Aboriginal Art Collection: Highlights from Australia's Public Museums and Galleries

Contents: Introduction SUSAN COCHRANE National Gallery of Australia, Canberra WALLY CARUANA National Museum of Australia, Canberra DAVID KAUS Museum and Art Gallery of the Northern Territory, Darwin MARGIE WEST Art Gallery of New South Wales, Sydney HETTI PERKINS AND KEN WATSON Museum of Contemporary Art, Sydney BERNICE MURPHY Queensland Art Gallery, Brisbane MARCO NEALE Queensland Museum, Brisbane RICHARD ROBINS National Gallery of Victoria, Melbourne JUDITH RYAN Museum Victoria, Melbourne GAYE SCULTHORPE Tasmanian Museum and Art Gallery, Hobart KIM AKERMAN AND DAVID HANSEN Art Gallery of Western Australia, Perth MICHAEL O'FERRALL AND BRENDA L. CROFT Western Australian Museum, Perth ROSS CHADWICK AND MANCE LOFGREN Art Gallery of South Australia, Adelaide JANE HYLTON South Australian Museum, Adelaide PHILIP A. CLARKE List of Plates Bibliography Editor's Acknowledgments Contributors Index

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.

The Islamic/Qur'anic concept of emancipation of women according to 'Bint al-Shati', 1913-1998

A presentation and an analysis of the Islamic concept of emancipation of women as it is proposed by Bint al-Shati (1913-1998), an Egyptian specialist of Qur'anic exegesis, will illustrate her exegetical method. thereafter, some difficulties of her interpretation will be raised, shedding light on contradictions that her exegesis, which seeks to be both Islamic and modern, cannot avoid.

Something moves: a philosophical and ethical praise to the combat practicing as art and education

In this work we tried to produce a philosophic-ethic praise to the Martial Arts` combat practice, based in our years of Martial Arts training accompanied with studies of oriental and occidental Philosophy. Tracing a critical history of the changes happened to the Martial Arts we brought the concept of combat as a martial practice of life empowerment. Opposing this, we presented the notion of fight as a result of the capture that the war arts suffered because of the despotic empires. Besides, we demonstrated that the combat practice is simultaneously an artistic and educational activity, because it aims at the production of an immanence field witch is loyal to the event.