The valuation and display of African art in museum contexts entails contrasting strategies of objectification. In this process, objects may be used as material evidence for larger cultural trends and new movements. This essay examines the role of curatorial networks in creating discourses about African art objects that reframe their cultural significance and economic value. These curatorial networks are treated as a habitus for the art and a discursive framework for its valuation. This analysis builds upon a taxonomic nodal model, which may be used to identify the reconfiguration of museum discourses, curatorial knowledge, and markets for artistic circulation. Two case studies, examining the paintings of Congolese artist Tshibumba Kanda Matulu (1947–circa 1981) from the 1970s and the collection of legendary Malian photographer Seydou Keïta (1921–2001) from the 1960s and the 1970s, demonstrate how curatorial networks reframe the circulation and evidential status of African art over time. The article concludes with an assessment of repatriation claims with relationship to a framework for analyzing the evidential claims of museums.

中文翻译：

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策展网络和博物馆文化：非洲艺术博物馆的对象和证据

在博物馆背景下对非洲艺术的估价和展示需要采取客观化的对比策略。在此过程中，物品可以用作更大的文化趋势和新运动的物质证据。本文探讨了策展网络在创造有关非洲艺术品的话语中的作用，这些话语重新塑造了它们的文化意义和经济价值。这些策展网络被视为艺术的习俗和评估的话语框架。该分析建立在分类学节点模型的基础上，该模型可用于识别博物馆话语，策展知识和艺术流通市场的重新配置。两个案例研究 考察了1970年代的刚果艺术家Tshibumba Kanda Matulu（1947年至1981年）的画作以及1960年代和1970年代马里传奇摄影师SeydouKeïta（1921年至2001年）的收藏，这些作品展示了策展网络如何重塑了艺术品的流通和证据地位随着时间的流逝，非洲艺术。文章最后以与分析博物馆证据要求的框架相关的方式评估了遣返要求。