ABSTRACT
From April to August 2015, the model of yhyakh was loaned by the British Museum to the National Museum of Arts of the Republic of Sakha (Yakutia) where it formed the centrepiece of an exhibition entitled Puteshestvie Dlinoiu v Vek/Century Long Journey, curated by museum director, art historian Asia Gabysheva, and her team, and which focussed on ivory carving as a Sakha arts practice. In Part 2.3 we situate the model within this exhibition to begin examining how Sakha audiences responded to it, relating this discussion to the notion of temporality. This paves the way for a discussion of the politics of access to collections as they are experienced by Sakha.
