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Unfortunately, it does not work. By limiting themselves to one museum’s resources, Mr Hislop and Mr Hockenhull produce an incoherent a grab-bag of 180 items that are linked together thanks only to the heroic efforts of the show’s blurb writers. An artefact showing Mahatma Gandhi spinning cotton at his wheel as part of a national effort to hit the British textile industry—and with it colonial rule—would seem, at first glance, to have little in common with an ancient Egyptian artist drawing copulating figures on a tablet. Indeed, also at second, third and all others glances after that. Is the saucy tablet a show of disrespect towards a pharaoh or simply a bored artisan with an active imagination? How does it strike at the heart of imperial power? The shows notes are unhelpful on this front and Mr Hislop’s comments, presented in speech bubbles, lower rather than raise the tone. Had the summer holidays not ended, it would have been easy to assume this is an exhibition aimed at drawing in a younger audience. Indeed, there are penises and sex jokes aplenty—enough juvenile material to keep a class of teenage boys entertained for at least a few minutes before they whip out their phones—as well as yellow umbrellas from the Hong Kong protests of 2014 and one of those pink “pussy hats” from the Women’s March in 2017. There are bank notes from the Seychelles onto which an engraver with a sophomoric sense of humour managed to sneak on the words “sex” and “scum”, caricatures of kings and tyrants, and still more penises and fart jokes. Yet there is not one mention of Martin Luther King or Nelson Mandela (nor, speaking of dissent, of Antonin Scalia, the famously dissenting justice of the American Supreme Court).
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