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Page 175 of the Curiosity CLXXV catalogue

"The page presents a curated collection of images: a map from the Avian Demography Unit illustrating the distribution of the bataleur Terathopius ecaudatus along the political border, though the bateleur is more frequently found where there is no formal farming; a Ngwato child’s oxhide sandals collected by Isaac Schapera (a British social anthropologist who worked in South Africa and Botswana); a compass; the identification documents of Paula Ensor (previous dean and Professor of Education), who spent time in exile in Botswana; and a Certificate of Registration necessary for movement across borders, all of which are overlaid on top of a large map from the Afrikaans Atlas provided by Rajend Mesthrie of the Department of Linguistics and Southern African Languages that shows the Afrikaans language’s distribution. Contextualising all of these objects in relation to the large map cuts across disciplinary boundaries and illustrates the scope and impact of the colonial and apartheid regimes and their influence on immigration laws, language studies, ornithology and anthropology" (Liebenberg 2021: 193).
Pages 38-39 of the Curiosity CLXXV catalogue

"Objects and collections can reflect naturalisations that occur when the disciplinary perspective renders its subject matter in terms of what it deems worth looking at and how it should be looked at (Daston & Galison 2007: 23). This process has dual consequences, resulting in the honing of a specialised insider focus directed at the object and a blindness to qualities that sit outside the disciplinary frame of reference (as discussed in relation to the Drennan and Kirby collections). 'Curiosity CLXXV' drew on and challenged both these aspects by forcing objects into visual conversations outside their discipline and inviting insiders to view them in these new configurations. These curatorial strategies enabled insiders to become aware of characteristics not normally deemed important in their discipline and to identify the characteristics their discipline did deem important (their attentional subculture, in other words) in objects not studied in their field" (Liebenberg 2021: 180).
Face value

"In 1993, the [Lydenberg] heads were temporarily moved from the SAM stairs into the SANG as part of Payne’s exhibition. In the gallery context, where ‘the shifting definitions of art, the meaning of objects, the contexts of spaces as well as the politics of culture are continuously examined’ (Martin in Payne 1993: 4), these objects became part of an exhibition of Payne’s own terracotta heads, painted and sculpted cases, etchings inspired by the heads, drawings and a collection of supermarket trolleys" (Liebenberg 2021: 159 - 160).
Etching from 'Sound from the Thinking Strings'

"Skotnes’s own visual interpretation of the history and cosmology of the |xam formed the last component of this interdisciplinary endeavour and constituted a visual component that drew together the various strands of disciplinary interpretations and presented a perspective on the |xam life she felt ‘was missing from the other interpretations’ (Skotnes 1991: 30). In these images she drew freely on San mythology, accounts of |xam life recorded by Lucy Lloyd, historical and archaeological research and images from rock paintings in a landscape setting. She writes in her preface that these etchings were direct attempts at ‘inverting the museum dioramas’ in the ethnographic halls close to the exhibition and which, through their display of the San’s body casts, rendered them closer to specimens of biology than as members of a highly developed culture (Skotnes 1991: 52). By creating images that combined shamanistic rituals, entoptic spirals, plants, hunting bags, bows and arrows, snakes, eland-shaped rainclouds, colonists, musical instruments, shelters and therianthropic shapes, Skotnes eclipsed the static narratives of the dioramas and the object labels in the exhibition, placing them in a context in which their metaphysical qualities were celebrated more than their physical qualities. These prints stood in striking contrast to the other exhibits, which framed the San as physical types, and they challenged viewers to confront the reality that the San had a rich history and cultural and social life" (Liebenberg 2021: 157).
Sound from the Thinking Strings (installation detail)

"Skotnes had a longstanding relationship with the museum, which started when she was still a student at the Michaelis School of Fine Art. Davison remembers that Skotnes would visit the taxidermy section of the South African museum to draw bones. As an anthropologist, Davison admits to finding Skotnes’s way of looking at things stimulating – an individual way of looking at objects that made her look at them differently, even though she was already very familiar with these materials. Davison recalls a visit to the ethnographic stores during which she showed Skotnes the San skin bags, carefully conserved in their drawers and laid out on acid-free paper. Skotnes admired not only their aesthetic qualities but related the stories she had been studying in the Bleek and Lloyd archive to them – stories that shifted their status from anthropological museum objects to powerful animate objects in San spiritual and social life (P. Davison, personal communication, 28 January 2021). Skotnes remembers that she asked staff whether they knew what was inside the bags and was shocked when nobody could remember looking in them. She was allowed to look inside one and found a claw, which they thought must be a leopard’s (P. Skotnes, personal communication, 9 May 2021)" (Liebenberg 2021: 2015).
Miscast (installation detail)

Instruments from the Kirby collection displayed as part of the 'Miscast' exhibition.
Miscast (Lane reflects)

"Where viewers had to walk over a floor of vinyl tiles printed with photocopied newspaper articles and photographs of the San, Lane reflected on another archaeological parallel: ‘just as the texts and images on the floor represent the debris of a particular history, so too do the artefacts strewn across the surface of a site’ (Lane 1996: 7). Yet in trying to define sites and their history, archaeologists feel ‘they can tread on the debris of their own or others’ ancestors with equanimity, colonizing that space for themselves’ (Lane 1996: 7)" (Liebenberg 2021: 172 - 174).
Miscast (installation detail)

"In juxtaposing instruments that are still being used (such as the scalpel and the camera) with ones that are not (the Von Luschan skin colour chart and the anthropometric measuring rods), Skotnes set up an opportunity for science to reflect on its past and on the activities and objects of its present, enabling a mode of self-reflexivity that is not a standard part of its day-to-day practices. Through curatorship, she exposed disciplinary practitioners to naturalisations and blind spots within their fields and sensitised them to these previously occluded characteristics" (Liebenberg 2021: 172).
Appendix (installation shot)

A variety of bones sourced from the University of Cape Town Archaeology and Zoology departments, playfully re-imagined by the students as a collection owned by a time-travelling anthropologist - collecting samples across time and sometimes, across dimensions.
Miscast (instruments of measurement)

"Along with the guides that regulated practices and protocols to stabilise and standardise an individual’s response to unfamiliar and disorienting sights (Kennedy 2013: 42), the gender, class and ethnicity of the observer were also of importance , as was the use of ‘ever more sophisticated instruments and calculations designed to minimize the intrusion of subjectivity into the reporting of information’ (Driver 2001: 55). By regulating who was doing the viewing, stipulating what should be viewed and how and supplying tools to measure these observations, scientific institutions promoted an authoritative ‘way of seeing’ in the field that differentiated the scientific view from that of the ordinary traveller (Driver 2001: 49)" (Liebenberg 2021: 109).
Navigation chart, Micronesia

"Early Pacific seafarers did not have scientific instruments or conventional European-style maps to voyage to, and settle, the thousands of islands of Micronesia and Polynesia. Instead they used the movement of the sea, the direction of the wind, the position of the sun and stars, and the flight of birds. This is a navigation chart, obtained by Georg Irmer, the Governor of the Marshall Islands from Chief Nalu of Jaluit atoll in 1896. The strips of wood, bound by cane, represent the currents and winds, and the six small, white shells represent islands".
Whalesharks (Fact/Fiction)

"With a crowd of pilot fish he prowled around the raft, and went on doing this for so long that that we plucked up courage. And when he lay to under the steering oar to scratch his back a bit, we thumped him in return, in a friendly way rather than otherwise, to see how he took it. But he liked it and came back and let himself be thumped three of four times. Then we gave him a bit of a jab with a harpoon, but we ought to not have done that, for he didn't like it and cleared off" (Hesselberg 1950: 48).
Whalesharks (Fiction/Fact)

Whale sharks (Rhincodon typus) are the largest shark, and indeed largest of any fishes alive today. These gentle marine giants roam the oceans around the globe, generally alone. They only feed on plankton. In the Norwegian explorer, Thor Theyerdal's account of his journey by raft across the Pacific Ocean from South America to the Polynesian islands in 1947, the crew is visited by one of these curious and benign creatures: "In reality the whale shark went on encircling us for barely an hour, but to us the visit seemed to last a whole day. At last it became too exciting for Erik, who was standing at a corner of the raft with an eight-foot hand harpoon, and, encouraged by ill-considered shouts, he raised the harpoon above his head. As the whale shark came gliding slowly toward him and its broad head moved right under the corner of the raft, Erik thrust the harpoon with all his giant strength down between his legs and deep into the whale shark’s gristly head. It was a second or two before the giant understood properly what was happening. Then in a flash the placid half-wit was transformed into a mountain of steel muscles. We heard a swishing noise as the harpoon line rushed over the edge of the raft and saw a cascade of water as the giant stood on its head and plunged down into the depths. The three men who were standing nearest were flung about the place, head over heels, and two of them were flayed and burned by the line as it rushed through the air. The thick line, strong enough to hold a boat, was caught up on the side of the raft but snapped at once like a piece of twine, and a few seconds later a broken-off harpoon shaft came up to the surface two hundred yards away" .