The colonial spoliation carried out by European museums on the African continent is part of a history that has been going on for more than five centuries, a story of material appropriation, but also a proposal for a historical and aesthetic reading of the stolen objects. A story of material appropriation but also a proposal for a historical and aesthetic reading of the stolen objects. From what frameworks of thought have the museums read these objects? How to free them from these frames? What role do the image and the cinematographic medium, with a long tradition of denunciation, have in their restitution? How to narrate the history of decolonial resistance from the absence of the objects that the European museums refuse to return? The pieces screened in this session show us possible narratives constructed through objects mobilised to give an account of a fragmented experience that struggles to set limits to the imperial right to “see everything”.

Et les chiens se taisaient
Sarah Maldoror. France, 1978, 13′, VOSE

Les Porteurs
Sarah Vanagt. Belgium, 2022, 31′, VOSC

*With accompaniment to be confirmed