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<object xmlns:xs="//www.w3.org/2001/XMLSchema"><NoAIdisclaimer>[PLATZHALTERTEXT]Vervielfältigungen eines Werkes dieser Webseite für Text- und Data-Mining und damit insbesondere für das Training einer Künstlichen Intelligenz bleibt ausdrücklich vorbehalten (§ 42h Abs 6 UrhG).</NoAIdisclaimer><field label="PrimaryMedia" name="primaryMedia"><value>https://sammlungtest.belvedere.at/internal/media/dispatcher/167347/full</value></field><field label="Title" name="title"><value>Dawn Chorus</value></field><field label="Date" name="displayDate"><value>2024</value></field><field label="Dimensions" name="dimensions"><value>Blattmaße (6 mal je): 29,7 × 21 cm</value></field><field label="Medium" name="medium"><value>6 Arbeiten auf Papier (Bleistift, Farbstift, Tinte, Aquarell)</value></field><field label="Credit Line" name="creditline"><value>Ankauf von der Künstlerin</value></field><field label="Inventory number" name="invno"><value>12193</value></field><field label="On View" name="onview"><value>1</value></field><field label="Description" name="description"><value>
In her films, sculptures, performances, and installations, Jasmina Cibic explores the entanglements of art, architecture, and political ideologies. Created for the sculpture garden of Belvedere 21, Dawn Chorus draws on the history of the Non-Aligned Movement, founded in 1961 in former Yugoslavia. The work brings together sound recordings of birds from the movement’s member states—which are also the countries of origin for most of the unaccompanied minor refugees in Austria—interweaving a historical geopolitical order with contemporary global migration and refugee movements. The sound installation is accompanied by images of birds named after European researchers, colonial officials, and missionaries. Within imperial power structures, such illustrations facilitated a global exchange of knowledge linked to the expropriation of territories and resources. These depictions of animals thus reveal colonial narratives and classification systems that continue to shape the present, raising questions about who defines cultural capital and who benefits from it.</value></field><field label="Genre" name="classification"><value>Drawing art</value></field><field label="Id" name="id"><value>12375506</value></field><field label="Source ID" name="sourceId"><value>104266</value></field><field label="Location" name="locationssite"><value>Belvedere 21</value></field><field name="media" mediaRecordID="167347" label="Media"><type>image/jpeg</type><license identifier="BV-C"/><mediaCopyright>Foto: Johannes Stoll / Belvedere, Wien</mediaCopyright><value>https://sammlungtest.belvedere.at/internal/media/dispatcher/167347/full</value></field><field label="Motive" name="thesconceptsMotive"><value iconClassURL="https://iconclass.org/25F3">birds</value></field><field name="iiifManifest"><value>https://sammlungtest.belvedere.at/apis/iiif/presentation/v2/1-objects-104266/manifest</value></field></object>