PUBLICATIONS


DAVIS INTUITIVE MUSEUM

Davis Lisboa, Davis Intuitive Museum (full mini-installation), 2014, plexiglas ballot box, vinyl, and painted plastic, 7,8 x 7,8 x 7,8 in

The Davis Museum has been expanding itself with the creation of new Sections. These groups of works are created by Davis Museum founder, Davis Lisboa. Section titles include The Screen Shots, The Embroideries, The Sounds, The Visitors,The Stamps, and The Sculpture Section. This work, Intuitive Davis Museum, is from The Sculpture Section and is created for the exhibition Eleven: The John Erickson Museum of Art 10 Year Retrospective, at the Harn Museum. The piece is an assemblage made with a Davis Museum ballot box. The interior of the box contains two models, a brain, and a top hat painted in blue on a mirror base. These elements combine to raise questions about the nature of institutional critique, kitsch, and appropriation and how their relationship with one another.

Is it possible to create an "imaginary collective exhibition" with artists such as François Curlet (the “Intuitive” concept), Katharina Fritsch (brain), Robert Filliou (top hat), Yves Klein (IKB) and Michelangelo Pistoletto (mirror) at the Davis Museum? How can these visual signs be interconnected in the most synthetic way? Why is conceptual art considered the highest form of contemporary art? What is the relationship between the souvenir and institutional critique?

Davos Lievitja

August 2014


MUSEOS DE ARTISTA (APROPIACIÓN INSTITUCIONAL)
por Tomás Ruiz-Rivas

Davis Museum presume de ser el museo más pequeños del mundo: 20 x 20 x 20 centímetros. Fundado en Barcelona en 2009 por el brasileño Davis Lisboa, tiene un programa regular de exposiciones, una colección y es además, en su condición de pequeño artefacto de metacrilato, objeto de exposición en otros espacios. Esta condición le permite viajar internacionalmente,
con sus exposiciones incluidas, y visitar otros museos y centros de arte. Su autor-director además lo activa en espacios públicos por medio de performances, provocando discrepancias y dialécticas con las instituciones convencionales.

VALF
valf.com.mx
Visual arts latino freezine Revista gratuita latinoamericana de arte contemporáneo.
Ciudad de México, 2014.

http://issuu.com/antimuseo/docs/museosok


UN ESPACIO EXPOSITIVO EN EL BOLSILLO

04/04/2014

¿Cansado de los grandes formatos y de los enormes y fagocitadores museos?, ¿crees que la sala de exposiciones es un modelo pasado?, ¿la teoría del White Cube te parece anticuada? ¡Pues este post puede resultarte interesarte!

Cada vez son más las voces que se desmarcan del modelo de Brian O´Doherty de “Cubo Blanco” como espacio expositivo óptimo, presentado en su ensayo Inside the white cube (1976) donde afirmada que “la galería ideal, sustrae de la obra de arte todo aquello que pueda interferir con el hecho de que es “arte”. La obra es aislada de todo lo que pueda ir en detrimento de la evaluación de sí misma […] White cube es concebido como un lugar libre de contexto, donde se pensaba excluir el tiempo y el espacio social de la experiencia con las obras de arte…”. En los últimos años empiezan a surgir interesantes propuestas de innovar en este aspecto y llevar el arte a lugares que parecían ajenos al sistema del arte: desde el ámbito doméstico, el mundo virtual, los espacios urbanos y otros espacios singulares.

Existen una serie de espacios expositivos muy curiosos por sus dimensiones, son aquellos muy pequeños, minúsculos, que hacen del arte una experiencia diferente y no por ello de menor intensidad. Algunos de los ejemplos que podemos encontrarnos en este sentido han ido surgiendo en los últimos años y aquí seleccionamos cinco: Clutch Gallery, Fundación Newcastle, The Medicine Cabinet,  Davis Museum y Galería Minúscula.

Hemos de arrancar diciendo que existen importantes precedentes en este aspecto, como el Boîte-en-valise (1936-1941) de Marcel Duchamp, retrospectiva portátil de su obra reducida al tamaño de una maleta. O también la Galerie légitime (1962) de Robert Filliou, que nace como una crítica a la institución dentro del marco Fluxus, que se trata del bombín del artista que contenía objetos manufacturados, notas e imágenes fotográficas de sus obras y las de otros artistas que querían formar parte de esa exposición en movimiento.
 
En la actualidad podemos ver la influencia de estas iniciativas en el proyecto Clutch Gallery (Chicago), un espacio de 60 cm2 en el interior del maletín de Meg Duguid, que actualmente está siendo trasladado por Georgina Valverde como sede de la Society of Smallness (Sociedad de la Pequeñez). La galería está dedicada a la exposición de arte contemporáneo en todos sus medios expresivos. Abrió en diciembre de 2009 con una programación previa, pero a partir de 2011 el proyecto empezó a pasar por las manos de diferentes curadores. De este modo continuará funcionando hasta el maletín se desgaste por el uso diario. La manera que tienen los espectadores de ver la exposición es averiguar dónde está la Clutch Gallery a través de su Facebook y también solicitando una cita previa.
 
Fundación Newcastle (Murcia) nació a finales de Marzo en una casa de muñecas de la marca Chaves modelo Newcastle 38061 (34x40x75 cm) que se encontraba dentro de la casa Javier Castro. Esta iniciativa surge a través de la ilusión de crear un espacio donde difundir el arte contemporáneo español y demostrar que este tipo de formatos son igual de legítimos para desarrollar un proyecto artístico interesante y que implica a otros agentes a través, por ejemplo, de modestas becas de colaboración. Una casita de muñecas es ahora un efectivo espacio para promocionar y difundir la obra de artistas españoles.

The Medicine Cabinet (Chicago) es un proyecto iniciado en 2008. Se trata de un armario-botiquín situado en el baño de el domicilio de Christopher Smith que sirve como lugar de exposiciones, en donde cada mes pasan por sus pequeñas estanterías las obras de diferentes artistas. Desde esta iniciativa otros espacios marginales de este hogar se han ido convirtiendo tambien en lugares de arte.

Davis Museum (Barcelona) lleva esta idea del espacio mínimo al ámbito museístico. The Davis Lisboa Mini-Museum of Contemporary Art se fundó en 2009 en Facebook, y aseguran ser el museo más pequeño del mundo, con una colección propia de arte contemporáneo. Su misión es la selección, estudio y difusión de obras de artistas emergentes y de renombre, llevando sus obras por diferentes países a través de sus exposiciones itinerantes.
 
Galería Minúscula (Logroño), por su parte, nace “desechando convencionalismos que limiten la creación, utilizando materiales diversos, nuevos soportes sin coste, con coste y de fácil acceso”. Se ubica en una discreta ventana (85×106 cm) a pie de la Calle Primo de Rivera, donde funciona como un escaparate para mostrar pequeñas exposiciones tanto colectivas como individuales donde se trabajan todos los medios y disciplinas. Un paréntesis para el arte contemporáneo con el que se topan los viandantes.
 
Como vemos las posibilidades en cuanto a los modelos de exhibición y difusión del arte son infinitas, pudiendo dar lugar a interesantes proyectos que trasgreden la norma y los convencionalismos expositivos. Nuevos modelos que nos demuestran que se pueden seguir haciendo cosas aún teniendo pocos medios y que no lo más grande o lo más (pre)suntuoso tiene por qué ser lo mejor.

Cristina Fernández Crespo

http://cutekippel.wordpress.com/2014/04/04/espacio-expositivo-bolsillo/



DAVIS MUSEUM, UN MUSEU DE 20 CENTÍMETRES QUADRATS

Un museu en una urna de 20 centímetres quadrats de metacrilat, aquest és el Davis Museum. Es tracta d'un espai amb seu física al carrer de Puigmatí i reconegut per la Generalitat de Catalunya. Aquest museu és de baix cost, com diu el seu creador, i portàtil, ja ha exposat en diferents ciutats del món.

Amb més de 240 obres a la col·lecció permanent aquest museu va néixer el 2009 a través d’una iniciativa a la xarxa. Davis Lisboa, el creador, va preguntar a la comunitat artística si creien que s’havia de construir un nou museu allunyat dels grans centres d’art, i així es va iniciar el projecte. Amb aquesta iniciativa Davis pretén relacionar dues crítiques, a les institucions culturals i l’economia, per això explica que ha volgut donar forma a un petit espai d’oxigen dins del capitalisme actual.

20 centímetres quadrats de superfície. Aquestes són les mides del museu d'art contemporani més petit del món. Es tracta del Davis Museum, amb seu al carrer de Puigmartí i reconegut per la Generalitat de Catalunya. Aquest recipient de metacrilat ja ha acollit més de 240 obres que conformen la col·lecció permanent. Tot neix de la creació de Davis Lisboa, un il·lustrador brasiler que decideix allunyar-se dels grans espais d'art i construir un nou museu que és, en si mateix, una obra d'art.

"La idea inicial era proponer a nivel global si los artistas estaban interesados en que se hiciera un museo, entonces, era una especie de candidatura 'online', por eso que el Davis a pesar que parezca simplemente un cubo, en realidad es una urna de votación, es una obra de arte que intenta proponer una nueva forma de montar un museo."

Ara, el museu exposa una donació de petites obres amb el títol de "Companyies crítiques". Aquesta tendència artística ja té més 100 propostes que engloben art i economia. Els artistes creen empreses i imaginen objectes al voltant dels productes corporatius. Un exemple n'és una nova moneda africana global.

ROSE MARIE BARRIENTOS, historiadora de l'art

"Las piezas que he traído son justamente una especie de publicidad de la compañías porque hay que tomar en cuenta que estas compañías son la obra, es decir, como el Davis Museum, está concebido como una obra de arte, estas compañías igual, son la obra, entonces producen muchos pequeños objetos para promocionarse."

El creador del Davis Museum el concep com un espai de resistència a la voràgine del mercat de l'art. Parla d'oxigen dins del capitalisme. La propera exposició que està preparant és una obra de Yoko Ono amb el títol d'"Imagine peace".

http://www.btv.cat/btvnoticies/2014/03/19/davis-museum-un-museu-de-20-centimetres-quadrats/#None


ANNA CLAWSON & NICOLE WARD, OVERDUBBED SCENES

Anna Clawson & Nicole Ward's new exhibition, Overdubbed Scenes opened on Friday at CRATE in Margate. The exhibition is the fifth in a series of week long shows in which CRATE have asked artists to respond to the very particular and miniature exhibition space of the Davis Lisboa Mini Museum of Contemporary Art, Barcelona, which is currently in residence at CRATE for six week.

The Davis Museum was created in 2009 by Brazilian artist, Davis Lisboa, as an attempt to provide an alternative environment and structure for artists to exhibit within, an approx 8” by 8” by 8” clear acrylic box as opposed to the monolithic institutions that our art world and market holds as the goal for artists - MOMA, Guggenheim, Tate. The Davis Museum also provides an alternative currency for the exchange of commissions and artworks made for its institution with artworks often donated to the Museum after their exhibition and held in the permanent collection in Barcelona to be take out as and when needed in the various solo and group projects the Museum is invited to participate in. The artworks take the duel role of having the scale and portability of an edition whilst retaining the form of an individual artwork.

The current Museum installation in Margate of the Davis Museum consists of the 'museum' box which sits atop a white plinth, a flag which states the Museum's goal as an 'island of resistance' to the 'tsunami' of the art market (laid out like a facebook page and status update which alludes to the Museum's origins as a non-physical space), an iPad which displays a looped history of the Davis Museum's exhibitions and a poster. Each artist that has been invited to respond to the Museum in Margate was asked to use the components of the Museum as they saw fit. The exhibitions so far at the Museum at CRATE have included a small paper model by Canadian artist Bill Burns, a television and shirt owned by Andy Warhol, Romanian artist Betts Robinson and an installation based on the subterranean sites of Margate by Bridgette Ashton.

Working mainly with print, sculpure and photography in their practice, Clawson & Ward have chosen to create new work in response to the Davis Museum's format of display in an installation they call Overdubbed Scenes which hints at the malleable nature of museum collections. This malleability refers to the continuous re-contextualisation of an exhibit or archive. During this translation, the archive’s content is susceptible to a range of influences including; public opinion, capital and changes to the political landscape. The miniature sculptural work that the artists produced takes the form of cut-outs based on architectural forms. Applying the methods used to re-animate and promote a collection by using small plastic suction cups to attach the printed sculptural work to the Davis Museum, Clawson & Ward refer to low-fi products produced solely for disposable merchandising. Using the Davis Museum iPad and incorporating the crop editing tool, the artists use a single photographic snapshot, one of women in red outside the Soviet Commissioned Ninth Fort Memorial to the Holocaust in Kaunas, Lithuania, to provide the backdrop to the exhibition. The women, some in hotpants, were captured on a photo shoot during the artists visit to the memorial site. The incongruous nature of their usage of the memorial site as a fashion location as opposed to a site of reflection or remembrance, make the lack of context to the photograph even more startling. The true meaning, like a lot of Clawson & Ward's work is buried underneath layers of complexity and abstraction and must be carefully unpicked. 

The next and last exhibition at the Davis Museum/CRATE will be a video and model installation by Benedict Drew called The Concha Institute. The work tells the, often trippy and dream-like story, of a man who has nasal trouble only to find out he has a museum of contemporary sculpture stuck up his nose.

Sacha Waldron, curator at Crate.
2013, Margate, United Kingdom.

Overdubbed Scenes by Anna Clawson& Nicole Ward runs until October 4 2013. The Concha Institute by Benedict Drew opens on October 4th and runs until October 12th 2013.

www.clawsonandward.co.uk
www.cratespace.moonfruit.com
www.davismuseum.com


INSTITUTIONAL APPROPRIATION

When artists invent their museums

Marcel Duchamp, Joseph Cornell, Marcel Broodthaers; Claes Oldenburg; Herbert Distel; Daniel Spoerri; Vicente Razo; Meschac Gaba; Cambalache; Antoni Miralda; Cai Gou-Qiang; Sandra Gamarra; Filip Noterdaeme; Giuseppe Campuzano; Thomas Hirschhorn; Tom Lavin; Museo Aerosolar; Jaime Iregui; Davis Lisboa; Sean Miller; MIAxM; Left Hand Rotation; Alicia Herrero; Eder Castillo

Curator: Tomás Ruiz-Rivas
Collaborations: (they are on the way...)

Find that in next VALF issue

VALF – visual arts latino freezine – es una revista impresa de distribución gratuita, especializada en contenidos de arte contemporáneo y cultura visual.

From January 2014 in D.F. and New York City
see all distribution + + +

HoMu, Filip Noterdaeme. www.homelessmuseum.org

http://www.valf.com.mx/files_eng/index_eng.html


EL DAVIS MUSEUM, UN PETIT GRAN MUSEU

Informatiu Museus » Barcelona. El Davis Museum, un petit gran museu
Generalitat de Catalunya

20 SETEMBRE 2013

Barcelona. El Davis Museum, un petit gran museu
The Davis Lisboa Mini-Museum of Contemporary Art, amb seu visitable al carrer Puigmartí de Barcelona, és per definició el museu d’art contemporani més petit del món.

(Font: El País: http://blogs.elpais.com/arte-en-la-edad-silicio/2013/09/un-pequeno-gran-museo.html)

http://blocs.gencat.cat/blocs/AppPHP/informatiumuseus/2013/09/20/barcelona-el-davis-museum-un-petit-gran-museu/


URNA | SE ME HA CAÍDO EL DICCIONARIO | IRENE POMAR

Una palabra donada por Davis Lisboa

urna.
(Del lat. urna).
1. f. Arca que sirve para depositar las cédulas, números o papeletas en los sorteos y en las votaciones secretas.
2. f. Caja de cristales planos a propósito para tener dentro visibles y resguardados del polvo efigies u otros objetos preciosos.
3. f. Caja de metal, piedra u otra materia, que sirve para varios usos, como guardar dinero, los restos o las cenizas de los cadáveres humanos, etc.
4. f. Medida antigua para líquidos.
5. f. Ven. ataúd (? para enterrar un cadáver).
---

Más allá de la urna

“¿Es una caja de plexiglás transparente mera forma?
¿No deviene contenido en cuanto introducimos cenizas de periódico en su interior?”

Chen Zhen, 1990
En alusión a su obra Le Poids/Le Vide, 1990

Davis Lisboa, Museum 9 from the Portable Network Museum Section 2013, digital screenshot, 13,3 x 7,4 in.
El Museo antropófago de arte contemporáneo Davis Museum Barcelona es una urna de 20 centímetros cúbicos. Un objeto que contiene procesos de los que además forma parte, disolviendo así su naturaleza de recipiente en el juego de propuestas y contrapropuestas al que invita ese elemento llamado “urna”.

Disfruta de la neutralidad del objeto del Ready made y de su salto cualitativo más allá del dualismo y del simbolismo. Genera un nuevo espacio, un museo con una colección y visitantes, teniendo como característica fundamental la acción constante. Así pues, Davis Museum es un nuevo dispositivo que actúa y experimenta, en el que el espectador entra y las obras de arte donadas son expuestas creando así un juego de retroalimentación: una acción colectiva que adopta todos los medios a su alcance, físicos y virtuales.

La presentación del Davis Museum Barcelona en el LACDA (Los Angeles Center For Digital Art) es una ocasión inédita para descubrir una colección que consta de obras de 15 artistas internacionales como María Cañas, Chen Ping, PSJM entre otros. Una ocasión para vivir de cerca este proceso que aporta un nuevo valor a la noción de formato. Un mini-museo que engulle propuestas pasadas y contemporáneas y da lugar a un nuevo movimiento que asume sus fuentes, las absorbe y escapa a la tentadora dialéctica de la historia del arte permitiendo que el potencial de una urna transparente ceda el paso a nuevas intuiciones.

|Texto: Irene Pomar| para Davis Museum en el marco de la exposición en LACDA (2009): http://davis-museum-artblog.blogspot.fr/2012/02/mas-alla-de-la-caja-de-plexiglas-irene.html


A TINY GREAT MUSEUM

by Roberta Bosco and Stefano Caldana | 16 September 2013

The Davis Museum, The Davis Museum of Davis Lisboa, the world’s tiniest museum of contemporary art.

It has been referred to as a liquid museum on the Web, but it is also a centre with a physical address recognized by the Government of Catalonia (Generalitat de Catalunya) that you can actually visit in Barcelona in Carrer de Puigmartí. We are talking about the Davis Lisboa Mini-Museum of Contemporary Art, by definition today's smallest contemporary art museum around the world. Not only is it a mobile museum, but it can actually display works of art and activities wherever its director pleases.

Experimental, portable, open, flexible and low-cost, the Davis Museum, bearing the name of its creator, has no limits in terms of where to travel to display or what artists to work with. These can be “culture centres, galleries, museums, private showrooms, streets and parks” – explains to Silicio the Brazilian born Barcelona resident Davis Lisboa (São Paulo, 1965), director of the museum founded in 2009.

Even though at first glance everything seems to be concentrated in a 20 cubic centimetre acrylic glass ballot-box, Lisboa defines his creation nothing less than “an island of resistance in the midst of the market tsunami of art.”

In the past years Lisboa has brought together a permanent collection of about 230 donated-only pieces of art of various kinds such as paintings, sculptures, videos and new media forms that are usually installed and physically displayed in his studio in Barcelona. That being said, how can you name a 20 cubic centimetre acrylic glass ballot-box a museum, where you can only display one piece of art at a time? Perhaps a more accurate approach than calling it a museum could be looking at the project as a work of art in itself, even though the Government of Catalonia makes no such distinction, and catalogues Davis Museum as one among the 500 registered cultural entities in Catalonia.

“It is only the smallest museum in the world in terms of its display surface dimensions. It is not the array of collections that is limited, but the space the museum uses for the exhibits. The ancient story of David and Goliat comes alive with Davis Museum and Barcelona’s MACBA” - points out the founder with certain irony, underlining that Davis Museum is the second contemporary art museum in Barcelona after MACBA.

It would be impossible to name all the pieces of the collection. As an appetizer though, take a look at a video of María Cañas from Seville titled The Toro’s Revenge, one of the first art donations in the museum from 2009, and also the painting of the young Italian painter Paolo Maggis, a protagonist in a book about the philosophy of film maker Bigas Luna who died prematurely only a couple of months ago.

As far as the new media are concerned, we should highlight Living Drawings, a Hunter Cole's video installation (San Francisco, 1971), based on an image projection of shapes created by bioluminescent bacteria.

“On the other hand, as a Civil Online Platform for Activism in Visual Arts, the Davis Museum offers an alternative answer of “an indignant” to the existing cultural structures, and an incentive for a change” - affirms the founder, reminding us that the very structure of the museum bears a strong resemblance to a ballot-box in itself.

Davis Museum takes the position of a kind of “art political party”. “If the museum is a ballot-box, then any piece of art displayed is a vote of confidence towards Davis Museum”- says Lisboa. It is a democratic form of building a museum: not parting from the established public administration, but born out of a civil initiative”- continues, speaking in favour of the unity of artists and their common goal to set up a free and independent institution.

Halfway between a social project and a collective art project, the collection of Davis Museum is open to all artists who are selected based on their artistic career. Basically, it is primarily the format of the piece of art that can generate certain limitations, which is not the case of videos and new forms of media, given that such works can be presented on a small screen of a mobile device such as an iPhone or an iPad. However, works of the plastic arts to be shown must be of a smaller size than the physical dimensions of the museum, as they must fit in the acrylic glass display box.

Looking at it from a different angle, the reduced dimensions are a clear advantage at the same time, reflected in the obvious freedom to change places, which makes the museum growingly popular at the scenes of public international presentations. The participation in the 2011 Museum Show in Bristol's Arnolfini Art Centre (UK) was a milestone for Davis Museum, as the mini-museum was awarded for its alternative qualities, singular format and its exhibits. Prizes at this show are given for the quality and conceptual relevance of the works of art rather than the amount of works exhibited. Davis Museum took part in the show along with 40 other museums presenting worldwide artists, including a number of classical pieces that Lisboa himself looks on as principal references for his own project such as Marcel Duchamp's La Boïte-en-valise and the Robert Filliou's Galerie légitime, also noted for their sharp institutional criticism.

Hou Hanru Hear Us by Bill Burns. Photo: Áine Belton

"Hou Hanru Hear Us" of Bill Burns at the "The Survey" expo , CRATE, Margate, UK.
Photo: Áine Belton.

Davis Museum is on the road right now, showing its works and making its philosophy known at CRATE, a place of research and support for experimental art projects in Margate (UK), within the frame of the presentation titled The Survey. The Small, Unusual and Specialist Museums Survey. Davis Museum is the only museum invited to this atypical project, the brainchild of curator Sacha Waldron, who has been carrying out a peculiar study of the “art of survey”. In the demonstration bearing the same name “The Survey”, Waldron runs a study/survey among the smallest unique and specialized museums around Europe. “Sacha invited me to team up for this project because Davis Museum met the requirements to participate at the expo: it is small, unusual and specialized. So we worked out the survey which is being sent out to 50 museums in each of the 49 European countries, which means a total of 2450 individual museum surveys.” - explains Lisboa, who opened at CRATE with Quotes Section from Davis Museum (Unusual Conference), a performance in which he featured as principal character.

More on The Survey, Sacha Waldron points out that this expo marks only the beginning of a work that will take about 12 months to complete and will be summed up in a study uploaded on the Web in PDF format and in a printed book as well.

In the meantime, Davis Lisboa is going to expose in his Polling Station Section (a name coined for the installation made up of the acrylic ballot-box, the iPad etc. that represents Davis Museum at this event) the work of art Hou Hanru Hear Us, a subtle hint to the celebrated curators star in the form of a miniature model, creation of the Canadian artist Bill Burns, which belongs to the permanent collection of the mini-museum in Barcelona.

Burns' art will be exhibited alternately with works of artists such as Andy Warhol, Lenka Clayton, Matthew de Pulford, Paul Hazelton, and some local ones like Betts Robinson, Victoria Adam, Bridgette Ashton, Nicole Ward, Benedict Drew, Lenka Clayton, Michael Crowe and Anna Clawson. “Davis Museum offers space for individual displays, however, whenever there is a chance for works of different artists to be shown side by side in a harmonious way, we can set up collective displays. What I usually do, though, is equally distribute the exhibit time among the participating artists. If we have a month to do the entire expo and there are four artists, each of them gets a week to do their part.” - comments Lisboa.

It is important to note that Davis Museum keeps close ties with the Internet and social media (Twitter). After all, Davis Museum was born on the Web, and as its founder explains “at the beginning it was only an idea, and we used a ballot-box to symbolize it. Then a digital image was created and with that its corresponding Facebook group came to life.”?“From the moment of getting in touch with artists, the concept of Davis Museum began to evolve and expand at the speed of light. As a matter of fact, the Polling Station Section, a ballot-box of the digital world, is an idea taken precisely from an element on Facebook, which later got transferred to a tangible physical level, the acrylic glass ballot-box.” - adds Lisboa, pointing out some ties that not only have been a means of spreading the news and served for promotion, but also have been instruments with a cohesive and stabilizing force.

“Davis Museum is in a way a conceptual heir of an artistic tradition originating from Fluxus, characterized by collective creation, diversity, improvisation and DIY, which in turn merge in the concept of the museum/social network represented by contemporary artists on Facebook”- mentions the founder. “Fluxus artists work in an analogue way, while we do it online”- explains Lisboa, making it clear that Davis Museum will soon have closer relationship with digital creativity.

A portrait of Davis Lisboa, director and founder of Davis Museum in Barcelona.

As regards the near future, the mini-museum will be set up in the Centro del Carmen of Valencia for the 6th Incubarte International Art Festival, while the medium and long-term plans include broadening and sorting the works of the collection, and also improving the overall quality. “Among my very long-term plans is the idea of bringing the project to an end and donating it fully to some contemporary art museum so that the whole artwork may continue to be there for future generations” - he concludes.

http://blogs.elpais.com/arte-en-la-edad-silicio/2013/09/un-pequeno-gran-museo.html


MAGICAL CRYSTAL GARDEN BY BETTS ROBINSON

Friday 6 Sep – Thursday 12 Sep 2013

Betts Robinson (born in Romania, lives in Mexico) weaves obscure personal narratives
with a Fluxus playfulness. Her practice, which normally takes the form of prints and
posters, has for the Davis Museum taken the form of a series of instructions and directions
that were sent via email to CRATE. Robinson's instructions all relate to the particulars of
CRATE that were noticed and noted by Robinson during a visit to the space and to
Margate in November 2012. For example, the proximity to Kentucky Fried Chicken and the
ubiquitous smell of Colonel Sander's favourite led Robinson to the idea of making the
smell of CRATE more homely, more Sunday lunch than late night shame-snack.
Robinson's instruction “make CRATE smell like a roast dinner”. With no direct indication of
how to do this, many experiments have been carried out over the last few weeks using
perfumed oil diffusers, Bisto, burning Sage stuffing over candles, constructing makeshift
candles of our own using chicken skin and long consultations with the butchers of
Margate. The resulting work, has, in the end, had to be realised through the most obvious
answer. CRATE is still not sure this will work but, using the gallery's micro-oven, we will try
to roast a chicken during the days of the exhibition.
Robinson often appeals to the physical senses with her work, her most recent body of
work was a series of images with complex scratch & sniff elements. For Robinson's
preview at CRATE she sent the instruction “Limoncello. Hard Boiled Sweets” which
references how hard some products are to find in Margate town centre and how easy
others. To assault our ears, the videos on the Davis Museum ipad reference her parents
obsession with the Irish singer Enya and their constant infliction of the music on their
children during long car journeys “Enya videos, but only unofficial ones set to landscapes,
tourism video's or dolphins”. Other instructions sent were numerous and often,
uncompleteable.
Robinson's response to the Davis Mini Museum environment and to CRATE's ongoing
Small, Unusual and Specialist Museums Survey project (which you can see growing in the
corridors of CRATE) has been to use the slot at the top of the ballot box (the core of the
Davis Museum exhibition space) which is sometimes used to invite the audience to vote
on the exhibitions – good or bad, yes or no. Here, Robinson sent a specially printed
Cactus toilet-paper to CRATE alongside the direction “Put the paper into the Museum, now
find the Magical Crystal Garden”. Accompanying this was an address in London which,
when CRATE followed Robinson's instructions, turned out to lead them to Pollocks Toy
Museum near Warren Street and in the gift shop, on sale for £7.50, the 'Magical Crystal
Garden'. The garden, Alpine chemical wonderland, takes up to two days to fully grow,
emerging over Robinson's exhibition.

sw


CRATE. STUDIOS & PROJECT SPACE

1 Bilton Square, Margate, Kent, CT9 1EE

THE SURVEY/CURRENT EXHIBITIONS

The Small, Unusual and Specialist Museums Survey

A collaboration between CRATE and the Davis Lisboa Mini Museum of Contemporary Art, Barcelona. The Small, Unusual and Specialist Museums Survey engages with small, unusual and specialist museums across Europe, CRATE/Davis Museum will also host seven miniature solo exhibitions over Aug/Sep/Oct:

The next miniature exhibition will be Magical Crystal Garden by Betts Robinson. Opening 6 September with Limoncello and roast chicken.

STUDIO ARTISTS/STUDIOS

CRATE currently has seven studio holders.
CLICK HERE for further info/images on their work or click on their names for personal websites.

Charley Vines
Nova Marshall
Benedict Drew
Jeremy Millar
Andrew Marshall
Petra Reid
Tahanee Al-Khalifa

Studios for Rent. All the studios at CRATE are currently occupied. If you would like to be contacted when space becomes available please contact admin@cratespace.co.uk

CLICK HERE for more information on prices/ sizes and all the practical stuff.

CRG/CRATE CURATORIAL INTERNSHIP PROGRAMME

Collaborative Research Group (CRG) is an alternative education programme. Conceived of as an MA in Doing, it brings together a group of 6 regional arts practitioners (artists, curators, organisers, writers, researchers and thinkers) based in Kent who are interested in collaborative working and the pluralities of contemporary visual art practice (producing, curating, organising, writing, etc.).

CRG will run from September 2013 until April 2015. For more info on the participants and programme CLICK HERE

Curatorial Internship Programme. CRATE is supporting six curatorial internships developed through support from University for the Creative Arts (UCA), Kent County Council (KCC), Art Council England (ACE) and project partners throughout Kent. Partners include DAD, Strange Cargo, Turner Contemporary, Whitstable Biennale, Trifarious Projects, Stour Valley Arts.

Find out more about the Interns and the project -CLICK HERE

NEWS

CRATE is currently playing host to the Davis Lisboa Mini Museum of Contemporary Art, Barcelona which is running a weekly exhibition programme. The first in the series is Canadian artist Bill Burns who is exhibiting his work Hou Hanru Hear Us. You can see Hou Hanru Hear Us at CRATE until Sunday 1st September.

On our opening night (August 23rd) the mini museums Director, Davis Lisboa gave a performance conference at CRATE. A video of this will be up soon.

THIS WEEK

This week we launched our new research project, The Small, Unusual and Specialist Museums Survey, which is attempting to catalogue and connect with as many small, unusual and specalist museums in Europe as we can. CRATE is sending out a survey via email and post asking the staff of these museums what they think about their institutions, their collections, what they think might happen to their museums in the future and how they feel their museums contribute to the cultural lfe of their area. This project is ongoing and perhaps impossible but our research starts now and you can see the project as it unfolds on the walls of CRATE throughout August/September.

THE SURVEY

Crate's 2013-14 exhibition and project space programme launched in June 2013 with The Survey, curated by Sacha Waldron and running for 18 months.

The survey thematic will be explored through three strands:

Survey as a format for looking at the work of artists – survey shows and their relationship to the solo show, charting artists practice

Survey as a form a mapping - surveying locations, tendencies or forms

Survey as an investigation into administrative formats, evaluation and information gathering.

CURRENT EXHIBITIONS

The Small, Unusual and Specialist Museums Survey is a collaboration between CRATE and the Davis Lisboa Mini Museum of Contemporary Art, Barcelona.
 
Engaging with over 500 small, unusual and specialist museums across Europe, CRATE/Davis Museum will also host seven miniature solo exhibitions over Aug/Sep/Oct:
 
Hou Hanru Hear Us, Bill Burns (CAN)
Runs -  (PV-6-9-Fri 23rd Aug)
 
Magic Crystal Garden, Betts Robinson  
(PV-6-9-Wed 4th Sep),
 
Lenka Clayton selected by Michael Crowe
TBC, Victoria Adam (UK)
(PV-6-9-Fri 13th Sep)
 
Margate Cave Network, Bridgette Ashton (UK)
(PV-6-9-Fri 20th Sep)
 
TBC, Anna Clawson/Nicole Ward (N.IRE)
(PV-6-9-Fri 27th Sep)
 
and
 
The Concha Institute, Benedict Drew
(PV-6-9-Fri 4th Oct).


Bill Burns, Hou Hanru Hear Us, September 10 - December 24, 2013. Reception: September 9. Davis Lisboa Museum. Barcelona, Spain

Hou Hanru Hear Us is a miniature scale paper model of the Gallery of Modern Art in Brisbane that I have jerry-rigged with a sign that says: “Hou Hanru Hear Us”, on it. The Davis Museum specializes in miniature installations.

Dispatch, Volume 19 - Issue 2 - June 2013, Artist Centred Initiatives, CARFAC, Ontario, Canada.
http://www.carfacontario.ca/docs/download/dispatch-june-2013_88/

MUSEUMS DIRECTORY


DAVIS MUSEUM OR THE FLUXUS 2.0 MUSEUM

‘[…] Here again, a new form of expression was involved. Instead of painting something new, my aim was to reproduce the paintings and the objects that I liked and collect them in a space as small as possible. I did not know how to go about it. I first thought of a book, but I did not like the idea. Then it occurred to me that it could be a box in which all my works would be collected and mounted, like in a small museum; a portable museum, so to speak.’ With these words Marcel Duchamp explained to J. J. Sweeney, in the course of an interview, the process that had led him to create Boîte-en-Valise in 1935.

There is no doubt that Duchamp is an important referent for Davis Lisboa. But what can induce a contemporary artist to found a museum? Traditionally, the museum is a place of conservation, of classification, a structure of memory and as such a bridge between past and future. Reflecting on and, above all, questioning that function can be a stimulating working environment for a contemporary artist.
For an artist, founding a museum is a way of reflecting on, criticizing or opening up a discussion about the role of the museum while at the same time drawing attention to aspects related to the production, distribution and mediatization of art. That said, perhaps the questions should be: How is it possible to create a museum devoted to a 21st-century artist? And what should such a museum contain?

The ephemeral museum, the permanent museum, the virtual-collective museum, the museum as fiction, as inspiration or as critique are some of the options open to artists in setting out to the define a museum project. Davis Lisboa is not the first nor will be the last artist to start a museum, and he is quite ready to cite his predecessors (and to declare himself an advocate of appropriation) and the referents with which he identifies, such as Duchamp’s Boîte-en-Valise (1935), Robert Filliou’s Galerie légitime (1962), Herbert Distel’s Museum of Drawers (1970) or François Curlet’s Galerie Intuitive (2010).

Davis Museum is in line with this genealogy of works: the ‘portability’ of Duchamp, Filliou’s championing of co-authoring together with the legitimacy of the artists’ actions and a witty critique of the mechanisms of the art market, Distel’s passion for collecting, based on ‘collective donations’, and the caper of donating the entire Museum of Drawers to the Kunsthaus in Zurich, a gesture that could also be carried out by Davis Museum in the near future. And, last but not least, the reprising of the Galerie Légitime by Curlet, in a move not far from that of Davis Museum.

Founded in 2009, Davis Museum is the world’s smallest museum of contemporary art. Alongside this description, which might earn it a place in Guinness World Records, Davis Museum is an initiative — or, as I think we can call it — a non-profit institution whose aims are to organize and produce exhibitions, encourage research and promote contemporary art. The museum’s collection is made up of donations by artists. Davis Museum itself is in the form of a ballot box measuring 20 x 20 x 20 cm. The choice of object is not fortuitous: a ballot box is an industrially manufactured product, minimalist in appearance, which makes the donating of an artwork a symbolic action that, in the words of its founder, amounts to ‘giving a vote of confidence to Davis Museum’, since ‘if the museum is a ballot box, then the artwork is a vote’. The project consists of an architecture with a format (the ballot box) that makes it easy to transport; it was first a showroom and is now a mini-installation in Barcelona and has a strong virtual presence by way of Facebook, Twitter and a YouTube channel that generates a multiplier effect and effectively differentiates Davis Museum from other museum projects conceived by artists. Times have changed, and while back in 1968, Filliou toured the streets of Paris showing the works of Ben Patterson in his Galerie Légitime, Davis Museum now offers different itineraries by email and promises to be available in the near future on a variety of applications for iPhone, iPad and Android.

In fact, one of the most important aspects of Davis Museum is the networking that makes it a kind of Fluxus 2.0. In its day, Fluxus was a critical declaration against the traditional object as a commodity and chose to dissolve art into everyday life, in opposition to the art institution. Davis Museum is also critical of the art establishment. The art system, the museums and the institutions have grown, have expanded, and have created a structure so stable and so rigid that it is now difficult for them to respond to the needs not only of art practices but of society at a time when the notion of the unique work is essentially a concession to the market; meanwhile the artist’s role has diversified, and the modes of presentation are no longer shackled to the museum, and the forms of distribution and communication need to be reinvented.

Davis Museum presents itself as a proposal for networking, as a platform of communication that in its very functioning constitutes a critique of the way the processes of the art institutions are managed. Resistance is the key. For Davis Lisboa, ‘the market is a tsunami and it will swallow anything it encounters on its way, while Davis Museum remains an island of resistance’.

Montse Badia
Barcelona, July 2012


DAVIS MUSEUM BY DEBORA ALANNA

When I first learned about the Davis Museum in 2010, I was impressed by Davis Lisboa's inclusivity, his determination to showcase what are glimpses into artists' though a representation of their oeuvre/process. Allowing artists to present what are akin to jewels in a jewel case (Davis Museum), Davis Lisboa promotes and educates worldwide, allowing the development of audience and appreciation of how art can be integral to the global community.

For me, these are Davis Lisboa's substantial ideas for the continuing benefit of international artists, and the edification of the widest audience possible.

Small work? Works in the Davis Museum have magnitude, are dazzling as jewels, rare and intense. Artists donate the essence of themselves for this opportunity.

Enough space? Artists that donate work for the Davis Museum, are curated by Davis LIsboa surpasses the physical limits of space, are conscious works. This art has integrity that expands space. The scope of the work dissolves containment.

Debora Alanna, artist, Canada. July 8th, 2013.


DAVIS MUSEUM

Why a museum with small objects?

Davis Museum was created in 2009, in the midst of the subprime recession. The era of extravagance has come to an end and now we see a change in values: austerity and simple and efficient solutions are the order of the day. Davis Museum is a mini cultural entity as
it's main idea is about being low-cost. This approach criticises institutional and capitalist systems, and hopefully works towards a decline in these systems. The reason for Davis Museum is clear: The market is a tsunami and it will swallow anything it encounters on its way, while Davis Museum remains an island of resistance. A mini low cost contemporary art museum invites artists to create without spending exorbitant amounts of money. The small size of the art works is a way of keeping costs low.

When will the size of a work be considered suitable for the museum?

The hardware of Davis Museum can be found in a methacrylate ballot box that only measures 20 x 20 x 20 cm. One of the most important requirements of the work is that it is smaller than the space available.

How has the museum evolved since opening on 1st January 2009?

Davis Museum was "founded" via a page in Facebook and a channel in YouTube. A short time after, the contemporary art collection of Davis Museum was acknowledged by the local government of Catalonia. A web page of the museum was created and a logotype was designed which was patented in the OEPM, Oficina Española de Patentes y Marcas (Spanish Office of Patents and Brands). As the collections and visits have increased, a mini showroom has been created so that visitors can enjoy the works of art.

In 2011, Davis Museum was invited to take part in a collective exhibition called Museum Show, commissioned by Nav Haq, in Arnolfini (Bristol,United Kingdom), one of the most important centres of contemporary art centres in Europe. In the Museum Show there is a selection of 40 museums of artists from all over the world, among them are : Museum of Contemporary African Art (Meschac Gaba), La Boîte-en-Valise (Marcel Duchamp), Museo Aero Solar, Museum of Conceptual Art (Tom Marioni), La Galerie Légitime (Robert Filliou), Schubladenmuseum/Museum of Drawers (Herbert Distel), Museum of Safety Gear for Small Animals (Bill Burns), Museum of Projective Personality Testing (Sina Najafi & Christopher Turner), Museum of Revolution (Marko Lulic), Intuitive Galerie (François Curlet), Moon Museum (Forrest Myers), Musée d'Art Moderne, Départment des Aigles (Marcel Broodthaers), Museum for Myself (Peter Blake), World Agriculture Museum (Asunción Molinos), Stemhokkenmuseum/Voting Booth Museum (Guillaume Bijl), A History of Art in the Arab World: Part 1_Chapter One_Section 139: The Atlas Group (Walid Raad), Museum of Ordure, Nasubi Gallery (Tsuyoshi Ozawa), Blackout Leica Museum (Sarkis), "I founded a fictitious museum in New York in '68 and collected 1,000,000 minutes of attention to show", (James Lee Byars), Museum of Failure (Ellen Harvey), From the Freud Museum, (Susan Hiller), Palestinian Museum of Natural History and Humankind (Khalil Rabah), Danger Museum (Øyvind Renberg & Miho Shimizu), Museum of American Art, Museum of Non-Participation (Karen Mirza & Brad Butler), Museum of Television Culture (Jaime Davidovich), Victoria and Alferd Museum (Åbäke), Hu Xiangqian's Museum (Hu Xiangqian), Museum of Forgotten History (Maarten Vanden Eynde), Museum of Incest (Simon Fujiwara), Museo Salinas (Vicente Razo) and of course, Davis Museum, The Davis Lisboa Mini-Museum of Contemporary in Barcelona (Davis Lisboa).
In 2012, a mini installation began to develop where 15 of the 213 works that make up Davis Museum are on display (until the present date, 10th November 2012). Throughout the entire process, TV and radio interviews aswell as magazine and newspapers articles and publications on the Internet have been on the up.

How do you envisage the continuity of this project in the future?

In the very short term, I am preparing the recording of the exhibition/video /performance for the Danger Museum, a pair of artists featuring Miho Shimizu (Tokyo, Japan, 1976) and Øyvind Renberg (Oslo, Norway, 1976), which will open in January 2013. Also I would like to add the final touches to the mini installation of Davis Museum in Barcelona. After, my idea is to organize an opening event of this museum, and invite those connected to the world of contemporary art and also a TV channel that could make a report on this event. This will be divided into three parts. The first: an explanatory talk about the Davis Museum; the second: open debate with the guests; and the third: a cocktail. In the mid term, there are two interesting proposals to exhibit at Davis Museum, however, at the moment, I do not want to give away any more details about that. In the long term, I am thinking about amplifying the collection and improving the level of the exhibitions/videos /performances. And in the very long term, closing the Davis Museum and donating it to a contemporary art museum so that the work continues to thrive thereafter.

What comments and opinions regarding Davis Museum have surprised you most?

Some artists have surprised me when describing the museum, using terms such as: pataphysic, experimental, expansive, self-referring, utopic, personal, political, rational, speculative, community, dematerialized, communicative, virtual, autoral, narcisistic, fictional, imaginary, parodic, alternative, anachronistic, domestic, jokey, feminine, anomalous, corporate…

From your experience with Facebook y Second Life, What do you think of artistic and cultural broadcasting via Internet?

"Globalisation started on the day of the launch of the Apollo to the moon. On this day for the first time two computers were connected: one in Washington and the other in Los Angeles. They were connected so as to avoid that the lunar mission might have a centre that could be attacked by the enemy. Suddenly, having a centre stopped being an operative advantage and turned into a weak point" (Farinelli). That is how the network and the digital era came into being. Therefore all the culture online is no more than a reaction to the decadence of the old institutional art system. As the great museum is failing us, the vast majority of them should be replaced with a smaller newer unique structure, because I think this cultural model will enjoy greater independance, be more avant-guarde and welcoming. This is better than having to reform the old system of Art.

Troublant, Mara, Davis Museum, Scoop.it Admirabilia, Literature, Art, Contemporary pictures, nº28, 13th November 2012, Madrid, Spain.



DANGER MUSEUM AT DAVIS MUSEUM PERMANENT COLLECTION

Danger Museum | Miho Shimizu | Øyvind Renberg | Tomorrow & Yesterday | Davis Museum | Barcelona from Davis Museum on Vimeo.

Thanks to:
Àngels Casanovas and Sonia Blasco
Museu d’Arqueologia de Catalunya – Barcelona

http://www.mac.cat/Seus/Barcelona

Mar Gomila
Eurofitness Perill – Barcelona

http://perill.eurofitness.com

JANUARY 1 – APRIL 30, 2013

212. MIHO SHIMIZU & ØYVIND RENBERG (DANGER MUSEUM)
(Tokyo, Japan, 1976 | Oslo, Norway, 1976)
Tomorrow & Yesterday, 2012, cylinder seal, polyurethane resin, 7.4 x 2.9 in.
Date of donation: November 6, 2012
Production supported by Ryohei Takahashi (Gelchop)

DAVIS MUSEUM
The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona
The smallest contemporary art museum in the world!

Miho Shimizu and Øyvind Renberg’s Danger Museum started as a mobile exhibition space, travelling and adapting its structure to present the works of friends and colleagues. Over the years, the experience of travel, personal encounters and adaptation has encouraged the production of reflexive, visual works and objects by engaging the method of collage as a form of collecting, which recomposes experiences, mixing fiction and documentation.

Their interest in applied art and series production is reflected in projects that encompass multiples, furniture, posters, LPs and tableware. The change in meaning as the objects circulate within and outside the art context, is part of a dynamic that drives their practice.
Projects are conducted both under their own names and as Danger Museum and through the Peanut Circuit label.

Tomorrow & Yesterday, produced for Davis Museum, extends from a series of works inspired by the Japanese picture scroll. Shimizu and Renberg have already explored the scroll’s narrative possibilities in watercolours serializing a Norwegian fjord trip. Tomorrow & Yesterday is a cylinder seal, an engraved sculpture cylinder tool, originating in ancient Mesopotamia, that can roll a picture relief into wet clay. Their relief depicts an allegory on the relationship between man and woman: A man hunts a bird, whose egg hatches into a new bird that hunts the man. By continuous rolling, the relief proposes an endless cycle.

http://www.dangermuseum.com/ja/davismuseum


CULTURAL INSTITUTIONS: PRESENCE ON THE INTERNET AND THE USE OF SOCIAL NETWORKS AND TOOLS 2.0

The majority of cultural institutions have launched head on with the use of Internet and social networks aware of the fact that it was necessary, but more often than not without giving any thought of the way in which they needed to be on them it goes without saying that this is an ever changing world which makes it hard to know which direction to take. Often the lack of a stratedgy means not using the Internet to its full advantage. Having arrived at this point (we are at that point but we must improve) and before applying or developing any new stratedgy we should look into how we are there. This is the starting point of evaluation.

The analysis of the presence of cultural institutions across the net should not only refer to quantity but also to quality. A first step in an analysis should be a recollection of quantative data and this is exactly what has been done. An initial evaluation of quality has been on trial but this has only been on a trial basis. It must be noted that in order to carry out a recollection of data concerning quality, collaboration is needed and also in defining items which need to be assessed.

There have been 3 main areas analysed (with their corresponding sub areas). From these areas, 30 items have been extracted from answers to a yes/no question (Does the entity have an account or is presence-based at...?). Each affirmative response was awarded a score of 1 and every negative one with 0. At any given moment the presence of a particular entity on the internet has been valued more than one that simply manages. For example: the entity is the Municipal museum, the organization that manages it is the council.

Contact and localization on-line (in the cloud). This should be the first step in evaluating the presence of any organization on the Internet. An electronic mail and a webpage is needed.

Site or webpage. What minimum features should the web possess? An evaluation concerning design or technical aspects has not been tackled as this would form part of a quality analysis .The webs have been found to raise the question as to who manages or who is in charge, if the web has been specifically created or not to publicize the organization and if a dominion exists. And how many languages can the web be read in? Value has been given when more than one language is used because evidently there are those that only use one language. Here value is given to the language used where the organization is. This is an item that is perhaps quality-referring rather than quantity as could be an item which values syndication. In any case, here value is not placed on the use of the language but if it exists or not. To go further into detail in terms of quality, the contents should also be analysed, if they are their own contents or from other sites referring to spelling corrections.

Social networks, tools 2.0 and localization.The question is whether we should be on all existing social networks. The more networks we involve ourselves with, the more time and human resources we will need to keep them up to date. A good analysis of quality will give us a closer look to the question of quantity. We must take into account the fact that cultural groups should be generated by content and these contents need to be distributed over the Net at the same time, the users should give feedback and this could influence the quality feedback. Regarding quantity analysis, 16 items have been discoverd that have later been used to establish the percentage of integration of the universe 2.0 on the web.

More than 500 museums, collectives and cultural groups have been analysed regarding their presence on the net. The list of groups under study has come from search engines for museums and collectives which can be found on the webpage of PatrimoniGencat. The patrimonial groups have been included on the list even though they are neither museums or collectives. They belong to the network of Museums and Patrimonial groups of the Pyrennees and Aran. Such is the case for other groups that appear in the database for the New Plan for the Museums of Catalonia. The study aims to give a first glance of “digital behaviour” of cultural groups and how this behaviour is seen by the digital user. The collected data provide a first quantitive value (with a possible maximum of 30 points) including various factors like the possibility of electronic contact with the organization and the assessment of it´s web page depending on authorship, the available information, own dominion, languages, the possibilty of syndication or the licence of Creative Commons. To this quantitive value is also added the availability (or not) of 15 elements 2.0: blog, Facebook, Twitter, Google+, Flikr, Picasa, Pinterest, Instagram, Vimeo, Youtube, Delicious, Issuu, Foursquare, Google Places and mobile devices. A quality index has been elaborated (with a possible maximum of 3 points) analysing the behaviour of the organizations on the 2 most used networks: Facebook and Twitter. This index reflects la regularity of the publication in these two medias and values the tendancy if it is sporadic, monthly or weekly.Finally, the percentage of integration of the universe 2.0 on the web is also assessed. This value is obtained comparing the tally of elements 2.0 (of the15 analysed, in addition to the web syndication) where the entity is present, with the total of these elements accessible from the web.

Quantative Ranking
The first place in the ranking goes to the Fundación Josep Pla de Palafrugell (Baix Empordà, Girona) which obtains 22 in the quality index, 3 in regularity in publication and 75% regarding integration of the universe 2.0 on the web. Regarding the organizations in Lleida, the best value referring to the quantative index is Panera de Lleida (Segrià) with a score of 18. Close behind is the Museum la Moto Mario Soler de Bassella (Alt Urgelland the Art Museum of Jaume Morera de Lleida (Segrià), the latter scoring 89% of integration of the universe 2.0 on the web.

Percentage of Integration of the universe 2.0 on the web
The History museum of Catalonia (MHC) is one of the 13 organizations which scores 100% in integration, in its 5 elements 2.0. We should also highlight 89% scored in integration by the Art Museum of Jaume Morera, with a total de 9 elements 2.0 valued. The Josep Pla foundation scores 75% in integration of it´s 12 elements, The Natural Science Museum of Barcelona (MCNB) 73% of 11, and the Museum of Rural Life of l'Espluga de Francolí (Conca de Barberà, Tarragona) scores 70% from 10.

Riudor i Garcia, Noemi, Presence of cultural organizations on the Internet. Use of the social networks and of the Eines 2.0. Quantative analysis., Esterri d'Àneu, Catalonia, Spain, 2012.



THE DAVIS MUSEUM PRODUCES VIDEO FEATURING THE WORKS OF
UF SA+AH ASSISTANT PROFESSOR SEAN MILLER

"The Loop" UF CFA
www.ufloop.com
University of Florida College of Fine Arts News

The sculpture, photography, collaborations, and performative objects of UF SA+AH Assistant Professor Sean Miller from his on-going project ‘the John Erickson Museum of Art’ were recently the subject of a video produced by the Davis Museum in Barcelona, Spain. Last year Miller presented these works with the Davis Museum at the Arnolfini Art Center in Bristol, U.K. In an exhibition entitled “Museum Show” which featured an international array of artists that explore with the idea of the museum as subject matter for their art. Some of the work featured in the video is currently on display at the University Gallery as part of this years faculty exhibition. Watch the video now on YouTube.

http://ufloop.com


JEMA PRESENTS A TRAVELING EXHIBITION AT THE DAVIS MUSEUM IN BARCELONA, SPAIN FEATURING THE WORKS OF CONNIE HWANG AND BENJAMIN PATTERSON

> View a New Video by Davis Lisboa exhibiting works from Hwang, Patterson, JEMA, and the Art Museum Dust Collection
http://www.jema.us/pages/programs.html


MI ARTE ES DEJAR UN ESPACIO PARA QUE LOS ARTISTAS LO OCUPEN Y BRILLEN POR SI MISMOS

Quien define su arte de este modo es Davis Lisboa, creador y director del Davis Museum – The Davis Lisboa Mini-Museum of Contemporary Art. Desde el año 2009, el museo más pequeño del mundo organiza exposiciones de arte contemporáneo en una urna de plexiglás de apenas 20 x 20 x 20 cm. Pensado como una institución low-cost, con bajos costos de producción y traslado de obras, recibe artistas de países tan distantes como Brasil, Irán, EEUU o Francia.

¿Cuáles son los elementos que componen el proyecto Davis Museum?

Existe un aspecto físico del proyecto y otro virtual. En el primero, incluyo la exhibición de la colección permanente en museos, bienales, galerías o en el showroom del Davis Museum en Barcelona. En este último espacio es donde queda aparcada la Davis Tower Museum, una urna ubicada sobre un pedestal blanco donde cada cuatro meses se exhibe una obra de pequeño formato de un artista distinto. También se deben añadir todas las obras plásticas creadas y que están relacionadas con el mismo proyecto, junto a los materiales promocionales de las exposiciones.

¿Cómo se desarrolla el aspecto virtual del museo?

En el grupo de elementos virtuales, se incluyen las instalaciones en 3D que se realizaron en el Museo Karura Art Centre, ubicado en Second Life, las entrevistas, las fotos, los textos críticos y los eventos publicados en Facebook y Blogger, junto con el envío de los carteles de las exposiciones a la lista de correo del Davis Museum. En YouTube se publica para cada exposición un video de creación compartida, que nace de la participación del artista, con su obra, y de mí mismo, que la interpreto en un video arte. Este conjunto de cortometrajes irá conformando un archivo histórico que podrá ser consultado y que relatará las creaciones de determinados artistas a los finales del siglo XX y principios del XXI.

¿Cómo fue la génesis del proyecto Davis Museum?

Después de los doce años que estuve estudiando Bellas Artes en la Universidad de Barcelona, decidí restablecer las lecturas de aquellos libros que no había podido leer durante la carrera. Uno de ellos era Art since 1900, modernism, antimodernism, postmodernism, de Hal Foster, Rosalind Krauss, Yve-Alain Bois y Benjamin H.D. Buchloh. De todo el libro, me llamó la atención cómo la obra Boîte-en-valise de Marcel Duchamp abrió un camino inexplorado, y como, 40 años después, Robert Filliou ha conseguido hacer avanzar este tipo de arte. Fue justamente al leer sobre su Galerie légitime que tuve una “revelación”. En unos pocos segundos, me vinieron a la mente, como una cascada, toda la serie de ideas de como debía crear, realizar y dar un sentido al Davis Museum. Si la Boîte-en-valise exponía las obras en miniatura de Duchamp y la Galerie légitime contactaba y exponía obras de los amigos artistas de Filliou de forma analógica, Davis Museum contactaría y expondría las obras de artistas de forma analógica y sobretodo virtual. Sería una especie de red social del arte, y que remarcaría su carácter contemporáneo.

Dentro de los artistas que trabajan en esta perspectiva, antes que la referencia a Robert Filliou aparece Marcel Broodthaers, ¿por qué no en su caso?

Tienes razón, debería incluir al Musée d´Art Moderne, Départment des Aigles de Marcel Broodthaers entre la sección “Precedents” de la web de Davis Museum. Y lo haré, pero lo que realmente más me impactó fue la obra de Filliou por su combinación de descaro y levedad, su aparente simplicidad e inocencia y su imaginación, algo que no se encuentra presente en la obra de Broodthaers.

¿Cuáles fue el sentido de la elección de una urna como “arquitectura”?

Es evidente que la “arquitectura” del Davis Museum es ready-made, un objeto industrial ligeramente intervenido que coquetea con el minimalismo y (peligrosamente) con la publicidad. Pero sobretodo, lo que me gustaría remarcar es una lectura política en cuanto al sistema del arte, que no hace más que impedir la participación directa de los artistas en las instituciones. Mi intención era proponer una nueva forma de organizar un museo de arte contemporáneo, desde la iniciativa ciudadana, por medio de las plataformas de comunicación digital y de esta manera, crear colectivamente valor público, sin olvidar de revisar la democracia. Y si el museo es una urna, cuando un artista decide donar una obra, de algún modo está dando un voto de confianza al proyecto Davis Museum, que así cumple su función social de difundir el arte de los artistas participantes.

¿Podrías explicarnos la relación del Davis Museum con la antropofagia brasileña?

Al inicio, el museo se titulaba The Antropofagic Davis Lisboa Museum of Contemporary Art y esta era una forma de actualizar, de seguir una cadena dentro de la tradición artística moderna brasileña. Un museo que “engulle simbólicamente la obra y la metaboliza para transformarla en una nueva cultura”. Esta idea ha sido mal interpretada por la mayoría de los artistas. Así que, durante el desarrollo del proyecto y su presentación a la Generalitat de Catalunya (gobierno autonómico español), dudé, quité el adjetivo “Antropofagic” del título y así registré la colección de arte contemporáneo de Davis Museum. Aunque que el adjetivo esté ausente en el título, la idea de “deglutir la cultura ajena” persiste en él de manera indirecta.

Y dentro del contexto del arte brasileño, ¿cuáles han sido tus referencias?

Sin duda, el artista Carlos Fajardo ha sido clave en mi formación, ya que frecuenté sus talleres durante cuatro años y aprendí con él que el arte tiene que ser un desafío intelectual.

¿Qué criterios utilizas para elegir las obras?

La calidad de la obra y el currículum son muy importantes. Luego si la misma pieza es capaz de crear un diálogo con las demás obras de la colección, deben abordar lo contemporáneo en forma y contenido. Ese “estilo” de haber sido producidas a finales del siglo pasado y a comienzos del XXI.

¿Cómo decidís la forma en que expones el Davis Museum?

Al igual que Boîte-en-valise y la Galerie légitime, Davis Museum és un museo en miniatura y portable, sin embargo, y al contrario de los primeros, Davis Museum es un museo “liquido” que puede adoptar infinitas formas, como un juguete de cartón (DTAM I, Davis Toy Art Museum I), un juguete de plástico (DTAM II, Davis Toy Art Museum II ), una escultura de plomo (DLM, Davis Lead Museum), una pedestal (DTWM, Davis Tower Museum) o una roca (DRM, Davis Rock Museum). Así que, para mí, el desafío reside en adaptar constantemente el museo a entornos cambiantes.

Díez Fischer, Agustín R., Mi arte es dejar un espacio para que los artistas lo ocupeen y brillen por sí mismos, ArteCreha, Colectivo para la renovación de los estudios de historia del arte, España, 9 de febrero 2 de 2012.


DAVIS MUSEUM

Escrito por Jesús Martínez Verón (Creha)

El Davis Museum es el museo más pequeño del mundo reconocido como tal. Físicamente, el museo es una caja de metacrilato de 20 x 20 x 20 centímetros que se encuentra ubicado en el primer piso del número 7 de la calle Puigmartí de Barcelona.
En su origen, el Davis Museum (con precedentes en Marcel Duchamp y Robert Filliou) es un proyecto del artista brasileño Davis Lisboa (Sao Paulo, Brasil, 1965) quien califica la idea como "minimuseo de arte contemporáneo". Y como todo museo que se precie, el Davis tiene exposiciones, fondos de autores de prestigio y numerosos vídeos en los que el propio "museo" fisico es objeto de diferentes tipos de intervenciones.
Para conocer mejor el Davis Museum te recomendamos que visites su WEB OFICIAL o que accedas a su página de FACEBOOK que en este momento cuenta con más de 1.200 seguidores (por cierto, incluye vídeos como el de la inauguracion del Museo).

Martínez Verón, Jesús, Davis Museum, ArteCreha, Colectivo para la renovación de los estudios de historia del arte, España, November 2, 2010.


CONHEÇA O MENOR MUSEU DO MUNDO

O idealizador do projeto é o hispano-brasileiro Davis Lisboa

POR CLAUDIA BORGES EM 12/04/2011

Imagine um museu com o tamanho de apenas 20 centímetros cúbicos. Pois ele existe e fica instalado no apartamento de seu idealizador, o artista e designer Davis Lisboa. Nascido em São Paulo, Lisboa fundou o menor museu de arte contemporânea do mundo, localizado em Barcelona na Espanha em 2009. O museu tem sua coleção permanente de arte e seu formato, feito de metacrilato e vinil, foi inspirado numa urna de votação: “Porque cada pedaço de arte que um artista doa é como um voto”, diz Lisboa.

O Davis Museu não tem fins lucrativos. O que Davis Lisboa busca é valorizar a arte, sem vendas, a fim de promover a pesquisa, o estudo e a divulgação da arte contemporânea. E para os artistas que desejam expor em seu museu, a exigência principal é que todas as obras caibam no minúsculo espaço de 20 x 20 x20 cm. O museu já viajou para expor suas obras em outras instituições culturais pela Espanha e por vários lugares do mundo.

Para saber mais acesse o site do museu.

Serviço:
The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona
C/ Puigmartí, 7, 1º, 2ª, 08012?Barcelona - Espanha

Borges, Claudia, Conheça o menor museu do mundo, TodaEla, Viajem, Zebra Network LTDA, Brasil, April 12, 2011.


Menorca.info >

Tónia Coll expone su arte en el museo más pequeño del mundo

Su pieza "Llit" forma parte de una muestra online que se inauguró a principios de mes en un espacio donde las obras no pueden superar los 15 centímetros.

Raquel Marqués, MAÓ 11/01/2012

Tónia Coll (Ferreries, 1965) expone su arte en el espacio más diminuto del planeta. Reconocido por la Generalitat de Catalunya, el Davis Museum es el más pequeño del mundo creado por Davis Lisboa, un artista publicitario de origen brasileño.

La autora menorquina desembarca en el proyecto, con sede en Barcelona, a través de su pieza “Llit”, una delicada composición de cama a modo de juguete de plástico arropada por un amplio manto de cabello.

La muestra, de carácter online, se inauguró a principios de mes y los visitantes pueden acceder a la misma a través de la Red. En su calendario de programaciones para 2012, el museo (www.davismuseum.com) incorpora un video -de poco más de dos minutos de duración- al que suma un resumen de la trayectoria creativa de Coll y de su proyecto “La Flor i la Presó”. La artista, doctora en Bellas Artes por la Universidad de Barcelona, explica como uno de los requisitos a seguir es que las obras no superen los 15 centímetros.

Bajo la influencia del dadaísmo y de Marcel Duchamp y la idea de su maletín museo donde guardaba las miniaturas de sus obras, Davis Lisboa, ligado a plataformas “puente” como youtube o facebook, configura exposiciones itinerantes gracias a un iPhone. Se trata de un proyecto artístico sin ánimo de lucro que fomenta la investigación alrededor del arte contemporáneo. Un fin que pasa por la difusión de creadores emergentes.

Marqués, Raquel, Tónia Coll expone su arte en el museo más pequeño del mundo, Menorca.info, Editorial Menorca S.A., Cap de Cavallería, 5. 07714 Maó (Menorca), España, 11 de enero de 2012.



Museum Show

Arnolfini
16 Narrow Quay, Bristol, BS1 4QA, U.K
0044 (0) 117 917 2300
info@arnolfini.org.uk
www.arnolfini.org.uk

Museum Show: Part 1
24 September–19 November 2011

Including:
Museum of Contemporary African Art (Meschac Gaba), La Boîte-en-Valise (Marcel Duchamp), Museo Aero Solar, Museum of Conceptual Art (Tom Marioni), La Galerie Légitime (Robert Filliou), Schubladenmuseum/Museum of Drawers (Herbert Distel), Museum of Safety Gear for Small Animals (Bill Burns), Davis Lisboa Mini-Museum (Davis Lisboa), Museum of Projective Personality Testing (Sina Najafi & Jonathan Turner), Museum of Revolution (Marko Lulic), Intuitive Galerie (François Curlet), Moon Museum (Forrest Myers), Musée d'Art Moderne, Départment des Aigles (Marcel Broodthaers), Museum for Myself (Peter Blake), World Agriculture Museum (Asunción Molinos), Stemhokkenmuseum/Voting Booth Museum (Guillaume Bijl), Nasubi Gallery (Tsuyoshi Ozawa), A History of Art in the Arab World: Part 1_Chapter One. Section 139: The Atlas Group (1989–2004) (Walid Raad), Blackout Leica Museum (Sarkis), Museum of Ordure, From the Freud Museum (Susan Hiller), Museum of Failure (Ellen Harvey), "I founded a fictitious museum in New York in '68 and collected 1,000,000 minutes of attention to show" (James Lee Byars)…

Museum Show: Part 2
9 December 2011–5 February 2012

Including:
Palestinian Museum of Natural History and Humankind (Khalil Rabah), Danger Museum (Øyvind Renberg & Miho Shimizu), Museum of American Art, Museum of Non-Participation (Karen Mirza & Brad Butler), Museum of Television Culture (Jaime Davidovich), Victoria and Alferd Museum (Åbäke), Hu Xiangqian's Museum (Hu Xiangqian), Museum of Forgotten History (Maarten Vanden Eynde), Museum of Incest (Simon Fujiwara).

One of the most curious tendencies in modern and contemporary art has been that of museums created by artists. Museum Show is a historical survey exhibition—or a 'museum of museums' perhaps—displaying a comprehensive selection of these highly idiosyncratic, semi-fictional institutions. Presented at Arnolfini in two chapters, it will be the first exhibition to chart this particular tendency in contemporary art.

Museum Show presents museums by approximately 40 artists from across the spectrum of career status, from canonical to emerging, and from around the globe. The exhibition will look at the different interpretations of what a museum can be, whilst charting the methodologies and reasons used by artists for creating their own institutions—ranging historically from critique directed towards institutions of art, to more contemporary examples that focus their attention towards wider social and political realms of cultural hegemony.

The exhibition includes museums that employ a classic 'museological' approach, including Marcel Broodthaers' seminal Musée d'Art Moderne, Départment des Aigles and the absurdity of Bill Burns' Museum of Safety Gear for Small Animals, through to broader, more conceptual understandings of a museum infrastructure, such as Tom Marioni's Museum of Conceptual Art—a functioning bar and an early example of 'convivial' artwork in the US, to the abjection of Museum of Ordure, or the utopia of Museo Aero Solar—a floating museum made of thousands of recycled carrier bags.

The opening of Museum Show Part 1 also marks the landmark occasion of Arnolfini's 50th anniversary. For this year-long anniversary programme, Arnolfini has worked with the research theme of The Apparatus, reflecting on the conditions of the art system today. The Apparatus is about the 'makings of' artists, of artworks, of institutions, and of a cultural infrastructure.

Selected 50th Anniversary Events

Cerith Wyn Evans: Paysage Fautif (Wayward Landscape)
Friday 23 September, 9.30pm
Cerith Wyn Evans fireworks pieces are wooden structures that spell out texts that burn. This text firework piece uses letters written by Marcel Duchamp to his lover.

Hassan Khan
Fri 23 September, 10pm
Party music comes from Cairo-based artist, musician and writer Hassan Khan, performing The Big One (medley). DJ set by Big City Sound Girl.

The Museum of Ordure
Stuart Brisley and Geoff Cox
Saturday 24 September, 12pm–1pm
Performance lecture about the Museum of Ordure.

Neil Cummings Book Launch and Exhibition Tour of his residency project Self Portrait: Arnolfini
Sunday 25 September, 12pm–1pm

Seth Siegelaub in conversation with Teresa Gleadowe
Wednesday 5 October, 6pm

*Image above:
Collection Belvedere, Vienna, Courtesy Belvedere, Vienna; Gabriele Senn Gallery, Vienna, and the artist.
Photograph Copyright: Marko Lulic.


INTERNACIONAL

MI MUSEO, MIS NORMAS

20 centímetros cúbicos es un espacio suficiente para albergar exposiciones temporales. Lo ha demostrador el artista hispano-brasileño Davis Lisboa (Sao Paulo, 1965), creador y dueño de un cubículo para exhibir pequeñísimas piezas de arte contemporáneo, videoarte incluido. Por sus dimensiones, es un museo que cabe en una maleta y que ha viajado ahora para exhibirse junto a otros peculiares “museos de autor”, en una muestra en Bristol sobre centros de arte ficticios ideados por artistas.

La exposición ‘Museum Show’ -organizada por el centro de arte Arnolfini de Bristol, en colaboración con Acción Cultural Española, el Ministerio de Asuntos Exteriores y la Embajada de España en el Reino Unido- reunirá a partir de este sábado instituciones imaginarias de 40 artistas de todo el mundo.

Junto a Davis Lisboa, poseedor del museo de arte contemporáneo más pequeño del mundo, participa también la española Asunción Molinos Gordo (Guzmán, Burgos, 1979), con su World Agriculture Museum. No es la primera vez que esta artista utiliza conceptos agrícolas en sus obras.

En la muestra se pueden ver tanto museos que emplean un enfoque “museológico” clásico como otros que rozan lo absurdo. Entre las interpretaciones más conceptuales de la infraestructura de un museo, el gabinete de Acción Cultural Española destaca el Museo de Arte Conceptual de Tom Marioni -un bar que funciona como tal y que trata de enfatizar que beber entre amigos también puede ser todo un arte o el Museum of Safety Gear for Small Animals, de Bill Burns, con objetos inútiles para la protección de animales.

ELMUNDO.es 25/09/2011





MUSEUM SHOW

Bristol (RU)

Sáb, 24/09/2011 - Dom, 05/02/2012

Una de las tendencias más curiosas en el arte moderno y contemporáneo ha sido la del museo del artista: desde la segunda guerra mundial hasta nuestros días algunos creadores han inventado sus propias instituciones semi-ficticias. Museum Show reúne una selección de estas instituciones imaginarias ideadas por cerca de 40 artistas de todo el mundo, de diferentes épocas y trayectorias, que se podrá ver en dos fases en la ciudad de Bristol.

La artista española Asunción Molinos (Guzmán, Burgos, 1979) y el creador hispano-brasileño Davis Lisboa (Sao Paulo, 1965) están presentes, gracias a la colaboración de AC/E, en la primera fase de esta exposición, con el Museo agrícola mundial y Davis Lisboa mini-museo, respectivamente. La muestra examina las diferentes interpretaciones que los artistas tienen de lo que debe ser un museo al tiempo que traza las metodologías y razones utilizadas por los creadores para crear sus propias instituciones. Unas instituciones que van, históricamente, desde la crítica dirigida a instituciones artísticas hasta ejemplos más contemporáneos que centran su atención en esferas sociales y políticas más amplias de hegemonía cultural.

En la muestra se pueden ver tanto museos que emplean un enfoque “museológico” clásico como el Musée d'Art Moderne, Départment des Aigles, de Marcel Broodthaers, y el absurdo Museum of Safety Gear for Small Animals, de Bill Burns, como interpretaciones más amplias y conceptuales de la infraestructura de un museo, como el Museo de arte conceptual de Tom Marioni -un bar que funciona como tal y ofrece en ejemplo temprano de obra de arte “de ambiente cordial” en EEUU- el abyecto Museo de la basura o la utopía del Museo aerosolar –una institución flotante elaborada con miles de bolsas de la compra recicladas-.

Aunque el centro de arte Arnolfini será la principal sede de esta exposición algunas de las obras podrán verse en otros lugares de la ciudad como el M Shed, situado al otro lado del puerto, que acogerá el Museo de la revolución, de Marko Lulic o la antigua comisaría de policía de Bridewell que dará cabida al Museo agrícola mundial, de Asunción Molinos. El multitudinario evento del Museo aerosolar podrá verse, por su parte, el domingo 9 de octubre en el distrito de Hengrove en el sur de Bristol.

Organiza
Arnolfini

Colaboran
Acción Cultural Española (AC/E)
Ministerio de Asuntos Exteriores y de Cooperación de España
Embajada de España en el Reino Unido

Comisario
Nav Haq

Sede, obras y fechas:
Arnolfini (Bristol, Reino Unido)
Del 24 de septiembre de 2011 al 19 de noviembre de 2011
Museum of Contemporary African Art (Meschac Gaba), La Boîte-en-Valise (Marcel Duchamp), Museo Aero Solar, Museum of Conceptual Art (Tom Marioni), La Galerie Légitime (Robert Filliou), Schubladenmuseum/Museum of Drawers (Herbert Distel), Museum of Safety Gear for Small Animals (Bill Burns), Davis Lisboa Mini-Museum (Davis Lisboa), Museum of Projective Personality Testing (Sina Najafi & Christopher Turner), Museum of Revolution (Marko Lulic), Intuitive Galerie (François Curlet), Moon Museum (Forrest Myers), Musée d'Art Moderne, Départment des Aigles (Marcel Broodthaers), Museum for Myself (Peter Blake), World Agriculture Museum (Asunción Molinos), Stemhokkenmuseum/Voting Booth Museum (Guillaume Bijl), Nasubi Gallery (Tsuyoshi Ozawa), A History of Art in the Arab World: Part 1_Chapter One. Section 139: The Atlas Group (1989 -2004) (Walid Raad), Blackout Leica Museum (Sarkis), Museum of Ordure, From the Freud Museum (Susan Hiller), "I founded a fictitious museum in New York in '68 and collected 1,000,000 minutes of attention to show" (James Lee Byars), Museum of Failure (Ellen Harvey)…

Del 9 de diciembre 2011 al 5 de febrero de 2012
Palestinian Museum of Natural History and Humankind (Khalil Rabah), Danger Museum (Øyvind Renberg & Miho Shimizu), Museum of American Art, Museum of Non-Participation (Karen Mirza & Brad Butler), Museum of Television Culture (Jaime Davidovich), Victoria and Alferd Museum (Åbäke), Hu Xiangqian’s Museum (Hu Xiangqian), Museum of Forgotten History (Maarten Vanden Eynde), Museum of Incest (Simon Fujiwara)…



ASUCIÓN MOLINOS Y DAVIS LISBOA EXPONEN SUS MUSEOS EN BRISTOL

VIERNES, 23 DE SEPTIEMBRE DE 2011 00:00 HOYESARTE.COM

Una de las tendencias más curiosas en el arte moderno y contemporáneo ha sido la del museo del artista. Desde la Segunda Guerra Mundial hasta nuestros días, algunos creadores han inventado sus propias instituciones semi-ficticias. Museum Show –organizada por el centro de arte Arnolfini de Bristol con la colaboración de Acción Cultural Española (AC/E), el Ministerio de Asuntos Exteriores y de Cooperación de España y nuestra Embajada en Reino Unido– reúne una selección de estas instituciones imaginarias ideadas por cerca de 40 artistas de todo el mundo, de diferentes épocas y trayectorias, que se podrá ver en dos fases en la ciudad de Bristol entre mañana sábado, 24 de septiembre de 2011, y el 5 de febrero de 2012.

La artista española Asunción Molinos (Guzmán, Burgos, 1979) y el creador hispano-brasileño Davis Lisboa (São Paulo, 1965) están presentes, gracias a la colaboración de AC/E, en la primera fase de esta exposición, con el Museo Agrícola Mundial (en la imagen) y Davis Lisboa Mini-Museo, respectivamente.

La muestra examina las diferentes interpretaciones que los artistas tienen de lo que debe ser un museo al tiempo que traza las metodologías y razones utilizadas por los creadores para crear sus propias instituciones. Unas instituciones que van, históricamente, desde la crítica dirigida a instituciones artísticas hasta ejemplos más contemporáneos que centran su atención en esferas sociales y políticas más amplias de hegemonía cultural.

Del bar a la basura

En la exposición se pueden ver tanto museos que emplean un enfoque “museológico” clásico como el Musée d'Art Moderne, Départment des Aigles, de Marcel Broodthaers, y el absurdo Museum of Safety Gear for Small Animals, de Bill Burns, como interpretaciones más amplias y conceptuales de la infraestructura de un museo, como el Museo de Arte Conceptual de Tom Marioni –un bar que funciona como tal y ofrece en ejemplo temprano de obra de arte “de ambiente cordial” en EEUU– el abyecto Museo de la Basura o la utopía del Museo Aero Solar –una institución flotante elaborada con miles de bolsas de la compra recicladas.

Aunque el centro de arte Arnolfini será la principal sede de esta exposición, algunas de las obras podrán verse en otros lugares de la ciudad, como el M Shed, situado al otro lado del puerto de Bristol, que acogerá el Museo de la Revolución, de Marko Lulic, o la antigua comisaría de policía de Bridewell, que dará cabida al Museo Agrícola Mundial, de Asunción Molinos. El multitudinario evento del Museo Aero Solar podrá verse, por su parte, el domingo 9 de octubre en el distrito de Hengrove en el sur de Bristol.

Bristol (Reino Unido). Museum Show. Arnolfini.

Comisaria: ?Nav Haq?.

Del 24 de septiembre de 2011 al 19 de noviembre de 2011­­­.

Museum of Contemporary African Art (Meschac Gaba), La Boîte-en-Valise (Marcel Duchamp), Museo Aero Solar, Museum of Conceptual Art (Tom Marioni), La Galerie Légitime (Robert Filliou), Schubladenmuseum/Museum of Drawers (Herbert Distel), Museum of Safety Gear for Small Animals (Bill Burns), Davis Lisboa Mini-Museum (Davis Lisboa), Museum of Projective Personality Testing (Sina Najafi & Christopher Turner), Museum of Revolution (Marko Lulic), Intuitive Galerie (François Curlet), Moon Museum (Forrest Myers), Musée d'Art Moderne, Départment des Aigles (Marcel Broodthaers), Museum for Myself (Peter Blake), World Agriculture Museum (Asunción Molinos), Stemhokkenmuseum/Voting Booth Museum (Guillaume Bijl), Nasubi Gallery (Tsuyoshi Ozawa), A History of Art in the Arab World: Part 1_Chapter One. Section 139: The Atlas Group (1989 -2004) (Walid Raad), Blackout Leica Museum (Sarkis), Museum of Ordure, From the Freud Museum (Susan Hiller), "I founded a fictitious museum in New York in '68 and collected 1,000,000 minutes of attention to show" (James Lee Byars), Museum of Failure (Ellen Harvey)…

Del 9 de diciembre 2011 al 5 de febrero de 2012.

Palestinian Museum of Natural History and Humankind (Khalil Rabah), Danger Museum (Øyvind Renberg & Miho Shimizu), Museum of American Art, Museum of Non-Participation (Karen Mirza & Brad Butler), Museum of Television Culture (Jaime Davidovich), Victoria and Alferd Museum (Åbäke), Hu Xiangqian’s Museum (Hu Xiangqian), Museum of Forgotten History (Maarten Vanden Eynde), Museum of Incest (Simon Fujiwara)…



EL MUSEU MÉS PETIT

Centelles. L’any 2009 l’artista Marina Berdalet ens va dir que havia donat un dibuix petit a un museu de Davis Lisboa. Era el ingrés número 17 de la col·lecció permanent d’aquest museu amb adreça física a un pis de Barcelona, visita virtual al youtube i un petit estand cúbic que viatja pel món exposant les obres del fons. Es tracta del museu d'art més petit del mòn . Actualment el Davis Lisboa Museum of Contamporany Art in Barcelona compte amb 172 peces. L’última incorporació va ser feta el passat 5 de setembre amb un acrílic de Dani Montlleó, de Mataró. Representa a artistes nacionals i internacionals, noms com Jeff Roland, Cecil Touchon o el tailandesa Sarawut Chutiwongpeti. Les obres solen ser de petit format o de format electrònic com és el cas del vídeo que va ser la peça fundacional de la col·lecció, obra de María Cañas, el febrer del 2009.
El museu de Davis fa exposicions a diferents llocs i inclús n’ha fet en un museu de Second Life. El proper 24 de setembre una tria del fons de Davis Lisboa participarà en una “exposició de museus” al museu Arnolfini de Bristol, a Angleterra. Es tracta d’una mostra organitzada per explicar el fenomen dels museus creats per artistes. Ja que hi ha moltes institucions d'aquest tipus que comparteixen una iniciativa privada, un origen artístic i econòmicament modest, però amb moltes ganes de difondre l’art d’un grup o d’una zona. És el cas del Museum of Contemporany African Art o del Musée d’Art Modern, Départament des Aigles creat per Marcel Broodthaers. Aquests dos també participaran al Museum Show de Bristol. Aquesta exposició es divideix en dues parts separades per dates. La imatge que il·lustra el text correspon a l’exposició del Davis Museum al museu Karura Art Centre de Second Life. Ha estat cedida per l’artista. L’adreça virtual del museu és http://www.youtube.com/davismuseumbarcelona. Altres enllaços: http://www.davislisboa.com/ i http://www.davismuseum.com/

AC/E lleva a Davis Lisboa y Asunción Molinos al “Museum Show” de Bristol, una exposición que reúne y analiza museos ficticios ideados por artistas

23 septiembre, 2011

Una de las tendencias más curiosas en el arte moderno y contemporáneo ha sido la del museo del artista: desde la segunda guerra mundial hasta nuestros días algunos creadores han inventado sus propias instituciones semi-ficticias. “Museum Show” -organizada por el centro de arte Arnolfini de Bristol con la colaboración de Acción Cultural Española (AC/E), el Ministerio de Asuntos Exteriores y de Cooperación de España y la Embajada de España en el Reino Unido- reúne una selección de estas instituciones imaginarias ideadas por cerca de 40 artistas de todo el mundo, de diferentes épocas y trayectorias, que se podrá ver en dos fases en la ciudad de Bristol entre el 24 de septiembre de 2011 y 5 de febrero de 2012.

La artista española Asunción Molinos (Guzmán, Burgos, 1979) y el creador hispano-brasileño Davis Lisboa (Sao Paulo, 1965) están presentes, gracias a la colaboración de AC/E, en la primera fase de esta exposición, con el Museo agrícola mundial y Davis Lisboa mini-museo, respectivamente. La muestra examina las diferentes interpretaciones que los artistas tienen de lo que debe ser un museo al tiempo que traza las metodologías y razones utilizadas por los creadores para crear sus propias instituciones. Unas instituciones que van, históricamente, desde la crítica dirigida a instituciones artísticas hasta ejemplos más contemporáneos que centran su atención en esferas sociales y políticas más amplias de hegemonía cultural.

En la muestra se pueden ver tanto museos que emplean un enfoque “museológico” clásico como el Musée d’Art Moderne, Départment des Aigles, de Marcel Broodthaers, y el absurdo Museum of Safety Gear for Small Animals, de Bill Burns, como interpretaciones más amplias y conceptuales de la infraestructura de un museo, como el Museo de Arte Conceptual de Tom Marioni -un bar que funciona como tal y ofrece en ejemplo temprano de obra de arte “de ambiente cordial” en EEUU- el abyecto Museo de la Basura o la utopía del Museo Aero Solar –una institución flotante elaborada con miles de bolsas de la compra recicladas-.

Aunque el centro de arte Arnolfini será la principal sede de esta exposición algunas de las obras podrán verse en otros lugares de la ciudad como el M Shed, situado al otro lado del puerto, que acogerá el Museo de la Revolución, de Marko Lulic o la antigua comisaría de policía de Bridewell que dará cabida al Museo Agrícola Mundial, de Asunción Molinos. El multitudinario evento del Museo Aero Solar podrá verse, por su parte, el domingo 9 de octubre en el distrito de Hengrove en el sur de Bristol.

Entre los museos ficticios de la primera fase (del 24 de septiembre al 19 de noviembre de 2011) , podrán verse el Museum of Contemporary African Art (Meschac Gaba), La Boîte-en-Valise (Marcel Duchamp), Museo Aero Solar, Museum of Conceptual Art (Tom Marioni), La Galerie Légitime (Robert Filliou), Schubladenmuseum/Museum of Drawers (Herbert Distel), Museum of Safety Gear for Small Animals (Bill Burns), Davis Lisboa Mini-Museum (Davis Lisboa), Museum of Projective Personality Testing (Sina Najafi & Christopher Turner), Museum of Revolution (Marko Lulic), Intuitive Galerie (François Curlet), Moon Museum (Forrest Myers), Musée d’Art Moderne, Départment des Aigles (Marcel Broodthaers), Museum for Myself (Peter Blake), World Agriculture Museum (Asunción Molinos), Stemhokkenmuseum/Voting Booth Museum (Guillaume Bijl), Nasubi Gallery (Tsuyoshi Ozawa), A History of Art in the Arab World: Part 1_Chapter One. Section 139: The Atlas Group (1989 -2004) (Walid Raad), Blackout Leica Museum (Sarkis), Museum of Ordure, From the Freud Museum (Susan Hiller), “I founded a fictitious museum in New York in ’68 and collected 1,000,000 minutes of attention to show” (James Lee Byars) y Museum of Failure (Ellen Harvey).

En la segunda fase (del 9 de diciembre 2011 al 5 de febrero de 2012) se verán: Palestinian Museum of Natural History and Humankind (Khalil Rabah), Danger Museum (Øyvind Renberg & Miho Shimizu), Museum of American Art, Museum of Non-Participation (Karen Mirza & Brad Butler), Museum of Television Culture (Jaime Davidovich), Victoria and Alferd Museum (Åbäke), Hu Xiangqian’s Museum (Hu Xiangqian), Museum of Forgotten History (Maarten Vanden Eynde), y Museum of Incest (Simon Fujiwara).

Fuente: Acción Cultural Española, AC/E

Título de la exposición: “Museum Show”
Sede: Centro cultural Arnolfini, M Shed, comisaría de Bridewell y distrito de Hengrove
Ciudad: Bristol
País: Reino Unido
Fechas: Del 24 de septiembre de 2011 al 5 de febrero de 2012 (1º fase: del 24 de septiembre al 19 de noviembre de 2011; 2ª fase: del 9 de diciembre al 5 de febrero de 2012)

Artes plásticas

AC/E, Acción Cultural Española, Asunción Molinos, Bristol, Centro cultural Arnolfini, Davis Lisboa, Embajada de España en el Reino Unido, Ministerio de Asuntos Exteriores y de Cooperación de España, Reino Unido


MI MUSEO, MIS NORMAS - ELMUNDO.ES | MADRID

ARTE | Exposición sobre museos de autor

20 centímetros cúbicos es un espacio suficiente para albergar exposiciones temporales. Lo ha demostrador el artista hispano-brasileño Davis Lisboa (Sao Paulo, 1965), creador y dueño de un cubículo para exhibir pequeñísimas piezas de arte contemporáneo, videoarte incluido. Por sus dimensiones, es un museo que cabe en una maleta y que ha viajado ahora para exhibirse junto a otros peculiares "museos de autor", en una muestra en Bristol sobre centros de arte ficticios ideados por artistas.

La exposición 'Museum Show' -organizada por el centro de arte Arnolfini de Bristol, en colaboración con Acción Cultural Española, el Ministerio de Asuntos Exteriores y la Embajada de España en el Reino Unido- reunirá a partir de este sábado instituciones imaginarias de 40 artistas de todo el mundo.

Junto a Davis Lisboa, poseedor del museo de arte contemporáneo más pequeño del mundo, participa también la española Asunción Molinos Gordo (Guzmán, Burgos, 1979), con su World Agriculture Museum. No es la primera vez que esta artista utiliza conceptos agrícolas en sus obras.

En la muestra se pueden ver tanto museos que emplean un enfoque "museológico" clásico como otros que rozan lo absurdo. Entre las interpretaciones más conceptuales de la infraestructura de un museo, el gabinete de Acción Cultural Española destaca el Museo de Arte Conceptual de Tom Marioni -un bar que funciona como tal y que trata de enfatizar que beber entre amigos también puede ser todo un arte o el Museum of Safety Gear for Small Animals, de Bill Burns, con objetos inútiles para la protección de animales.


Museum Show
Part 1 & 2
Exhibitions
Sat 24 Sep - Sun 5 Feb
Free
Museum Show Part 1
24 Sep - 19 Nov 2011

Including:
Museum of Contemporary African Art (Meschac Gaba), La Boîte-en-Valise (Marcel Duchamp), Museo Aero Solar, Museum of Conceptual Art (Tom Marioni), La Galerie Légitime (Robert Filliou), Schubladenmuseum/Museum of Drawers (Herbert Distel),Museum of Safety Gear for Small Animals (Bill Burns), Davis Lisboa Mini- Museum (Davis Lisboa), Museum of Projective Personality Testing (Sina Najafi & Christopher Turner), Museum of Revolution (Marko Lulic), Intuitive Galerie (François Curlet), Moon Museum (Forrest Myers), Musée d'Art Moderne, Départment des Aigles (Marcel Broodthaers), Museum for Myself (Peter Blake), World Agriculture Museum (Asunción Molinos), Stemhokkenmuseum/Voting Booth Museum (Guillaume Bijl), A History of Art in the Arab World: Part 1_Chapter One. Section 139: The Atlas Group (1989 -2004) (Walid Raad), Museum of Ordure (Stuart Brisley)...

Museum Show Part 2
9 Dec - 5 Feb 2012

Including:
Palestinian Museum of Natural History and Humankind (Khalil Rabah), Danger Museum (Øyvind Renberg & Miho Shimizu), Museum of American Art, Museo Salinas (Vicente Razo), Museum of Non-Participation (Karen Mirza & Brad Butler), Fernsehgalerie/TV Gallery (Gerry Schum), Museum of Television Culture (Jaime Davidovich), Museum of Modern Art Syros (Martin Kippenberger), Museum of Failure (Ellen Harvey), Victoria and Alferd Museum (Åbäke), Hu Xiangquian's Museum (Hu Xiangquian), Museum of Forgotten History (Maarten Vanden Eynde), Museum of Unfinished Art (Mark von Schlegell), Museum of Incest (Simon Fujiwara)...

One of the most curious tendencies in modern and contemporary art has been that of museums created by artists. Museum Show will be a large-scale exhibition - a museum of museums - displaying this comprehensive selection of highly idiosyncratic, semi-fictional institutions. Presented at Arnolfini in two chapters, beginning with Part 1 from 24 September - 19 November 2011, it will be the first exhibition to chart this particular tendency in contemporary art.

Artists have continued consistently to invent their own institutions. The reasons for practitioners deciding to work in this way have varied greatly between artists - from critique directed specifically towards institutions of art, to more contemporary examples that focus their attention towards wider social and political realms of cultural hegemony.

Across its two chapters, Museum Show will present museums by approximately 40 artists from across the spectrum of career status, canonical to emerging, and from around the globe. The exhibition presents ‘museums' that employ a classic ‘museological' approach, including Marcel Broodthaers' seminal Musée d'Art Moderne, Départment des Aigles, Tsuyoshi Ozawa's Museum of Soy Sauce Art, or the absurdity of Bill Burns' Museum of Safety Gear for Small Animals, through to broader, more conceptual understandings of a museum infrastructure, such as Tom Marioni's Museum of Conceptual Art - a functioning bar and an early example of ‘convivial' artwork in the US, to the abjection of Stuart Brisley's Museum of Ordure, or the utopia of Museo Aero Solar - a floating museum made of thousands of recycled carrier bags.

The opening of Museum Show Part 1 will also mark the landmark occasion of Arnolfini's 50th anniversary, and the culmination of a year of celebration.

Museum Show Part 1 is supported by:

Mondriaan Foundation
Canada House Arts Trust
Acción Cultural Española
The Henry Moore Foundation
The Japan Foundation
Austrian Cultural Forum
The Swiss Arts Council Pro Helvetia
Embassy of the Kingdom of the Netherlands
The Great Britain Sasakawa Foundation

Perspective

The Apparatus is a year-long project running throughout 2011, to mark Arnolfini's 50th anniversary. This series of exhibitions and events will focus on the conditions of the art world today, particularly its systems of belief and valuation, its role within society, and its relationship to the wider political economy. The Apparatus is about the ‘makings of' artists, of artworks, of institutions, and of a cultural infrastructure.

50th Anniversary Weekend

Arnolfini is 50! We are celebrating 50 years of presenting the very best in contemporary art in all its forms; visual, performance, music, cinema, sound and literature during the weekend of 23 - 25 September.

Artistic Director and Chief Executive Tom Trevor commented ‘When Arnolfini opened, the founding Director Jeremy Rees wanted to put a plaque above the door saying ‘Enjoy Yourself!'. Although this inscription never appeared above the door, the spirit remains, for our 50th anniversary celebrations - we hope you 'enjoy yourself'.

Arnolfini, 2011, "What is on Exhibitions", Bristol, UK. http://www.arnolfini.org.uk


“MY ART IS TO LEAVE A SPACE TO BE OCCUPIED BY ARTISTS WHERE THEY CAN SHINE FOR THEMSELVES”

Davis Lisboa defines his art in the way. He is the creator and director of the Davis Museum – The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona. Since 2009, the ‘smallest museum in the world’ has orgnaised exhibitions of contemporary art in a plexi-glas ballot box of 7.8 x 7.8 x 7.8 inches. Designed as a low cost institution, with low cost production and shipping of works, it exhibits artists from as far afield as Brazil, Iran, US and France.

What are the components of the Davis Museums projects?

The project has a physical aspect and virtual one. The first includes the display of the permanent collection in museums, biennials, galleries or at the Davis Museum’s showroom in Barcelona. Here the Davis Tower Museum, a ballot box on a white pedestal is displayed. Every four months a miniature work by a different artists is exhibited.

How is the virtual side of the museum developed?

In the virtual sphere, we include the installations in 3D at the Karura Art Centre Museum located in Second Life. Interviews, photos, events and the online flyers are sent to the mailing list of the Davis Museum. A video is published on YouTube on the occasion of each exhibition; this video works as a shared creation between the exhibiting artists and myself creating the video. This information forms an open archive of works of art by a selection of artists of the late 20th and early 21st Century.

Describe the genesis of the Davis Museum?

After twelve years studying Fine Arts at the University of Barcelona, I decided to take some time to read all those books that I had not had the time to read so far. One of those books was Art since 1900, modernism, antimoderism, postmodernism by Hal Foster, Rosalind Krauss, Yve-Alain Bois and Benjamin H.D. Buchloh. In that book, I noticed how the work Boîte-en-valise by Marcel Duchamp opened an un-explored field and how 40 years later, Robert Filliou worked to advance this approach to art. I was just reading about his Galerie Légitime when I had a ‘revelation’. In a few seconds, a whole series of ideas for the Davis Museum came to my mind, like a waterfall. If the Boîte-en-valise contained miniature works by Duchamp, and Galerie Légitime exhibited works by artist friends of Filliou, then the Davis Museum would exhibit works by artists both in a physical form and a virtual one. It would be a kind of social art network that would highlight its contemporary context.

What was the logic of choosing a ballot box as the museums ‘architecture’?

It’s clear that the ‘architecture’ of the Davis Museum is a ready-made, a slightly modified industrial object that flirts with minimalism and (dangerously) with advertising. But overall, I would like to pose a political reading of the art system which does nothing but prevent the direct involvement of artists in the institutions. My intention was to propose a new way of organising a museum of contemporary art through a citizens initiative through digital communication platforms, and thus collectively create public value. The museum is a ballot box so when an artist decides to donate a work, this in a sense gives a vote of confidence to the Davis Museum’s project and fulfills its social function, disseminating the art of artists involved.

Could you explain the relationship between the Davis Museum and the Brazilian anthropophagy movement?

At the beginning, the museum was called The Anthropophagic Davis Lisboa Museum of Contemporary Art and this was a way to update a tendency in the modern Brazilian art tradition. A museum that “symbolically devours the work and metabolises it in order to transform it into a new culture.” This idea has been misunderstood by most of the exhibiting artists. So for its presentation at the Generalitat de Catalunya (the regional government), I hesitated; I removed the adjective ‘Anthropophagic’ and thus emphasised the contemporary art collection of the Davis Museum. Although the adjective in the title is absent, the idea of ‘swallowing an alien culture” indirectly persists.

What criteria do you usually use to select the works?

The quality of work and the ideas are very important. The pieces should be able to create a dialogue with other works from the collection, and must be contemporary in form and content. The ‘style’ of having been produced by the end of the 20th century and early 21st.

How do you decide how to display the Davis Museum?

Just like the Boîte-en-valise and Galerie Légitime, the Davis Museum is a museum in miniature and is portable. However the Davis Museum is a ‘fluid’ museum which can take infinite forms such as cardboard toys (DTAM I, David Art Toy Museum I), a plastic toy (DTAM II, Davis Art Toy Museum II), a sculpture of lead (DLM, David Lead Museum), a pedestal (DTWM, Davis Tower Museum) or a rock (DRM, Davis Rock Museum). So, for me, the challenge is to constantly adapt the museum to changing environments.

Fischer, Agustín R. Díez (Buenos Aires, Argentina, 1982)
BA in Art History - University of Buenos Aires
Interview realized by Skype on July 30th, 2011 as part of a PhD research supported by the CONICET


MUSEUM SHOW - ARNOLFINI - 24 SEPTEMBER–20 NOVEMBER 2011

Including: Danger Museum, Davis Lisboa Mini-Museum, Intuitive Galerie,
La Galerie Légitime, MER Paper Kunsthalle, Moon Museum, Museo Aero Solar, Museo Salinas, Museum of American Art, Museum of Conceptual Art, Museum of Contemporary African Art, Museum of Failure, Museum of Franco Besaglia, Museum of Incest, Museum of Learning Things, Museum of Modern Art Syros, Museum of Mott Art inc., Museum of Non-Participation, Museum of Ordure, Museum of Projective Personality Testing, Museum of Revolution, Museum of Safety Gear for Animals, Museum of Television Culture, Palestinian Museum of Natural History and Humankind, Victoria and Alferd Museum…

One of the most curious tendencies in modern and contemporary art has been that of museums created by artists. Museum Show will be a large-scale exhibition of approximately 40 museums—a museum of museums—displaying this comprehensive selection of highly idiosyncratic, semi-fictional institutions. It will be the first exhibition to chart this particular tendency in contemporary art.


de Juan, Nana Terra/Agencia EFE, Vida e Estilo, Turismo, Conheça o menor museu do mundo; designer é brasileiro,February 23th 2011, Brasil. http://vidaeestilo.terra.com.br/turismo/interna


DAVIS MUSEUM, THE SMALLEST MUSEUM IN THE WORLD

A brainchild of the Hispanic-Brazilian artist Davis Lisboa, it is the smallest of the world’s museums. With dimensions of merely 20 cm3, it is installed in the “showroom” of the apartment of its creator, an advertising designer residing in Barcelona.

NANA DE JUAN

This miniaturist museum founded on Facebook in 2009 and listed in the official guide of museums of Barcelona's institutions “is a non-profit project that acts as an organizer and producer for virtual and real exhibitions, fosters investigation and promotes contemporary art shows along with its own permanent art exhibition” explains its creator Davis Lisboa to Efe. “The museum’s aim is to select, present, study, propagate and conserve both young and reputable contemporary artists´ works of art from around the world and also run travelling exhibitions to other cultural centres in order to generate debate, new ideas and reflection” points out Davis Lisboa, a holder of a collection of 106 pieces of art to date.

The concept of the receptacle is based on the idea of a ballot-box “because each piece of art that an artist donates is like a vote, and given that the ballot-box is mine, each vote is in essence a new piece of collection for the museum”. In addition to quality, a fundamental requirement for any piece of art to be part of this exhibition is to fit into this 20 x 20 x 20 cm acrylic glass and vinyl receptacle. “I’ve converted a ballot-box into art, into something sacred. It has already hosted quality works of art of fifteen international artists, each usually displayed for about four months such as the current exhibit of clay tablets of the Catalan artist Antoni Socías” comments Davis Lisboa eagerly.

After twelve years of Fine Arts studies at the Escuela Sant Jordi of Barcelona, Davis Lisboa came across a fascinating book on the history of art titled “Art since 1900”. His further studies into Marcel Duchamp's Boite-in-valise from 1935 and Robert Fillou's Gallerie Legitime from 1962, both receiving harsh institutional criticism pushed him towards an “inspiration” that he names as ”a waterfall of ideas”. “I jumped up from the chair because I saw that these artists were the forerunners of what would later become my Davis Museum, a space in line with 21st Century reality, adaptable to social networks like Facebook. It was as if a bulb had switched on in my head, a kind of sixth-sense intuition” says Lisboa.

DAVIS MUSEUM IN BRISTOL.

Even though the economic crisis has negatively affected the subsidies this peculiar museum received in the past two years, its creator is still content that the cultural centre of Bristol has just contacted him for a guest show from 20th to 24th September 2011, an exhibition which he is currently preparing the project for and selecting the 36 works of art he would like to display.

Since its foundation in January 2009, the aim of Davis Museum has been to launch a virtual-physical social project that would be a collective work of art made up of small dimension pieces that artist would choose to donate. This museum intends to be a non-profit project as long as the economic reality allows “because we are not an art gallery, we do not sell the works of art, we are a museum” underlines Davis Lisboa.

As far as the benefit for the exhibiting artists is concerned, Lisboa defines it as “being visible to a global art network and in addition being included in an approximately six thousand alert messages sent out to people connected with the world of visual arts”.

AN ISLAND OF RESISTANCE

Davis assures artists interested in exhibiting their work in the Museum that no matter what form of art their work is, it will be judged in terms of artistic quality, and that the only overall limitation for the pieces is to have a maximum dimension of 20 cm3. Artists that have already had some work of theirs exhibited in some other museum may be given preference, though this is not a hard and fast rule.

Those interested please write to this email address: info@davismuseum.com. The philosophy of this peculiar museum according to its creator is that “the market is like a "tsunami" and it will swallow anything it encounters on its way while DM remains an island of resistance.” An island of resistance that can presently be visited in the apartment of its creator but which has also had its permanent residence in Second Life along with travelling exhibitions to other cultural centres and institutions and which will be hosted by the Bristol cultural centre at the age of two years and nine months, an event that will mark its becoming a grown-up.

Terra, Noticias / Agencia EFE, Gente y Cultura, Actualidad, Davis Museum, el museo más pequeño del mundo, Nana de Jaun, 2011, Madrid, Spain. http://noticias.terra.es


DAVIS MUSEUM, THE SMALLEST MUSEUM IN THE WORLD

El Centro, Internacional, Davis Museum, el museo más pequeño del mundo, Nana de Juan, Sunday, January 30th 2011, Talca, Chile, pp. 13.


DAVIS MUSEUM, THE SMALLEST MUSEUM IN THE WORLD

El Sol, Informe Especial, Davis Museum, el museo más pequeño del mundo, Nana de Juan, Friday, January 28th 2011, Mendoza, Argentina, pp.12, pp. 13.



MUSEUS CATALUNYA

_

MUSEUS CATALUNYA
I CENTRES DE PATRIMONI CULTURAL

Cultura Museus

Musèus
Patrimòni Culturau

Museos
Patrimonio Cultural

Museoak
Kultura Ondarea

Museus
Património Cultural

Museums
Cultural Heritage

Musées
Patrimoine Culturel

Museen
Kulturelles Erbe

Musei
Patrimonio Culturale

CosmoCaixa Barcelona
Barcelona
Museu de la Ciència de l'obra Social de la Caixa
CIÈNCIA I TÈCNICA · CIÈNCIES NATURALS
C. d'Isaac Newtow, 26 · 08022 Barcelona (Barcelonès)
Tel. 93 212 60 50

Davis Museum
The Davis Lisboa Mini-Museum of Contemporary Art
ART
C. Puigmartí, 7, 1r, 2ª · 08012 Barcelona (Barcelonès)
Tel. 93 285 66 22 · 689 75 36 00
www.davismuseum.com · info@davismuseum.com

Fundació Antoni Tàpies
ART
C. Aragó, 255
08007 Barcelona (Barcelonès)
Tel. 93 487 03 15
www.fundaciotapies.org
museu@ftapies.com

Fundació Foto Colectania
ART
C. de Julián Romea, 6 · 08006 Barcelona (Barcelonès)
Tel. 93 217 16 26
www.colectania.es · colectania@colectania.es

MUSEUS CATALUNYA, Museus i centres de patrimoni cultural a Catalunya, Direcció General del Patrimoni Cultural, Subdirecció General de Museus I. Catalunya. Departament de Cultura i Mitjans de Comunicació II. Catalunya. Subdirecció General de Museus III, Primera edició: maig 2010, ISBN 9788493483692. Dipósit legal: B.32.317-2010, p. 1 i 21.


EL MUSEO MÁS PEQUEÑO DEL MUNDO.

¿Buscas propuestas originales en Barcelona? Pues en Puigmartí 7 tienes el Davis Museum, un museo de arte contemporáneo con un espacio de tan sólo 20 cm3 y con una colección permanente propria, Creada por el artista Davis Lisboa, esta escultura/mini-museo acoge hasta el 31 de diciembre la exposición Tablillas C2, de Antoni Socías. www.davismuseum.com

Estrada Royo, Pedro, Selected Art, Revista DT Lux, Focus Ediciones, S.L., nº 123, [mensual] octubre de 2010, p. 32.


Davis Museum, Barcelona

The world’s tiniest museum of contemporary art.

“For over two centuries, a museum has meant a fixed place showing a permanent collection of exhibits. In the same manner, Davis Museum comprises pieces of art with the difference of not being in the same place all the time; it is a mobile museum. It wanders like showmen of the past used to.”- we can read on the web page of the Portable Museum of Intermediate Spaces. A similar idea inspired Davis Lisboa, the artist and owner of the world’s smallest museum of contemporary art, when he pondered over its creation. His goal was to transform and re-interpret the traditional concept and context of a museum.

The artists of the Fluxus movement were the pioneers in experimenting with a portable museum. The idea, however, is credited to a work of art of Marcel Duchamp titled Boite-en-valise (1935- 1940), a permanent collection in the interior of a suitcase. The inventor of Davis Museum also considers this work to be the forerunner of his own project. The mini museum in Barcelona is, in effect, a 20x20x20 cm transparent Poly cube, whose mobile version is simply one of its representative forms. And in spite of the fact that the idea was conceived in a room of a downtown flat, Davis Lisboa has already contracted over 140 international artists for the coming exhibitions and for the support of the project. The majority of the 86 tiny pieces of art that comprise the exhibition were sent to Davis as presents and will be displayed to the public in different points of the world following a series of local presentations. In addition to various international institutions and cultural centres, the permanent collection of the exhibition is also hosted by Second Life, a testament to the original goal of its inventor: to reach the largest possible public with presentations of contemporary art, be it in places as remote from art as downtown pedestrian streets or virtual game worlds.

This is multi-level project. On one hand, it is made up of a permanent collection, part of which is continually replaced in the glass fronted cabinet-like space of the exhibition room. This periodically rotated presentation of 15 works of art enables the museum to define itself by dividing the permanent collection into smaller groups. The collection presented in the showcase however does not easily allow for a synthesis in the perception of the complete scale of the pieces of art on display. An obvious factor in this lack of uniformity in the overall image of exhibits is the great variety of the collection in terms of technical solutions, dimensions and material composition, in addition to the fact that they were originally meant to be exhibited as individual pieces, which makes them virtually impossible to be integrated under a uniform concept. In this manner, the display area shows small individual pieces of art that are independent from each other, yet coexist in the same space.

Another level of the project is made up of the temporary collection of the display cube museum and its mobile version which, alike the Portable Museum of Intermediate Spaces, installs exhibits of contemporary art in places that often have little or nothing to do with art. Beyond the interest of conventional museum-goers, the mobile museum strives to seek out the attention of further potential public not by means of conventional advertisements but through the display of actual works of art. The mini-museum that pops up in different places selects from its permanent collection with names in their line-up of artists such as Carlos Rezende, Antoni Socías, Karen Chu, Edward Lightner and Barbara Juan.
A third pillar in the life of this museum is a virtual exhibition titled Virtual Solo Exhibition that can be accessed at www.davismuseum.com where installations and videos of different artists await virtual visitors´ interest. The Davis Museum of Barcelona uses diverse forms in the attempt of integrating its artists in the international arena of art and help their work gain international context.

The goals of this museum are clear. Each of the three distinct projects described here contribute to making the experience of contemporary art known by a larger public by widening the conventional concepts of contact with art and its related exhibition spaces.

Stánitz Zsuzsanna

Stánitz, Zsuzsanna, Davis Museum, Barcelona, Múértó, Foreign exhibitions, HVG, Budapest, Hungary, September, 2010, p. 21.


DE ARTES A Z

With 7,8x7,8x7,8 inches (20x20x20 cm) size, the Davis Museum in Barcelona is the SMALLEST CONTEMPORARY ART MUSEUM in the world and it has a own collection, which is accompanied the museum in travellers exhibitions.

Dasartes, Artes Visuais em Revista, De Arte a Z, edição 9, O Selo, Grupo Indexa Editora Ltda., Rio de Janeiro, Brasil, abril de 2010, p. 30.


DAVIS MUSEUM, ANTROPOFAGIA ESTÉTICA: ENTREVISTA A DAVIS LISBOA. POR LIZABEL MÓNICA

Lizabel Mónica: Mi primera pregunta para Davis se desprende de la línea anterior. Davis Museum no es ni pretende convertirse en un negocio, pero anuncia que puede convertirse en un proyecto oficial con el apoyo de alguna institución interesada. ¿Puedes hablarnos de las estrategias a largo plazo que DAVIS MUSEUM, The Anthropophagic Davis Lisboa Museum of Contemporary in Art in Barcelona está planeando para sobrevivir y/o crecer?

Davis Lisboa: Es muy importante dejar claro que DM es un museo y está exclusivamente enfocado hacia el estudio y divulgación de las artes visuales contemporáneas. No es una galería de arte, por lo tanto, no está interesado en la comercialización de las producciones culturales ni con plusvalías. Esto no quiere decir que no se pueda buscar un sponsor privado o público o una subvención estatal, para que el proyecto pueda crecer. DAVIS MUSEUM está siendo presentado a algunas fundaciones y algunas de ellas demuestran un cierto interés en el museo. También existen algunas personas interesadas en participar con su trabajo voluntario. Uno de estas personas es una arquitecta canadiense que estaría dispuesta en proyectar un edificio virtual para DAVIS MUSEUM en Second Life. Se trabaja duro, seamos, pues, pacientes, porque creo que los resultados vendrán.

LM: ¿Hay / habrá estrategias de colaboración en DAVIS MUSEUM con otros proyectos e instituciones?

DL: Sí. Ha habido, hay y habrá colaboraciones de DAVIS MUSEUM con otros espacios e instituciones culturales, tanto oficiales como alternativas. El LACDA, Los Angeles Center for Digital Arts; el Museo Karura Art Center (MKAC); el Centre Cívic Parc-Sandaru y la Pontificia Universidad Católica del Perú son ejemplos de estas colaboraciones.

LM: ¿Davis Lisboa trabaja solo en la producción, promoción y organización de DAVIS MUSEUM? ¿Será esto siempre así?

DL: Cuando son exposiciones virtuales, normalmente trabajo “casi” solo en la producción, promoción y organización de DAVIS MUSEUM.

De vez en cuando recibo ayudas puntuales de muchas personas, como en la orientación del proyecto, por parte de Maribel Perpiñán; reconocimiento institucional por Joan Solá; búsqueda de alternativas de financiación por Inés Garriga Rodriguez y Belén Sánchez; reseñas críticas por Irene Pomar; cambios de formatos de vídeos por Anna Accensi Alemany; envío de e-mails, por Anna Accensi Alemany; tradución y rectificaciones de textos en Inglés,por Phyllis Alter y Darla Farner; rectificaciones de textos en español y catalán por Francesc Accensi Alemany; diseño de la página web por Anna Accensi Alemany y Aurelio Moreno Lanaspa; sesión de espacio expositivo, divulgación y construcciones de espacios virtuales en 3D por Yolanda Arana López, divulgación académica por José Domingo Elias Arcelles, entre otros.

Cuando son exposiciones físicas, siempre hay unas cuantas personas más involucradas en el proyecto, como en el transporte por parte de Lidia García Rojo; entrevista, montaje y difusión por Catarina Sousa y Bruce Rex; sesión de espacio expositivo, organización, carteles, flayer, animación, catering, reportajes fotográficos, préstamo de proyectores de vídeo y otros objetos por Laura Urrea García y Bruce Rex; ayudas económica, por la Tasca; entre otros.

Además de todos los artistas que ya han enviados sus obras para hacer parte del acervo de DAVIS MUSEUM.

En el futuro, y si un patrocinador me lo permite, me encantaría poder contar con la colaboración de un crítico, un historiador y un restaurador de arte.

LM: La muestra inaugural de DAVIS MUSEUM (1ero de enero- 31 de marzo de 2009) fue The Museum Is The Work Of Art de Davis Lisboa: el objeto-museo que puede tomarse como una suerte de prólogo de sí mismo -el objeto escogido para crear este museo es una urna de votación, un cubo de metacrilato utilizado para recoger los votos en una elección. DAVIS MUSEUM se autodenomina museo/escultura/obra de arte colectiva, y tal como lo declara la página web, su dinámica de exposiciones determina una autoría colectiva que lo conecta con la estética relacional, alterando la noción de autor. ¿Quieres hablarnos acerca de esto?

DL: DAVIS MUSEUM está vinculado a la estética relacional porque es una obra que, al contrario del Conceptual de los años 70, está en contra las concepciones del arte como idea cerrada, abstracta, incomprensible, alejada, inaccesible, con una postura crítica en contra de la visualidad y sobre todo, inútil socialmente; en cambio DAVIS MUSEUM defiende la idea de la obra como abierta, concreta, razonablemente comprensible, cercana, moderadamente accesible, con una postura -aunque crítica- “coqueta” con la visualidad, y por encima de todo y lo más importante: socialmente útil para las personas relacionadas con las artes visuales. DM no es solo mi obra de arte, sino que es nuestra obra de arte colectiva, creada con la participación voluntaria de varios artistas y colaboradores. Estos, desde luego, tienen el pleno derecho de firmarla. Esta idea es menos común en las artes plásticas que en el cine o en el teatro, en que la formación de un grupo es fundamental.

LM: La presencia del vocablo "antropofagia" en el subtítulo para connotar la práctica caníbal de DAVIS MUSEUM, The Anthropophagic Davis Lisboa Museum of Contemporary in Art in Barcelona, y su descripción como una obra que "se traga" otras obras de distintos artistas y disciplinas está asociado en la argumentación del proyecto a la Semana de Arte Moderno de São Paulo de 1922, que irrumpió en el arte y la literatura brasileñas con toda la fuerza del movimiento modernista de vanguardia, así como a las neovanguardias que tuvieron lugar en las décadas de los ochenta y noventa. ¿Qué toma Davis Museum de ambos momentos y cómo articula este legado dentro de la estética postmodernista o neomoderna que asimila o consume la mirada contemporánea?

DL: DAVIS MUSEUM toma prestado el término, el concepto, de lo “antropofágico” como legado cultural del Modernismo Brasileño de 1922. Aquellos artistas lucharon para construir una identidad moderna brasileña, mezclando sin ningún pudor las tradiciones culturales indígenas, africanas y europeas. DAVIS MUSEUM también quiere reconstruir y redimensionar esta identidad brasileña, tragando, cual indio sudamericano caníbal, la cultura llegada de fuera, para regurgitarla y transformarla en producto artístico revelador. En cuanto a las propuestas de la posmodernidad de los años 80 y 90, DAVIS MUSEUM se adentra en un proceso crítico de los límites de la autoría y el plagio, proponiendo la imposibilidad de la creación original pura del imaginario romántico y propone la hibridación, mezcla y fusión total de géneros y categorías artísticas.

LM: En el texto de Irene Pomar, fechado en París, en julio de 2009, que colocas al inicio de la página referencial de DAVIS MUSEUM, se dice: "DAVIS MUSEUM acts as a new device for experimentation, a place where the visitor enters and donated works of art are exhibited, creating a game of feedback..." ¿Es así para Davis Lisboa? ¿Puedes abundar sobre esté círculo cerrado que se concentra en la esfera de la producción cultural contemporánea?

DL: Sí, para mí, una de las característcas de DAVIS MUSEUM es que crea un pequeño laberinto o acertijo mental, invisible para los ojos y perceptible solamente bajo un análisis reflexivo de sus relaciones intrínsecas. En relación a como este círculo cerrado que se concentra en la esfera de la producción cultural contemporánea, basta recordar que toda la estética relacional de DAVIS MUSEUM se sustenta en la utilización de plataformas gratuitas y redes sociales como Facebook y YouTube, que juegan un papel fundamental, no solo en la organización, como en los contenidos estratégicos relativos a las posibilidades e investigaciones del New Media Art. Parafraseando a Bruce Rex, curador del LACDA, Lo digital define lo contemporáneo.

LM: Mencionas como precedentes a DAVIS MUSEUM la Boite-en-valise de Marcel Duchamp y la Galerie légitime de Robert Filliou. Otra vez nos remitimos a las palabras introductorias de Irene Pomar, en las que se dice que DAVIS MUSEUM "enjoys the neutrality of the readymade object" y se encuentra más allá del Dualismo y el Simbolismo. ¿Hace uso DAVIS MUSEUM de esta llamada "neutralidad" del ready-made? En otras palabras: ¿"cree" en ella DM?

DL: DAVIS MUSEUM posee una intención estética neutral que comparte con la escultura ready-made, lo que no significa que busque lo mismo desde el punto de vista conceptual. Y es así por una cuestión de prioridades visuales. Pienso que DAVIS MUSEUM debe ser un espacio físico silencioso y abierto, para que la obra de los demás artistas pueda comunicar sus contenidos críticos o líricos.

LM: En el perfil que aparece en tu página web dices que eres un artista "polifacético, multidisciplinar y globalizado" que trabaja borrando las fronteras entre artes aplicadas y plásticas, alta y baja cultura, arte y mercado, tecnología y artesanía." Existe todo un tópico en el campo de la hermenéutica que alcanza a las artes plásticas contemporáneas, y que distingue entre "globalización", como un proceso desencadenado fundamentalmente desde los Estados Unidos, y "mundialización", en tanto experiencia del encuentro, vista desde una noción relacional, entre diferentes culturas. ¿Estás al tanto de esto? ¿Cuál es tu posición al respecto?

DL: No estoy al tanto sobre este tema. No tengo ninguna posición al respecto.

LM: Recientemente tuviste un incidente con la promoción que se le hizo al proyecto alemán Smallery, muy parecido a DAVIS MUSEUM, aunque posterior en su fecha de creación. Los articulistas decían que Smallery era el proyecto de su tipo más pequeño en el mundo, obviando a DAVIS MUSEUM, que es menor en proporciones. ¿Crees que existe un problema de divulgación insalvable con los proyectos artísticos no-europeos o no-estadounidenses? ¿Cuál es tu opinión al respecto y qué estrategias de divulgación tienes y proyectas para DM?

DL: DM es proyecto artístico nacido en Barcelona aunque posee una “alma” multicultural. DAVIS MUSEUM ha sido inaugurado en el día 1 de enero de 2009 y Smallery ha sido inaugurada en el día 7 de agosto de 2009. El primero tiene una dimensión de 20 x 20 x 20 cm, mientras que el segundo tiene una dimensión de 200 x 200 x 200 cm. Smallery se anuncia como posiblemente la galería más pequeña de Berlín, Alemania o del mundo (según la publicación), lo que me parece un título muy llamativo, que demuestra la habilidad de sus “creadores”, para esquivar las críticas de posibles “afectados” sobre la fechas de creación, tamaño, localización del proyecto. Una vez que descubrí a Smallery, decidí entrar en contacto con el periódico español El País y pedir explicaciones del porque los proyectos artísticos alemanes acaban por tener más divulgación que los españoles. La respuesta del responsable del Suplemento Cultural fue que simplemente los reporteros no conocían a DAVIS MUSEUM y que los directores estudiarían mi caso e intentarían rectificar y apoyar a los proyectos nacidos en la península. Es momento de esperar como se desarrollan los acontecimientos. Mientras tanto, la estrategia de divulgación de DAVIS MUSEUM continúa centrada en la utilización de plataformas gratuitas en Internet como Facebook, Blogger y YouTube. Aúnque también debo informar que DM ya tiene dos reportajes televisivos que serán emitidos en octubre de 2009. Europa Televisión emitirá uno de ellos que se calcula tendrá aproximadamente 1.000.000 de espectadores en Eurasia y la BTV (Barcelona Televisión) que emitirá el segundo reportaje, el día 18 de este mes, para el público de la ciudad.

LM: Hablas portugués, español, catalán e inglés. El uso del inglés como lengua preponderante en los espacios virtuales de DAVIS MUSEUM, se debe probablemente a la preponderancia de este idioma en el mundo. ¿Es esto así? ¿Alguna estrategia futura al respecto?

DL: Sí. Toda la información de DAVIS MUSEUM, de momento, se presenta en Inglés, por la preponderancia que este idioma posee; aunque no se descarta la posibilidad de que la misma información esté disponible en otros idiomas, como el Catalán, Español, Francés, Portugués, Alemán, o incluso, el Chino Mandarín. Eso sí, desde que haya un sponsor que colabore con la traducción de los textos.

LM: Como museo portátil, DM lleva su muestra hacia otros espacios de exhibición (en tu página se mencionan museos, bienales, centros culturales y galerías). ¿Hacia qué espacios se ha trasladado DAVIS MUSEUM, The Anthropophagic Davis Lisboa Museum of Contemporary in Art in Barcelona desde su fundación en enero de 2009? ¿Hacia dónde viajará próximamente?

DL: Hasta la fecha de hoy [Nota del Editor: Esta entrevista fue realizada en septiembre de 2009], DAVIS MUSEUM ha sido expuesto en el LACDA, Los Angeles Center for Digital Arts, en los Estados Unidos y en el Centre Cívic Parc-Sandaru, en Barcelona, España. Para un futuro, existen dos comisarios residentes en Francia que mostraron su interés en participar del proyecto. Estamos estudiando la posibilidad de que DAVIS MUSEUM sea expuesto en Paris, pero todavía no hemos fijado ninguna fecha.

LM: El criterio de selección de DAVIS MUSEUM parte de su preferencia por artistas ya que tengan al menos una de sus piezas en un museo o que hayan participado en alguna bienal de arte o evento de arte de importancia. ¿No atenta esto contra las intenciones del proyecto de trabajar "borrando las fronteras entre artes aplicadas y plásticas, alta y baja cultura, arte y mercado, tecnología y artesanía", y limita el alcance de DAVIS MUSEUM para llegar a artistas emergentes que por razones de estrategia o por circunstancias geopolíticas se mantengan al margen del mercado y las instituciones?

DL: El criterio de selección de los artistas de DAVIS MUSEUM no es rígido. En la información de la web de DAVIS MUSEUM se puede leer “tendrán preferencia los artistas que tengan al menos una obra en un museo…”. Es decir, los artistas que poseen un buen nivel, conseguirán algunas ventajas como la de tener prioridad en el calendario de las exposiciones virtuales o preferencia en exposiciones colectivas en espacios culturales físicos. Eso no quiere decir que las obras de los artistas que no estén en un museo sean rechazadas por completo, sino que tendrán su lugar y tiempo apropiado a sus méritos. Algunos artistas seleccionados para tener sus obras en la colección permanente de arte contemporáneo de DAVIS MUSEUM provienen del arte comercial, otros son autodidactas y otros no tienen todavía un currículum muy sólido, pero todos ellos, por otro lado, han demostrado que hacen un buen arte.

LM: Para el instante en que salga al espacio virtual la Revista Desliz con esta entrevista, habrás cerrado la muestra de PSJM, Khodorkovsky, 2006, animación, 52'', expuesta en DAVIS MUSEUM desde el 1ero de julio al 30 de septiembre de 2009, y estará en exposición 800ºC, de Gê Orthof, 2009, técnica mixta, 7,8 x 7,8 x 7,8 pulgadas, programada para el 1ero de octubre y hasta el 31 de diciembre de 2009. ¿Qué puedes decirnos de estas dos muestras?

DL: Prefiero que la gente lea los manifiestos de estos artistas publicados en la web de DAVIS MUSEUM y en sus páginas personales, donde encontrarán información sobre los interesantes planteamientos artísticos de estos artistas. Personalmente, pienso que es un honor tenerlos en la colección de arte contemporáneo de DAVIS MUSEUM.

LM: Ha sido un gusto conversar contigo y presentar este joven proyecto en Desliz. Dejamos para el final la pregunta de rigor: ¿Planes de DAVIS MUSEUM, The Anthropophagic Davis Lisboa Museum of Contemporary in Art in Barcelona?

DL: Los planes inmediatos de DAVIS MUSEUM se remiten a encontrar un mecenas o sponsor privado o público que quiera invertir en el proyecto. De esta manera podremos mejorar el espacio de exposición de las obras, la organización de calendario y eventos, crear una instalación itinerante y publicar catálogos, en principio virtuales y, más tarde, impresos, que puedan favorecer a los artistas y a la cultura en general.

Lizabel Mónica

Mónica, Lizabel, Davis Museum, antropofagia estética, Revista Desliz 3, La Habana, Cuba, 2009.


“IS A PLEXIGLAS BOX JUST A SHAPE?
DOESN'T IT BECOME CONTENT WHEN WE INTRODUCE ASHES IN IT?"

Chen Zhen, 1990
In allusion to his work Le Poids/Le Vide, 1990

The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona is an
20-centimeter cube, a ballot box made of transparent Plexiglas. It is an object that
contains processes in which it participates, dissolving its recipient nature in a game
of proposals and counterproposals suggested by this element, the “ballot box.”

Davis Museum Barcelona enjoys the neutrality of the ready made
object and its qualitative leap beyond Dualism and Symbolism. It creates a new space,
a museum with a collection and visitors, whose central component is the presence
of nonstop action. Therefore Davis Museum acts as a new device for
experimentation, a place where the visitor enters and donated works of art are exhibited,
creating a game of feedback; a collective action that uses all available resources, physical
and virtual.

The exhibition of Davis Museum Barcelona at LACDA (Los Angeles Center for Digital Art)
is an unprecedented opportunity to discover a collection of the works of fourteen international
artists including María Cañas, Chen Ping, PSJM; a chance to experience up-close
this process that adds a new dimension to the notion of format. A mini-museum
that gobbles up past and contemporary proposals and begins a new movement
by assuming these sources and absorbing them, escaping the tempting dialectic
of art history by allowing the potential of a transparent ballot box let new intuitions
be born.

Irene Pomar