After the theft of thousands of objects from the British Museum by a former curator, what does it mean for another to go missing in the name of art?
There is no way to exorcise the ghosts of capitalism from art’s institutions. But instead of contending with the museum’s purpose, the art world looks to the HR department.
Museums could become the unlikely lifeboats of the impending societal and environmental collapse. But should they?
The museum is the spiritual successor of the church. But if these institutions are historically entwined, so are their crises today.
The Czech Republic is barely thirty years old, its earlier 20th century defined by acts of non-heroism and a glorious imperial past that isn’t entirely its own. How does one come up with a marketing slogan for that?
Fires, floods, wars, and existential crises that have redefined what museums do and how they think of themselves and their public.
Who really has a say in what museums do and for whom? Will museums heal the wounds inflicted on them and their audiences by the past decade’s political, social, and economic upheavals? At what cost?
Can the museum serve the public if, as we are told, it abuses its staff? Can the art institution change the world if it’s unable to put its own house in order?
Are contemporary art museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? How should we account for the cost (in tax revenue, no least) of the philanthropist’s gesture?
We need new institutions, not new art, writes Coco Fusco. Who, if not artists, will build them? Could wind power lend an unlikely hand?
Almost fifty years separate the Paris riots of 1968 and the opening of the first WeWork office – but both events could prove useful in preparing for the next revolution in our working lives, which may have already begun.
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