Dresden Conference: The one with Horse Blood and the Hunt

Can't resist this mirror

So this is it. The concluding session of the Dresden Conference on Cabinets of Curiosity. That two day event has provided a wealth of material, as well as making me think about the most extraordinary things. On reflection, the last three sessions were far more controversial than I originally thought; death and colonialism; classifying the unclassifiable; and this final session, which amongst other issues, discussed the blurring of boundaries regarding human and animals. I've combined Marion Endt-Jones and Sarah Wade's talks because they are relevant for my work, and they both used the Musee de la Chasse et de la Nature as a case study.

As Donna Roberts had already noted, 'cabinets of curiosity' have been the topic of many shows to greater and lesser critical success. Marion Endt-Jones suggested we were in a new age of curiosity, citing a raft of shows, from the Manchester coral show, various European exhibitions and the growth in alternative wunder- museums. She suggests that this revival is not just inspired by surreal art but a wholesale 'questioning of institutions'. It is also a reaction to the corporate nature of the white cube, an inevitable and long overdue rethink of ubiquitous bland, open, unnatural, cold galleries.

Enter the Dragon and the Birds

© The Trustees of the British Museum

Perhaps I’m getting sensitive to the geography of art, or I’ve always fancied exotic places at lunch, but today I went to China. Room 91 at the British Museum affords visitors the opportunity to go on a voyage along the Yangzi River. There is nothing standard sized about the real or depicted landscapes. The scrolled horizontal ones are like a slow journey along the canal; the vertical banners offer a glimpse of a lush garden through an open window.

I want to focus on one image. It shows figures on a mountainous pathway, their voluminous clothing buffeted by the unexpected animation of a dragon to the top right. The artist is witness to the miracle from behind a rocky, wild outcrop which he puts in the foreground. The heavily shaded and emphasised tumbling rocks and foliage emphasise the reality of the locale, where the lightly sketched figures seem ephemeral in comparison. The dragon just is; scaly, snaky and hanging in the sky, surrounded by shading to make it stand out.