Moreover, it projects a fictional unity onto a variety of different ideas of time and space, thus providing a common surface where there is none. To paraphrase philosopher Peter Osborne’s illuminating insights on this topic: contemporary art shows us the lack of a (global) time and space. Let’s add asymmetric warfare-as one of the reasons for the vast redistribution of wealth-real estate speculation, tax evasion, money laundering, and deregulated financial markets to this list.
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To brutally summarize a lot of scholarly texts: contemporary art is made possible by neoliberal capital plus the internet, biennials, art fairs, parallel pop-up histories, growing income inequality. Google books' N-gram viewer tracks the word "impossible" in all the books on its database printed in between the years 1800-2000. This is the desk of the curator, left empty. Once settled on mats within the gallery space, many refugees started asking for SIM cards to try to reach missing family members by cell phone. The city of Diyarbakir opened its municipal gallery as an emergency shelter. While the majority stayed in refugee camps in Rojava, northern Syria, and several camps in northern Iraq, many refugees crossed into Turkey’s Kurdish regions, where they were welcomed with amazing hospitality. Shengal, assisted by Kurdish rebel groups, who had opened a safety corridor.
Most of them had trekked on foot across Mt. It did not represent a nation, but instead sheltered people fleeing from national disintegrations.Īfter the Islamic State (IS) militia crossed and effectively abolished parts of the border between Syria and Iraq in August 2014, 9 between fifty thousand and one hundred thousand Yezidi refugees escaped the region of Shengal in northern Iraq. In September 2014, this museum became a refugee camp. From June to September 2014, it hosts a show on genocide and its consequences, called “Never Again! Apology and Coming to Terms with the Past.” Its poster shows former prime minister of West Germany Willy Brandt on his knees in front of the Warsaw ghetto memorial. The image above shows the municipal art gallery of Diyarbakir in Turkey. And as times and spaces change, so do museum spaces.
But if nations are a way to organize time and space, so is the museum. To build a museum, a nation is not necessary. 8 Today-instead of print-there is data capitalism and a lot of museums. To build a nation, Benedict Anderson suggested that there should be print capitalism 7 and a museum to narrate a nation’s history and design its identity. 6 The winner of the architectural competition for the National Museum has never been announced.Ī view from the outside of the Sumer Park Kültür Merkezi, Diyarbakir, Turkey. On April 28, 2011, Art Newspaper reports that the conference has been cancelled due to street protests. However, three weeks prior to this date, twenty protesters were “reportedly killed as 100,000 people marched in the city of Daraa.” 5 By then, invitations for the conference had already been issued to a host of prominent speakers, including the directors of the Louvre and the British Museum. 4 Both the Louvre and the Guggenheim Bilbao are named as role models for a redesigned National Museum in Damascus.Ī conference is planned to unveil the winner of an international competition for the design of this National Museum in April 2011. 3 The French Louvre is listed as a partner in developing this plan. Her foundation aims to establish a network of museums to promote Syria’s economic and social development and strengthen national identity and cultural pride. 2 It details Syrian First Lady Asma al-Assad’s plans for the future of Syria’s museums. 1 The file is called “316787_Vision Presentation-Eng.pptx,” in PowerPoint format, dated October 2010. It forms part of WikiLeaks’s Syria files database. This is a file published in 2012 by WikiLeaks.