museums. It focuses on the entwined intra-actions of museum artifacts, traditional exhibition forms and technologies, and considers how sex/gender is enmeshed in entanglements of meaning and matter. Its aim is twofold: to introduce insights from scholars working within feminist studies of technoscience into museological theorisations, and to put such articulations to work through a case study of an exhibition at The National Museum of Iceland. Through Barad’s theorisations of agential realism and Haraway’s articulations of the cyborg, the article contributes to a diffractive mapping of intra-active cyborgian entanglements that make different possibilities possible and elucidates how materialities, discourses, technologies and nature come into being through ways that are always open-ended and uncertain.
Disclosure statement
No potential conflict of interest was reported by the author.
Notes on contributor
Arndís Bergsdóttir is a Ph.D. student at the University of Iceland. Her project is a contribution to a feminist museology and focuses on articulating an onto-epistemological approach to historical and heritage exhibitions with specific emphasis on women’s roles in museum narratives. Arndís is also a part-time lecturer in Museum Studies at the University of Iceland and an open position GEXcel scholar at Tema Genus at the University of Linköping.
ORCID
Arndís Bergsdóttir http://orcid.org/0000-0003-1616-4432
Notes
1 In 1938, the director of the National Museum of Iceland proclaimed the body’s sex as ‘female’ based on the grave goods (Lesbókin, Citation1938).