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Lia Perjovschi The Archive and the Knowledge Museum – Kit, 1985 – today, time lines, diagrams, publications, images, posters, objects, dimensions variable, installation view, Van Abbemuseum, 2010, photo: Peter Cox 94
scena collecting, classifying and narrating as a practice to disembody the value and semiotic meaning of these types of images. He has done so, by creating videos, publications and installments of this “found material”, creating new configurations and their unforeseen significance. In the exhibition at Van Abbe, after having passed the previous rooms of Zaatari, who, as described above treats archivereadymade images with a great amount of care and presents their vulnerability, the visitor then encountered a video by Snyder where he compiled in a zapping sequence, diverse types of TV footage ranging from talent contests, programs about animals and erotica, weather forecast, etc. which are interrupted in the video with news about a crisis in the middle east. Due to the zapping the visitor does not fully get acquainted with the complexity or does not even acquire complete in<strong>format</strong>ion on the issue. The work clearly evokes to the zapping that daily occurs worldwide at private homes with people’s TVs, where the representation of “a political moment” does not really catalyze a critical awareness on the subject but rather, it scatters away amongst the field of entertainment. Within the framework of institutional collections that comprise the segments of the exhibition, two inclusions are interesting to acknowledge. One, also in relation to the context of the Middle-East today, was the Contemporary Art Museum Palestine (CAMP) by artists Ayreen Anastas and Raeda Saadeh, whose goal is to establish a museum the very moment that Palestine becomes a nation. CAMP has already an existing collection of visual art which has been kept over the past ten years by the Al-Ma-mal foundation in Jerusalem. However its nature is of being a nomadic institution that will keep seeking other museums that in the meantime can serve as hosts. The Van Abbe Museum is currently a longstanding partner of CAMP and within this exhibition it has created an installment of some works from the CAMP collection along with video interviews of its founders. Finally close to this parasite-museum, the curators of Play Van Abbe also included the Museum’s Eindhoven BKR collection from the ICN (Instituut Collectie Nederland), which is comprised of acquirements made by the efforts of the city council. The artworks hanged from this collection, included mid-size paintings by Matisse and Picasso, but most importantly each modern art painting was accompanied by a filer, that contained all the bureaucratic trouble and expense that the institution had to go through in order to have such “masterpieces”. In times of financial crisis in the Netherlands and in Europe, such juxtaposition between the CAMP and BKR collection might’ve helped both local and international art audience to understand the importance of seeking an urgency when it comes to collecting, because the museum in the 21st century has indeed a responsibility to define what could be urgent to the society it seeks to transform. Notes: 1. In On the Concept of History (1940) Walter Benjamin condemns historicism for having understood history as the narration of a linear passing of events, as if the historian would have taken the past as if counting the beads of a Christian rosary: „Historicism contents itself with establishing a causal nexus of various moments of history. But no state of affairs is, as a cause, already a historical one. It becomes this, posthumously, through eventualities which may be separated from it by millennia. The historian who starts from this, ceases to permit the consequences of eventualities to run through the fingers like the beads of a rosary.“ 2. Samir Kuntar is a Lebanese Druze former member of the Palestine Liberation Front. In 1980 Kuntar was sentenced to four life sentences by Israel and was released in 2008 after a Prisoner exchange deal. 95
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w artæ + societate / arts + societ
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Aspirafliile celor care ar vrea sæ
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galerie 2 124 Eduard Constantin: Bl
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arhiva Recucerirea subversiunii Dou
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nant, Arvidsson relateazæ modul î
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arhiva Rivalul absent Arta radical
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arhiva umane este analizat în segm
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Cincizeci de feluri de a-fli pæræ
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arhiva Sang Ok din 1958, Jiokwha, s
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arhiva unei cercetæri pe teren, es
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arhiva Stærile invizibile Europa
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arhiva Ce s-a-ntîmplat cu compromi
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arhiva vær, atitudinea diplomatic
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arhiva ralistæ. Într-adevær, tra
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arhiva Deriva continentalæ De la g
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arhiva nom, la un contrasummit, în
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w photography, inkjet print on Hahn
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galerie 1
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galerie 2 Echipele de cæutare-salv
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galerie 2 Escadrila 118 Escadrila 1
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Insert, project for IDEA arts + soc
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Capitalismul este istorie - „natu
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Szövetséges Tanácsköztársaság
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tid luau un timp considerabil. Se
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Originile schimbærii de regim în
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forfla împrejurærilor, fiind ceea
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americane, încît sæ sponsorizeze
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îngheflatæ“ 17 , în timp ce Su
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pentru viitorul hegemoniei american
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Pentru a începe cu o comparaflie i
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În cadrul acestei structuri de cla
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comuniøti feroce, legafli de Humph
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elaflie conjugalæ care, în ultim
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mi øi specializæri. Guldin, de ex
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din 2003 al Bæncii Mondiale, coefi
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dezvoltare structuralæ întru totu
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104. Industrial Workers of the Worl
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cel mai mare centru comercial (iar
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pe care l-ar fi presupus concesiona
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Dar cea mai mare creøtere viitoare
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