“If you look long enough into the void, the void begins to look back through you.”
We have started a process of refurbishing the Museum of Contemporary Cuts (MoCC). Of course it is a web architecture, and not a physical architecture, nevertheless we have asked ourselves a few questions. Should we live the old website as it was while we altered, changed, and refreshed? Or was it more interesting perhaps for our viewers to see how the changes took effect while the pages where still incomplete and filled up with placeholders. The director, Lanfranco Aceti, decided to keep the doors opened. “There have already been way too many closures and enclosures. We have promised our audience to be different and that difference was constructed on the openness of our processes,” he said in a meeting in which the opportunity of openness was debated. “That means participation of our audience and patrons in the processes that build and construct the identity of who we want to become.”
The Museum of Contemporary Cuts (MoCC) is a rather unique experiment. It is a non-institution that borrows methodologies and embeds itself in institutions in order to promote artists and render visible artworks that, because of their sociopolitical content, would remain marginalized and ignored.
The remit of the museum, as times go by, will be more and more that of promoting works of art and artists whose aesthetic is steeped in the analysis of contemporary society, in order to leave a legacy that is not rooted in the ‘shock value’ of the artwork, rather in the research and thinking that is at the basis of the rupture with and departing from tradition.
It cannot be denied that in the canon of art history people like Duchamp, Milton Ernest “Robert” Rauschenberg, or Joseph Beuys have shaped contemporary art history, by profoundly questioning canons and established practices.
Those who followed us and are still following us in this process of renovation, have been involved not solely by sending praise or criticism but also by actively engaging and suggesting alterations which have helped us to develop a participatory architecture within which we hope, in the months to come, to be able to host new seminal exhibitions, historical and aesthetic research surveys, new commissions, and art archives.
Below: The British Museum: The Reading Room under Construction. Wood engraving by J. Brown after C. W. Sheeres, 1855.