ABSTRACT
In Museums in the Colonial Horizon of Modernity, the protagonist of decoloniality Walter Mignolo has made a case for a clear-cut distinction between postcoloniality and decoloniality, and claimed Fred Wilsons Mining the Museum for decoloniality. The British-Nigerian artist Yinka Shonibares installation Garden of Love at the quai Branly Museum in Paris in 2007 was not an artistic intervention in a collection like Wilsons. Shonibare was prompted to use the French picturesque garden to launch an institutional critique from the museum garden, which is made up of plants not indigenous to Europe. Western postmodernism is a critique of European colonialism that emerged in Western Europe and the USA, and which brought French post-structuralism into dialogue with orientalism and subaltern studies in India. Decolonial transmodern aesthetics is intercultural, inter-epistemic, inter-political, inter-aesthetical and inter-spiritual but always from perspectives of the global south and the former-Eastern Europe.
