About
About The Project
'TIbet In Norwich' is a collaboration with the Royal Norfolk Regimental Museum at Norwich Castle Museum featuring 3D scans of Tibetan objects in their collection. It aims to increase the digital accessibility of the collection to audiences outside of Norwich, reconnecting cultural bridges between communities, objects, and the viewer through alternative display and education. The project exists as a neutral space for different narratives to co-exist, bridging different communities that hadn't previously interacted. In this case, it has been the initiation of a connection between a local Norwich museum and the Tibet Museum in Dharamshala, India.
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The project is a response to a prominent argument against repatriation where the loss of objects and culture is synonymous, however, the work shows objects can exist in a multi-faceted way that is accessible to a multitude of different audiences. By initiating conversations and connections between the institution, communities, and different audiences, and prioritising alternatives to the dominant White narrative, the project aims to further the decolonisation of the museum and the gallery space.
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Project Goals
01
Communtiy
Prioritising a community-based approach is fundamental in not conforming to the traditional institutional power imbalances that many under-represented communities face. By seeking out alternative narratives directly from communities, it aims to highlight previously hidden perspectives within the museum's representation.
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Transparency
In order to foster a genuine connection with the community involved I established clear and transparent channels of communication through email to make sure those being represented were consistently involved in the portrayal of their narrative. It was important that the narrative conveyed here aligned with how the community wished to be presented.
02
Authenticity
To prioritise authenticity in this project it was important to seek out first-hand Tibetan sources to avoid misinformation, cultural appropriation, and the White narrative control that the project aims to challenge. My role in this project was no more than an initiator of conversation between communities and organisations, by doing this I was able to foster authentic connections and community narratives.
04
Accessibility
This project exists both physically and digitally to allow for maximum accessibility. As the physical objects reside in Norwich Castle Museum's collection, it felt important to make a digital alternative available where particularly Tibetans, the community these objects belong to, have accessibility to their own cultural heritage.
About Me
Katie Chennells is a conceptual artist and cultural curator who aims to bridge the accessibility gap between institutions and cultural communities by collaborating with archives and collections. Through institutional critique of colonial legacy, their work endeavours to subvert dominant White narratives by prioritising community-based approaches to regaining cultural narrative control.
Aspirations of becoming a ‘community curator’ are leading me to work in the museum sector to encourage institutions to initiate socially engaged practices by actively challenging the traditional narratives they represent. Over the past three years, my practice has become both community and research based, something I am continuing via a postgraduate degree in museum curation that prioritises community accessibility through an awareness of intersectionality. I intend to expand my partnerships with collections as a curational facilitator who increases the representation and inclusivity of ethnic groups in curational display, improves cultural access and narrative diversity, and incites greater institutional change.
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To learn more about me and my work visit my website.