{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":18,"n_cols":5,"rows_kept":18,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[4,2,4,3],[6,2,6,3],[7,2,7,3],[8,2,8,3],[9,2,9,3],[10,2,10,3],[11,2,11,3],[12,2,12,3],[14,2,14,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910645954203321"]
[null,null,"Titolo",null,"Bildwelten des Wissens : Kunsthistorisches Jahrbuch für Bildkritik . Band 18 MUSEALE RESTE / / hrsg. von Nina Samuel, Felix Sattler"]
[null,null,"Pubbl/distr/stampa",null,"Berlin ; ; Boston : , : De Gruyter, , [2022]"]
[{"$nulls":4},"©2023"]
[null,null,"ISBN",null,"9783110733372"]
[{"$nulls":4},"3110733374"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (118 p.)"]
[null,null,"Collana",null,"Bildwelten des Wissens ; ; Band 18"]
[null,null,"Disciplina",null,"069/.5"]
[null,null,"Soggetti",null,"ART / Conservation & Preservation"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Frontmatter -- Pictures -- Inhalt -- Editorial -- Sighting the Dust: Attending to the Museum through its Residues -- Remain Human: Zum Umgang mit menschlichen Überresten im Lautarchiv -- Fringe Objects: Cultivating Residues at the Museum -- Wiedergelesen -- Mary Douglas: Purity and Danger. An Analysis of the Concepts of Pollution and Taboo -- Spencer’s Ghost: The Decolonial Afterlife of a Postcolonial Museum Prop -- Projektvorstellung -- Ruin in Reverse. A Design Inquiry Guided by the Materiality of the Rubble -- Projektvorstellung -- Toxische Überreste des Sammelns -- Resteverwertung: zeitgenössische Kunst und das, was übrig bleibt -- Bilder als Typen. Digitalfotografie der Fliege Marleyimyia xylocopae (2014) -- Residues of Cultural Significance: The Bakor Monoliths -- Rezension -- Fernando Domínguez Rubio: Still Life. Ecologies of the Modern Imagination at the Art Museum, Chicago/London 2020 -- Projektvorstellung -- Reflexion über das Randständige -- Bildnachweis -- Autorinnen und Autoren"]
[null,null,null,"Sommario/riassunto","Remnants are a challenge for the museum as an institution. They are ambiguous figures, and their attributions open up and thus contribute to transcending the taxonomic, disciplinary, architectural, and institutional boundaries of museums. They can be found everywhere—in exhibition spaces as well as storage depots, and in laboratories just as in the administration. In each of these contexts, there are respectively different forms of professional self-conception, knowledge, and practical handling that determine the status of remnants. The volume contributes to specifying terms such as remnant, "]
[{"$nulls":4},"trash, traces, and boundaries more precisely within the context of the museum and to reassessing them for debates in conservation, curating, art history, and museum anthropology."]
[{"$nulls":4},"Reste fordern die Institution des Museums heraus. Es sind Kippfiguren, die Zuschreibungen öffnen und damit an Überschreitungen der taxonomischen, disziplinären, architektonischen und institutionellen Grenzen des Museums mitarbeiten. Sie sind überall anzutreffen – im Ausstellungsraum genauso wie im Depot, im Labor genauso wie in der Verwaltung. In jedem dieser Kontexte stehen jeweils andere Formen des professionellen Selbstverständnisses, des Wissens und des praktischen Umgangs zur Verfügung, die den Status von Resten determinieren. Der Band trägt dazu bei, Begriffe wie Rest, Abfall, Spuren, Ränder im Kontext des Museums zu präzisieren und für Debatten in Konservierung, Kuration, Kunstgeschichte und Museumsanthropologie neu zu bewerten."]