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a selection of objects. The museum shows art but also science, tech­ niques, history, and all the new disciplines that generate progress and modernity. Until the early 19th Century, mu­ seums were open only to appren­ tice artists who came to imitate the recognised works. Although af­ ter 1880 they also began to adopt an educational mission, openness to a wider audience was very slow and was accepted with great re­ luctance by a profession that en­ tertained an elitist vision of its function. The more recently established mu­ seums were set up for reasons re­ artworks of Royal collections or This revolutionary idea will nota­ lated to scientific and artistic bly apply with the Organ Museum those that were confiscated from town/country planning objectives nobles and religious congrega­ which manages the ERP tions. Thereafter, the museum, the as well as to economic and political (Establishment Receiving Public) official place to exhibit art, has oc­ considerations. of the Abode of Chaos (Demeure cupied a central place in urban life. Throughout the 1990s, for exam­ du Chaos), whose visitor stats ple, a whole generation of indus­ In Paris, the Louvre was selected (120,000 per year) make it the trialists wishing to leave a lasting most frequented private Museum to become a museum. in the Rhône-Alpes sector (accord­ The objective of a museum, a pub­ impression on their respective lic institution at the beginning, is countries began to build a large ing to Le Progrès Culture). In ad­ to give everyone access to the cul­ number of Contemporary art mu­ dition, the international media seums, especially in northern reaction largely confirmed the the­ tural heritage of the Nation, the idea of beauty and knowledge, via Europe, Germany, northern Italy ories codified in 1999. In 1999, thierry Ehrmann codified the Musée l’Organ (aka, Organ Museum) as an innovative vision: “the Artwork Museum” in which he defined the museum as a work of art in itself based on a building structure that is intrinsically an open-air monumental work of art, made up, in this case, of 4,500 art­ works, visible as a modern-era ca­ thedral.

In fact, the museums and ­public collections of our era are a rela­ tively recent invention dating back to the 18th Century and may be considered the fruit of the Enlightenment Philosophers. The first public museum opened in 1694 in Besançon, France. Elsewhere in the country, it was the Revolution that set up the first museum to permit citizens to see

The Organe Museum or Malraux’s Imaginary Museum

and China. In fact, during the first decade of the new millennium, more museums and Contemporary Art Centres were built than du­ ring the course of the entire 20th Century (source: Artprice). The Organ Museum, with several sociologists specialized in the art market, published a long study on the evolution of museums towards a “free-of-charge” model world­ wide (Editions Musée l’Organ). In 2001, the Organ Museum was a precursor by being the first French Contemporary art museum to be registered on France’s Commercial Registers of Companies. This revolution of the museum model has been spearheaded by the Louvre, which now markets its brand to the Gulf countries. Summarizing his approach, Thierry Ehrmann, founder of the Organ Museum, has said "The specifications of the Organ Museum, which have guided us since 1999, are perfectly coherent with André Malraux’s “Imaginary Museum”. This development is a virtuous circle: content diffusion

on the Internet creates the desire to deepen knowledge, satisfy cu­ riosity and, naturally, to physical­ ly visit different museums around the world." The last word of this presenta­ tion of the museum in the world in 2012 by the Organ Museum be­ longs to André Malraux in his The Imaginary Museum (1947) in which he analysed the museum phenomenon: "The role of muse­ ums in our relationship with art is so great that we can hardly ima­ gine life without them... and yet they have only been with us for less than two centuries. The 19th Century lived with them and we still live with them... and we for­ get that they imposed on visitors an entirely new relationship with art. They helped to deliver from their function the artworks they brought together." Earlier in The Imaginary Museum, this extraordinary visionary says "the 21st Century museum will be the unique place for all the arts, where all cultures, all generations and all social strata will converge."

 Célèbre panneau publicitaire devant

le restaurant Paul Bocuse Famous billboard in front of Paul Bocuse flagship restaurant

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Opus IX: Abode of Chaos / La Demeure du Chaos 1999-2013  

thierry Ehrmann: we put all our passion and folly into preparing this French-English Collector, the book of the decade: 504 pages / 4.5 kg /...

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