关于博物馆的想象 The Imaginations of A Museum
展览照片 Exhibition view
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九位艺术家联合创作 Jointly created by nine artists

展期 Opening
Feb 3 - Mar 9 2018 Feb 3 - Mar 9 2018
策展 Curator
刘张铂泷 Liu Zhangbolong
BLANKgallery 荣幸宣布,展览“关于一个博物馆的想象”即将于2018年2月3日开幕。本次展览由“科学恋物癖博物馆”委任9位艺术家/组合进行创作。科学恋物癖博物馆由刘张铂泷建立于2014年,其藏品来自于历史中一些著名的“科学思想实验”。本次参展艺术家包括程新皓,丹丹,刘佳林,石佳韵,石婧宇,STAFFONLY,糖匪,吴鼎,张文心&唐人踢,他们以科学恋物癖博物馆的藏品内容出发,从科学,社会,历史,心理等多重角度展开对于“博物馆”这种意识形态的想象,并呈现多元媒介的创作。展览将持续至2018年3月9日。 BLANKgallery is honored to announce the opening of “The Imaginations of A Museum” on February 3, 2018. The “Museum of Science Fetish” commissioned 9 artists (/groups)to create works for the exhibition. The Museum of Science Fetish was founded in2014 by Liu Zhangbolong, its collections are from some renowned “scientific thought experiments” in history. Participating artists include Cheng Xinhao, Dandan, Liu Jialin, ShiJiayun, Shi Jingyu,STAFFONLY, Tang Fei, Wu Ding, Zhang Wenxin & Tang Renti.Inspired by the collections of the Museum of Science Fetish, the artists represent their imaginations of the “museum” as an ideology from multiple angles including scientific, social, historical, psychological, etc.The exhibition will continue until 9 March 2018.
博物馆是想象的产物。现代博物馆的起源可以追溯至16世纪兴起的珍奇柜(Cabinet of Curiosities),这种收藏模式唯一的标准就是收藏者的兴趣。从动物标本、化石、历史遗物到油画和雕塑,当然其中也不乏传说中的事物,比如独角兽的角。珍奇柜没有明确的分类,也没有统一的标准,它是一个记忆的剧场,更是收藏者对于这个世界的想象。

杰弗里·索纳本(Geoffrey Sonnabend)在他的“遗忘理论”(Obliscence: Theoties of Forgetting and the Problem of Matter)中指出,记忆是人类“创造的最为精巧的构造”,它帮助缓解我们“抵抗最为难以忍受的知识”— 也即时间无可挽回的流逝— 所承受的痛苦。但是,记忆不过是幻象,遗忘才是经验的最终产物。因此,收藏者利用珍奇柜的想象作为抵抗遗忘的有力工具。
Museum is the outcome of imaginations. The origin of modern museums can be traced back to the cabinets of curiosities flourished in the 16th century, of this collecting mode the only criteria is the interest of the collector. From animal taxidermies, fossils, historical relics to oil paintings and sculptures, among them there are also legendary oddities – for example, the horn of a unicorn. The cabinets of curiosities have no clear taxonomy, nor any universal standards, they are a theatre of memory, or rather the collector’s imaginations of the world.

Geoffrey Sonnabend pointed out in his Obliscence: Theories of Forgetting and the Problem of Matter that, memory is ‘the most elaborate of human constructions’, it helps to ease the pain we suffer when ‘buffering ourselves against the intolerable knowledge of the irreversible passage of time’. However, memory is nothing but an illusion, oblivion is the end of the experience. The collectors, therefore, use imaginations inspired by the cabinets of curiosities as a powerful instrument to resist oblivion.

The evolution from cabinets of curiosities to modern museums is a process of establishing intellectual authority. Individual memories have transformed into collective memories, while individual imaginations of the world have become imaginations of power agencies to "the other". Imagination becomes no longer an instrument to resist oblivion, but instead an instrument to make up identities. Hence, we might free ourselves from the bound of museum’s imaginations and instead to imagine about the museum itself.

The Museum of Science Fetish is not a conception about institutions, but a platform built to inspire human imagination. It produces a space to broaden imaginations while presenting exhibitions. It owns a relatively independent context, this independence means that it opens to various contexts including artistic, scientific, social, historical, psychological, etc.