Thursday, 1 June 2017

'The Museum of Everything' SPECIAL 15 June

 
untitled (The Miracle of Human Vision) 2016, by artist Kwame Akoto. 
Image courtesy of The Museum of Everything
  

Ms Janet Carding, Branch President, Museums Galleries Australia (Tasmania) invites members to Mona during the wintry Dark Mofo


Date: Thursday 15 June 2017

2pm: Meet and welcome by Janet Carding at the Mona entrance

2pm to 4pm*: Self-guided O tour of The Museum of Everything
              
4pm to 5pm: Hear the inside story from Mona curators about
The Museum of Everything in the Mona cinema


RSVP by Tuesday 13 June 2017: Belinda.Cotton@launceston.tas.gov.au

untitled (2010) by artist Davood Koochaki.
Image courtesy of The Museum of Everything


Wondering how to get to Mona?

See https://mona.net.au/visit  for details

Wondering how to pay?

Admission to Mona is free for Tasmanians carrying proof of residency. The talk is free for members

*No one will be watching if you decide to have a break in the café or hit one of the bars—see https://mona.net.au/eat-drink/museum-cafe





The Museum of Everything

"The Museum of Old and New Art is a strange and wondrous place. When owner David Walsh and curator Olivier Varenne invited us to stage an epic ten month drama, we could only say yes - and we have done so with an explosion of depth, meaning, complexity and flavour. On this journey, you’ll meet over 100 of the most astonishing art-makers you'll ever encounter: people who make not for us, but for themselves. It is the private life of art, and it is rarely seen in museums and galleries. So forget all you've heard about insiders and outsiders ... if nothing else, this exhibition proves once and for all that art is not from the outer reaches, but from within."
James Brett, Founder The Museum of Everything

The purpose of this museum is to advocate for the visibility of art that falls outside the confines of the art world proper; the work of ordinary people, working far (literally or otherwise) from the cultural metropolis. That word, ‘ordinary’, is an interesting one. Because oftentimes, the art that we are talking about — let’s call it the art of everyone — happens to be made by people who can only truthfully be described as extraordinary.

With over 100 artists and almost 2,000 artworks, ranging from 1800 to the present day, this wide-ranging production will be the largest international exhibition of non-academic art ever staged in the country. These artists don’t have degrees, but they might have visions or compulsions; they are transcendent scientists, self-taught architects, and citizen inventors; sometimes, they are dedicated followers of personal belief systems, or producing art from inside a hospital or prison. Some create their own visual folklore to sit alongside (or challenge) established histories of culture and place.

untitled (1965) by artist Marcel Storr.
Image courtesy of The Museum of Everything
Mona will shape 30 individualised spaces within its river-front home. The domestically-inspired installation juxtaposes paintings and drawings with sculptures, objects and furniture, leading visitors on a vivid unexpected journey through an alternative art history. James Brett is the founder of The Museum of Everything and has a background in film, photography, architecture and design. Eve Stewart is the award-winning production designer of such films as The King's Speech and Les Misérables. Together with Mona designer Adrian Spinks the innovative layout has been designed and themed by The Museum of Everything. This trio aim to set a new standard not only for The Museum of Everything, but for Mona and Australia.

Artists
Among the many self-taught masters on display, one of the highlights is Victor Kulikov - the former head-teacher, whose daily weather chronicle was discovered during the museum's tour of Russia in 2012. Another fountainhead is self-titled visionary architect Paul Laffoley, represented by several works, including his infamous masterpiece, Das Urpflanze Haus : a future home, grown from genetically-modified ginkgo biloba trees.

Legends of what the artist Jean Dubuffet defined as art brut are here too. Early drawings and letters by Swiss polymath Adolf Wölfli complement knobbled furniture from Karl Junker's fictional family residence in Germany. The anonymous French stone carvings known as Les Barbus Müller, collected by Tristan Tzara and André Breton, sit beside faked flint-stone proofs of Neanderthal art-making, peddled by the Polish nobleman, Juva.

Science and mathematics play a significant role. From the predictive calculations of Kentucky-born savant George Widener, to the personal talismans of Melvin Way, numbers evolve as pathways to wisdom and certainty - be they the thickly-painted theorems of New York legendary modernist Alfred Jensen, or the schematic inventions of French patent king, Jean Perdrizet.

Studios for artists with communication issues lend international and contemporary relevance. Alan Constable's ceramic cameras give insight into a sightless world. Text-based works by California's Dan Miller, Osaka's Kunizo Matsumoto and Hamburg's Harald Stoffers offer alternative uses for everyday language. These provide an elegant contrast to physical three-dimensional works, like the giant flying cities of Hans-Jörg Georgi or the majestic yarn sculptures of Judith Scott – whose oeuvre, along with Miller's, is being curated in this year's Venice Biennale.

The Museum of Everything often presents art-making as inherent human behaviour. Hence the abstracted spirit drawings of two pioneering female artists - Sweden's Hilma af Klint and Britain's Georgiana Houghton - whose 19th century mark-making anticipated 20th century modernism. Their beliefs are in many ways mirrored by later activators, like the futurist cathedrals of Parisian road-worker Marcel Storr, or the monumental Last Supper created by Perth handyman and electrician, Stan Hopewell.


As with other multi-part projects, the exhibition at Mona devotes space to monographic assemblies. Chinese spirit-scribe Guo Fengyi, Haitian metalworker Georges Liautaud and meat-slicing moonraker Charles AA Dellschau are defined by their own bespoke worlds. As ever, the climax is an environment devoted to panoramic tale-teller, Henry Darger, whose perverse, complex and tremendously moving sequences depict his fractured childhood.

untitled (broke!), c.1950/80 by the artist G.T. Miller
Image courtesy of The Museum of Everything
untitled (Père Ubu), 1925, by the
artist Pascal-Désir Maisonneuvre
Image courtesy of The Museum of Everything

untitled (c.1955) by artist Josef Wittlich.
Image courtesy of The Museum of Everything


Yet these are only a handful of the artists on display. 

Note: all information about The Museum of Everything was taken from its press release and Mona. For more information go to the website or to Mona's exhibition website

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