The winnipeg free museum (2009–2010) was an impossible, dividual artists' project. If Museums are being built as walled inspiration, promising experience and claiming to face the (carceral/) future, would the non-built or dematerialized, situated within a ground-level local area network, draw different spaces through which to refract some present paradoxes among us?; to perform the idea of the counter/institutional and consider “the status of the Human and the subject and object of the Rights of Man”? Yes. &, no. Neither a museum without walls nor an image bank, the free museum became lines traced and shadows cast between white cubes, blue screens, black curtains, and warehouses; between audiences and artists; production and display. What remains is not a counter-example, but erased or absent muses as present s/objects at the threshold between the sacred and the profane.
The winnipeg free museum (2009–2010) was an impossible, dividual artists' project. If Museums are being built as walled inspiration, promising experience and claiming to face the (carceral/) future, would the non-built or dematerialized, situated within a ground-level local area network, draw different spaces through which to refract some present paradoxes among us?; to perform the idea of the counter/institutional and consider “the status of the Human and the subject and object of the Rights of Man”? Yes. &, no. Neither a museum without walls nor an image bank, the free museum became lines traced and shadows cast between white cubes, blue screens, black curtains, and warehouses; between audiences and artists; production and display. What remains is not a counter-example, but erased or absent muses as present s/objects at the threshold between the sacred and the profane.