ABSTRACT
Taking the name Heirlooms for Here, After: Beneficiaries of the Archive and ‘Ngabay’, Chapter 5 is divided into two parts and focuses on the archive across four key modes. The first half of the chapter focuses on the collection. The second half focuses on the testimonial account, the map, and the library. Building on the seminal work of Ariella Azoulay and underscored by the question of who is both benefactor of the archive and of displacement, this chapter begins with discussion of the so-called ‘archival turn’ and the relationship between praxes of displacement and museum collections. It then moves on to provide close analysis of three artists engaged with archival strategies as praxis of displacement – the Refugee Art Project, Megan Cope and Vivien Sansour.
