The 1 and 99 — lclc.space

Tour 99

Towards a free flow of arts

A national tour of the 7.9 millions unknown artefacts is being launched by the British museum, it is estimated to take 500 years.

The director saids that the tour is the undoing of Noah’s Ark. Where touring becomes a form of collecting, a collection of alternatives narratives and intepretations rather than just the objects themselves.

Some say it might take forever, joining forces by all national museums, loaning requests has reached 200 millions.

Putting objects in crates has doubled the volume to be transported.

It let the artefacts drifts across the mundane, the extraordinary.

In crates the objects totals an area of 10,000,000 m3, they pauses, and open between 2000 destinations.

Objects lands in the most unexpected places: they stretches to the end of lands.

The power of curation is redistributed.

the unknown

Countryside

Between enclycopedic totality and our forgetfulness, the 1 and the 99 is redefined, where it became an interface that is determined not by the state or the curator but through a personal act of intepretation.

The 1 and 99: De-Curating the unknown

Adam had given names... but Noah was the first collector … collecting objects was a primitive act against the deluge of time and the cabinet is its primitive site. In 1753 the cabinets as a site have manifested into a new typology of architecture: the encyclopedic museum: a permanent space of display that became the British Museum. In 2019 it has inflated into 8 million artifacts, of which 99% are locked in archives.

In the name of curation a portrait of the world is constructed, the inaccessible, 7.9 million narratives neglected. A small group of Trustees dictates the 1% on display which constructs our perceptions of collection, in an encyclopedic museum, the world.

This project is a question to the construction of such portraits, the loss of multiplicity of interpretations.

By unfolding the contemporary condition of museum storages the 1/99 questions on our conception of keeping and displaying in relation to the accessibility and the static nature of objects in museum storages.

What is the role of museum curation in the stream of automated feeds, our ever weaker appetite for self interpretations?

We have come from Pliny to Wiki, from British to Google, who are now constructing the single universal museum the google art institute. A question to be re-address is: Who decides the seen and the unseen? The museum has turned from a place where each person has their own narrative to a place where a million people having one.

Adam had given names... but Noah was the first collector ... collecting objects was a primitive act against the deluge of time and the cabinet is its primitive site. In 1753 the cabinets as a site had manifested into the encyclopedic museums, where 99% of what it collects are locked in archives.

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