Twister Visiting Artists

A project by

Twister - Reti Musei Lombardia per l’Arte Contemporanea

GAM- Galleria d’Arte Moderna, Gallarate (Va)

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Video DV

Hypothesis for Diffused Museum.

“Museum have to work in close collaboration with the communities from which their collections originate as well as they serve"

(ICOM Code of Ethics for Museum, 4 November 1986)

ICOM defines Museums as a place to serve society and its development, a generator of interconnections with space and time, imprinted on the present time.

Every type of museum relates to its specific activity and a temporality, such as a museum for Ancient Art, History, an ethnographic museum. The relationship with a physical space for this museums is within their same space necessarily.

The relationship with the audience inevitably arises with attending the collection that the museum concerned.

The Museum of Contemporary Art faces instead a relation with a time “in progress”. Therefore it can not be thought with a “conservative” attitude, because the moment “in act” is something that we can not hold in a static process.

The question is about whether a Museum of Contemporary Art can be considered as a Mirror of the Art of Now and as a place for a real contemporary, precisely because the act of preserve has within a contradiction with the moment “in act “, which inevitably has already passed. and not contemporary anymore.

Moreover, contemporary art spreads its enjoyment outside home. Now the aesthetic experience is living a state of democratization that gives more importance to the living experience during the process than to Art as closed object.

There is no doubt about the importance of the role and the function of museums, as defined by ICOM, but I would just try to really wonder if these devices still work in the contemporary and for the contemporary.

The interiors of museums got a radical transformation: modern museums can increase their income with the profits derivable from restaurants, bookstores and gadgets: this transformed their environmental context and their potentiality.

Museum Shops and their franchising spread in the cite, such as the Metropolitan Museum in New York in Midtown and Soho.

Twister project has as premise the creation of a network to link all the Museums in a physical territory with its emotional territory, the inhabitants.

But does it work?

The intention to create a relation among the works and the present time quite vanishes to leave the place to the necessity of filling the display. Always, with something.

The real activation with a land is achieved only when you are ready to risk losing control of what you have created. It’s like swinging from a monologue to a dialogue, letting anyone else to lead a part of the game. So you achieve a real and sincere exchange between sender and recipient, as part of an ongoing communication.

For an institution, this sounds a little unthinkable. But not impossible.

The audience is another fundamental feature of museums, that must keep artworks for future generations. So the opportunity for everyone to appreciate them and know them is taken for granted thanks to the Museum.

But what happens when an artwork is not an object, because it is pure experience?

In its selection criterias, Twister project lets me think that Museums still hold a wide gap between production of an object  and the production of processes. So only a partial view of what is offered.

In my proposal I decided to play with the creation of a hypothetical Diffused Museum, to be mapped into our physical and emotional territory of daily life. To truly perceive how to recover some aesthetic experience within the dimension of the Real and the Everyday.

John Rikwert wrote:

In the contemporary city a model for the city of diversity, vital and spontaneous,  is set against the model for a sterile city, concerning plans and order: the activists opposed to the ordered city, planned by various “disurbanists” and Utopians, like Ebenezer Howard and Le Corbusier, a chaotic and community-based city.

Today the city is a chaotic nets arranged by traffic experts and health professionals, who let manufacturers and speculators the task of filling the gaps: this is the city of the efficiency for profit. Without  any communication with citizens, the real soul of the city.

or of the Museum.


Performer: Alessandra Zanchetta

Shooting and Editing: Pierfabrizio Paradiso

Special thanks to Galleria del Corso di Corso Vercelli, Milan; Palazzo Reale, Milan; Fondazione delle Stelline, Milan.

The video is available on Arthub-Video e Arte Giovane