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This article posits the value in considering the affective politics in the everyday space of the\udBritish Museum with a postcolonial lens. Based on research collaborations with artist Rosanna\udRaymond the article argues that the gallery space becomes a theatre of pain. The museum acts as\uda site of materializing the pain of epistemic violence, the rupture of genocide and the deadening\udof artefacts. The article examines the embodied experience of encountering these galleries and\udthe effect of Tony Bennett’s claim (2006) that the art museum becomes a mausoleum for the\udEuropean eye, but which petrifies living cultures. In particular the article considers the petrification\udas it operates along racial lines. The museum space from critical postcolonial perspectives is\udpresenced through Maori bodies looking at ‘self’, as ‘other’. This approach seeks to disturb the\udways in which museums are read as texts, disembodied and removed from communities which\udare represented therein. The article argues for heritage sites as being forged through affective\udpolitics, and that race and postcolonial sensibilities resonate within their affective atmospheres

Feeling and Being at the (Postcolonial) Museum: Presencing the Affective Politics of ‘Race’ and Culture