Abstract This article applies Mikhael Bakthin’s concept of ‘chronotope’, understood as the ways in which writers narrate time and space and thus create worlds which enable subjectivities to emerge, to Tony Bennett’s ‘exhibitionary complex’. More precisely, I self-critically discuss two projects questioning the ocularcentric and objectifying chronotopes of museums: a film project on a colonial collection from the Niger Delta, today’s Nigeria, at the National Maritime Museum in London and the curatorial project ‘The Blind Spot’ at the Kunsthalle Bremen in Germany. Both projects depended on the collaboration with anti-racist and diasporic partners who introduced performative ways of narrating colonial pasts, contradicting victimising accounts of colonisation and challenging white visitors to engage with embodied experiences of Empire. Moreover, my collaboration partners insisted on defining themselves and their histories beyond experiences of Empire and on envisioning decolonial futures. Can these chronotopes be brought into dialogue with the museums’ attempts to come to terms with their colonial pasts?

中文翻译：

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除了展示帝国的经验？

摘要 本文将 Mikhael Bakthin 的“chronotope”概念应用到 Tony Bennett 的“展览情结”中，该概念被理解为作家叙述时间和空间的方式，从而创造使主体性得以出现的世界。更准确地说，我自我批判性地讨论了两个质疑博物馆以眼睛为中心和客观化的计时表的项目：一个关于尼日尔三角洲（今天的尼日利亚）在伦敦国家海事博物馆的殖民收藏的电影项目和策展项目“盲点”在德国不来梅艺术馆。这两个项目都依赖于与反种族主义和散居海外的合作伙伴的合作，他们引入了叙述殖民历史的表演方式，与殖民化的受害者叙述相矛盾，并挑战白人游客参与帝国的具体体验。而且，我的合作伙伴坚持定义自己和他们的历史，超越帝国的经验，并设想非殖民化的未来。能否将这些计时表与博物馆试图与其殖民历史妥协的尝试进行对话？