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On Re-collection: New Media, Art, and Social media An e-mail interview with Richard Rinehart — annet

dekker

One of the chapters in your book is titled ‘Open Museum’, referring to André Malraux’s Musée imaginaire (Museum without Walls) from 1947. Malraux discussed the ways in which mechanical reproduction, in particular photography, was changing our understanding of images and visual culture in general. He demonstrated how the unprecedented availability of reproductions was turning the past into an archive, and he challenged observers to draw connections between visual traditions and motifs that had until then been considered unrelated. You use this example to argue for a position for an Open Museum. Could you explain what this idea involves and what the main risks and rewards would be for museums and artists? The idea of the Open Museum certainly draws on Malraux’s Museum without Walls, as well as on a few other precedents. For instance, it also draws on a museum ethos that was first widely articulated in the nineteenth century and is now so fundamental to the modern museum that it usually goes without saying: that of the museum as a public resource, operated for the benefit of a broadly defined social constituency that stretches across demographics and generations.

Speculative Scenarios — Edited by Annet Dekker  

There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences th...

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