Materiel kultur

Published to coincide with the 100th anniversary of the moment that Howard Carter and Lord Carnarvon broke open Tutankhamuns tomb, a riveting account of the treasures they found, by one of Britains leading Egyptologists.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. These days the bicycle often appears as an interloper in a world constructed for cars. An almost miraculous 19th-century contraption, the bicycle promises to transform our lives and the world we live in, yet its time seems always yet-to-come or long-gone-by. Jonathan Maskit takes us on an interdisciplinary ride to see what makes the bicycle a magical machine that could yet make the world a safer, greener, and more just place.Object Lessons is published in partnership with an essay series in The Atlantic.

From cubed wombat poop to mantis shrimp eyesight, impress your friends with More True Facts That Sound Like Bull$#*t!

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.The haunted doll has long been a trope in horror movies, but like many fears, there is some truth at its heart. Dolls are possessed-by our aspirations. They're commonly used as a tool to teach mothering to young girls, but more often they are avatars of the idealized feminine self. (The word "doll" even acts as shorthand for a desirable woman.) They instruct girls what to strive for in society, reinforcing dominant patriarchal, heteronormative, white views around class, bodies, history, and celebrity, in insidious ways. Girls' dolls occupy the opposite space of boys' action figures, which represent masculinity, authority, warfare, and conflict. By analyzing dolls from 17th century Japanese Hinamatsuri festivals, to the '80s American Girl Dolls, and even to today's bitmoji, "Doll" reveals how the objects society encourages us to play with as girls shape the women we become.Object Lessons is published in partnership with an essay series in The Atlantic.

'The kind of history deserving of a cinematic blockbuster' Julia Lovell, Literary Review'[A] gripping and meticulously researched account of an epic effort to transport delicate scrolls, paintings and carvings thousands of miles under the threat of bombing and invasion' Rana Mitter, Times Literary Supplement'Brilliant and thrilling... A tale of daring and adventure... A desperate race against time' Paul French, South China Morning Post_____The gripping true story of the intrepid curators who saved China's finest art from the ravages of the Sino-Japanese War and World War II.Spring 1933. The silent courtyards and palaces of Peking's Forbidden City are tense with fear and expectation. Japan's aircraft drone overhead; its troops and tanks are only hours away. All-out war between China and Japan is coming, and the curators of the Forbidden City are faced with an impossible question: how will they protect the vast imperial art collections in their charge?The magnificent collections contain a million pieces of art - objects that carry China's deepest and most ancient memories. Among them are irreplaceable artefacts: exquisite paintings on silk, vanishingly rare Ming porcelain and the extraordinary Stone Drums of Qin, which are adorned with 2,500-year-old inscriptions of crucial cultural significance.For sixteen terrifying years, under the quiet leadership of museum director Ma Heng, the curators would go on to transport the imperial art collections thousands of miles across China - up rivers of white water, across mountain ranges and through burning cities. In their search for safety the curators and their fragile, invaluable cargo journeyed through the maelstrom of violence, chaos and starvation that was China's Second World War.Told for the first time in English and playing out across a vast historical canvas, this is the exhilarating story of a small group of men and women who, when faced with war's onslaught on civilisation, chose to resist.'Fascinating... Brookes marries a reporter's grasp of detail with a novelist's narrative flair to bring clarity and readability to a complicated period of China's troubled history' Mail on Sunday

Das Handbuch beleuchtet erstmals umfassend Geschichte, Theorie und Praxis ethnografischer Sammlungen und ethnologischer Museen im deutschsprachigen Raum und reflektiert diese vor dem Hintergrund aktueller internationaler Entwicklungen und Debatten.Die Autor_innen kommen sowohl aus dem musealen und kuratorischen Bereich wie aus dem universitären Feld - so verbinden sich im Buch Theorie und Praxis. Deutschsprachige Positionen werden durch internationale ergänzt, um Potenziale und Desiderate im globalen Vergleich aufzuzeigen. Ausführliche Überblicksartikel wechseln sich mit kurzen Objektportraits ab, die einen Einblick in die Materialitätund Diversität der Sammlungen bieten.

80% af alting er lort – Hvordan det forkælede menneske forgifter verden er et samfundskritisk opråb. Bogen er skrevet af Kalle Mathiesen.Det moderne menneske har forelsket sig i den uundværlige unødvendighed. Når forkælelse er grundtonen, der har brummet igennem hele ens liv, og empati føles ligesom at gå til tandlægen (et nødvendigt onde). Ja, så får vi en verden, hvor 80% af alting er lort. I kapitalismen er kreativitet en regnefejl, der heldigvis kan blive fikset i den store “less is more”-lommeregner.Når den røde tråd igennem et ungt menneskes dagligdag er øjeblikkelig tilfredsstillelse og overfladesvømning. Så får vi en verden med unge utålmodige lemminger, der følger deres wi-fi-signal ud i afgrunden. Afhængigheden af bekvemmelighed er lige så kraftig som det vildeste kokainmisbrug, og den er langsomt sivet ned igennem generationer. Ja, så testiklerne falder ikke langt fra stammen.Kalle Mathiesen leverer med denne bog et kultur- og samfundskritisk opråb til alle mennesker, der har valgt at sætte børn på denne klode. Kalle bruger musikken (hans hjemmebane) som hovedperson i en fortælling om dovenskab, entropi, kapitalisme, tyngdekraft, sorg, miljøkatastrofer, COVID-19 og andre småting. Denne store Kallekismus er patientjournalen, der hænger ved Homo Sapiens’ sygeseng, hvor Kalle er hospiceklovnen, der synger: “Du skal lære at dø for at kunne være i live.”HALLO. Er du opmærksom? Læser du overhovedet denne tekst, eller skimter du den bare i multitaskingens hellige navn? Hvordan skal denne tekst overhovedet kunne konkurrere med din mobiltelefons magnetisme? 500 likes på Facebook er jo bare den fedeste følelse. Fordi flokmentaliteten uden sammenligning er den største afretter, når det kommer til at holde folket på normalitetens lige og forudsigelige vej. Og hvis du fra naturens hånd er unormal, kan vi overhovedet ikke bruge dig til noget som helst. Når man kombinerer kapitalismens afhængighed af vækst med flokmentalitetens had mod det uforudsigelige, unormale og nytænkning, så får vi denne verden, vi lever i, hvor gamle lorteideer bare vokser og vokser.80% af alting er lort, men det må allerede stå klart for enhver at denne bog er en del af de sidste 20% grænsesøgende, proteinholdige og usædvanlige bøger.Kalle Mathiesen aka “Hakkedrengen” er en modsætningernes mand: en people-pleaser, der spiller musik, ingen gider at høre på. En musikkonservatorieuddannet gademusiker. En introvert sønderjyde på world tour. Men alle ved, at modsætninger mødes, og sød musik opstår, og den kan du høre i det soundtrack, der følger med denne bog.

In 1918 Wilhelm and Henny Hansen opened their home, Ordrupgaard in Charlottenlund, to visitors with an interest in art. Today the museum houses one of Northern Europe’s most important collections of Danish and French art of the nineteenth and the beginning of the twentieth century.The director of the museum, Anne-Birgitte Fonsmark, brings us close to Wilhelm Hansen and the Danish artists and works he collected in the years 1892 –1916. The Danish Golden Age is richly represented by C.W. Eckersberg, Christen Købke, Johan Thomas Lundbye, Wilhelm Marstrand and P.C. Skovgaard, but there are also artists from Wilhelm Hansen’s own time, including Vilhelm Hammershøi, Theodor Philipsen, L.A. Ring and Funen Painters such as Johannes Larsen, Fri Syberg and his childhood friend Peter Hansen. The book also features contemporary private photographs from Wilhelm Hansen’s homes.