Geneva in the Colonial World
Temporary Exhibition
3 May 2024 - 5 January 2025
How did Geneva live through the colonial period? In what ways was the Ethnography Museum a major cultural actor in the colonial context? What is the future of the collections held there? Can we understand today the real identity of an object, sometimes centuries after it entered the Genevan museum collections?

These are all questions that this participative exhibition attempts to answer. Numerous partners have agreed to develop with the MEG an intention in line with the topicality of decolonial thought. We thank them for taking this risk and having confidence in us. A common theme connects all this exhibition’s stories, that the museum’s responsibility towards collections and its commitment to forging long-term respectful, pacified relations with their cultural heirs and heiresses.

Warning: some content presents racist, discriminating images or terms.
These are historical evidence of Western hegemonic thinking.
Their presence is indicated by this symbol.
Introduction to the Exhibition


Amandine Casadamont
Original sound creation from the International Archives of Popular Music (IAPM), 2023.

Amandine Casadamont

Amandine Casadamont’s work lies somewhere between radio plays, performances and sound installations. She has written and produced many radio creations in which the fantastic plays an important part in a concrete documented space. Fiction thus comes into contact with reality. Often based on socio-political facts and issues, most of her pieces question the ways our societies function.
©Photo Grand Prix Nova, Bucarest
The Moore the Merrier [gesture 1]
Mathias C. Pfund. 2024 Edition of 5 000 postcards available free of charge
Henry Moore, Mother and child: Egg Form, 1977, cast 7, bronze, 17.1 x 7 x 7 cm, European Museum of the Year Award (EMYA) in front of the Ethnography Museum, 2017 © MEG, photographer: Johnathan Watts
Henry Moore, Reclining Figure: Arch Leg, 1969-1970, cast 4/6, bronze, 244 x 427 x 153 cm, in front of the Musée d’art et d’histoire,
Inv. 1974-0015 © Ville de Genève, Musée d’art et d’histoire, photographer: Bettina Jacot-Descombes

On the front of this post card two images are superimposed; one, taken by Johnathan Watts in 2017, belongs to the MEG and the other, created by Bettina Jacot-Descombes is owned by the MAH. On the back is the reproduction of a stamp based on a fragment of a charcoal drawn fresque by Nicolas Party (Landscape exhibition, Kunsthall Stavanger, 2014) after Barbara Hepworth (Figure for Landscape, 1959-1960). M. C. Pfund

Mathias C. Pfund

Mathias C. Pfund (*1992), holder of a diploma from HEAD Geneva and the University of Geneva in Art History, exhibited at the Salle Crosnier (Geneva) in 2021, at A. ROMY’s (Zurich) and in public spaces in Geneva and Neuchatel in 2022, at the Swiss Art Awards (Basel) and in the Saint-Gall Kunstmuseum in 2023. Using a case study model, he looks at the circulation of signs that produce meaning in specific intervention contexts with a particular interest in the traceability of images.
© Blow, Wind, Blow [geste/gesture 3]