the concept

THE SEVENTH MUSEUM Introduction The city of The Hague has a small lake at its center called the Hofvijver,surrounded by buildings of historical interest. Situated at the heart of the city, thisdistrict with its characteristic facades and tranquil pool presents an image of refinedrepose. What makes the district around the Hofvijver so remarkable is that it contains alarge number of public buildings, many of which have great historic value. In several instances these buildings, often dating from the 17th or 18th century, have been restored and are now splendid monuments for posterity. It would be hard to findanother spot in Holland that contains so much historical wealth and beauty. What is striking about the conservation and preservation here is its diversity.There is for example the cultural-historical viewpoint (instanced by The HagueHistorical Museum. Gevangenpoort), the art-historical approach (the Maurits House, BrediusMuseum, Willem V Gallery) and the political aspect (the buildings of the DutchParliament, the Binnenhof). These differing approaches determine to a large extent the way inwhich the historical content of a particular spot is treated and how its artcollectionsor other interesting features are presented to the public. Each of these buildings, apart from the way in which it is used toady, has itsown fascinating previous history. The building known as the Binnenhof, for example,was until quite recently a fortress open only to the chosen few. Today, however, representing the public nature of the Dutch government, the building isaccessible to all. Then there is the Maurits House, once a royal dwelling, next an exclusivemuseum presenting a cabinet of curiosities gathered from every corner of the globe, nowa public art gallery. The manner in which these buildings present their history demonstrates how `we' choose to live with `our' past. The use of quotation marks here shows that we'retalkingabout a legitimate, but enforced, generalization. The reference to `we' and `our'serves to reinforce the fact that we are dealing with the intriguing fiction of awell-considered record of a certain moment which actually is constantly underpressure from changing opinions and changing habits - and at times must yield place tothese.Herein lies the impulse for the manner in which these buildings presentthemselves and their contents, constantly adapting to changing tastes. It is as if we seehistory being acted out in a window display that reflects the taste of today. In this definition of taste we have as central given the selection mechanism of what thepublic does and does not get to see - because certain objects are at present in depot orin private rooms - and here we find both the strong and weak side of our artinstitutions. (Order above chaos, but what kind of order?) This aspect of continually changing taste cannot be separated from the various -and changing - public functions that these buildings/institutions fulfil. This much,after all, is clear - these public institutions have gained an important role in ournational life. Their function and their fate seems inextricably linked today with the longlines of visitors queuing to enter. So much so that certain museum experts are nowputting the case - rightly or wrongly - for a far-reaching, up-to-date, publicsponsorship. Contemporary Art and the Hofvijver What is the place of contemporary art in this (public) scene? Or does it in facthave to win a place for itself? To start with this last point: it seems passÚ to speakof a strict division between `old' (classical) art and the `modern'. Rather, it nowseems that contemporary art wants to explore its history. This change of focus,together with the current discussion about art in the public space, its site-specificity, the permanence of the placement of an artwork, and the highly reflective attitude of artists towards their own profession and the art world in general, all combine tomake it possible for the district around the Hofvijver, with its many historic buildings, to offer a vigorous challenge. A site-specific artwork needs to consider the (art) historical, aesthetic andpolitical models of presentation that already exist in this area. In this list also belongthe historical and architectural aspects of the Hofvijver itself, a striking stretchof water, surrounded by magnificent buildings and architectural objects reminiscentof a scattered decor. Equally, more intangible elements, such as the history ofideas, representation and taste, have their part to play. The consideration paid to the way in which objects of great interest arepresented may give rise to questions about how certain museums function, what theirfunction is today or could be in the future, questions about conservation and restoration,adding to the collection, organizing exhibitions, curating in general, and otherassociated functions. We also need to consider the role of the public and probably of other groups - marketing specialists, the media, sponsors and suchlike. All thesequestions are familiar in the artworld of today, where it has become standard to considerhow art functions. There is reflection on both the social nature and presentation of art,as on the role of the artist and the public. In such a context, you even tend to wonderhow much of a challenge it will be to consider your own newly-minted suggestions ormodels. In short, there are intriguing questions here, providing the subject - fromtoday's perspective of contemporary art - with a far greater familiarity and immediacy. Aim The aim of the project `The Seventh Museum' is to find out what place can beoccupied by Public Art within a context that is closely defined by the conservation and presentation of a heritage that includes historical, art-historical and politicalelements. We took as starting point the fact that there is a connection between the history of the ideas that have been made concrete in the space around TheHague's Hofvijver, and the way in which the public plays a role in this area. It isimportant here to see the differences between the various buildings in terms ofunderstanding the area as a whole. Since comprehending time and the temporal plays an importantpart in this context, and furthermore since there is clearly no lack of visualorientation, the Seventh Museum is offering a home to temporary works. And because it is amuseum without walls, it will turn out to be a figment of the imagination! Location The geographical area includes the six previously-mentioned institutions togetherwith the area that includes them, which is mainly the Hofvijver (royal lake) andthe Vijverberg. It lies in the city centre but its chief interest incultural-historic. At certain times events are organized in/on the lake and its surroundings, partlyby the local tourist offices. Many bodies are involved in the administration of thisarea, and in ensuring its security. The Plan The works on show in the Seventh Museum will be made either on commission or willbe on loan. Artists, from whom it may be expected that they can find a solution tothe problems posed, will be invited individually to make a work either on the spot orin situ. They will be able to discuss problems arising while they are making theirwork, and it is expected that the development of the piece, their way of working and/ortheir attitudes, will be important factors in the process. Others who will be asked to participate (as well as visual artists) will include TV and theatre directors,film makers, musicians and writers who show a certain affinity or connection with thevisual arts. This will serve to increase the range of the questions confronted. In realizing the works we make a distinction between artworks that have a more specifically-targeted audience and works that simultaneously challenge various aspects of the problem. With respect to this, the aim will be to produce alarge-scale work once a year. In this connection we think in particular of amulti-disciplinary work, a Gesamtkunstwerk. This section will also - it goes more or less without saying - be the most publicly oriented. We also wish to study the extent to which existing works by contemporary artists can make a contribution in this context by presenting them temporarily in aspecific spot. In doing so, the primary aim is not to provoke a confrontation between oldand new, between past and present, but far rather to achieve a continuum in the wayin which people look at ancient and modern art. Where great differences areperceived, the resemblances are often neglected. Yet these very resemblances may often bejust as attractive. Surrounded by other works from a collection, the pieces on loan - lifted fromtheir original context for this occasion - may give rise to a number of vitalquestions. Such questions refer in particular, for example, to (dis)continuity ofcollections, (de)canonization of the collection presented, and thereby the historically-grown image of the presentation. Finally, meetings will be organized, that will have a theoretical, reflectiveand/or advertising nature. Presentation Suggestions for works will have to be discussed with the institutions (buildings)involved, with an eye to the nature of the area where they will be exhibited. The possible completion of a work will also take place following discussions withthe bodies concerned. The exact time and place in which the work is to be completed will depend uponboth the above-mentioned points of connection that the location offers, as well as theother works being realized in the Seventh Museum project, and the presence and movements of the public. It goes without saying, this will not be an exhibition in the normal sense of theword. It is the intention that this project will develop gradually butexplicitly. The artworks - in some cases with previous announcement, depending on the natureof the work - will be presented at certain times. To put it briefly, there needs tobe careful supervision, that will offer the artworks a meaningful setting withinthis museum. The Public The role of the public has come up for discussion on many occasions. But in thiscase we are dealing with public art - art in the public space. Each of the buildings in the vicinity of the Hofvijver attracts its own special public, and in very few cases do these overlap. One building will pull in thelarge,tourist crowds while the next will appeal to an historically-minded orinternationalart-oriented group. In the first instance, the works of the Seventh Museum will have to jockey for a place in the midst of this varied public. In the secondplace it will speak to another public - more specifically interested in contemporaryart. Giving priority to the public who are `the regulars' does full justice to public art. But it doesn't have to end there - and that is something every seriousartistwill agree with. Waling Boers August 1993 An extended concept is available (54K, in Dutch only). | the real thing | homepage |