THE MUSEUM OF OPENNESS
  • Home
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    • Turner in Kent
  • Pat DeCaro
  • Hélène Binet
  • Michael Jäger
  • Matthias Kohlmann
  • Esther Fritz
  • John Roloff
  • Jo Schöpfer
  • Birgit Tümmers
  • Claudia Terstappen
  • What is this Museum for?
  • Intro Michael
  • john R
  • Anastasia Voutyropoulou
  • Martina Geccelli
  • Ransom Notes
  • Bruchstücke- Shatters
  • A.V one
  • Text Shatters
  • Exhibition Anastasia
  • TEXT ANASTASIA
  • Die nicht-inszenierte Poesie von Anastasia Voutyropoulou
  • Vistula EINLEITUNG IN DEUTSCH
  • Vistula INTRODUCTION IN ENGLISH
  • Claudia Terstappen Dark Nights
  • SARA Lisboa
  • Sara Japan
  • Sara AUSTRALIA
  • DIE VERWANDLUNG DES MUSEUMS
  • The transformation of the museum
  • BLITZ
  • ERDEERE
  • Dunkle Nächte C. Terstappen
  • DARK Nights c. Terstappen
  • New Page
  • Sara Lindsay
  • gabor Stark
  • libretto
  • Libreto
  • Gabor Stark book
  • Preface Gabor
Picture
AUDIO - WAKE UP
AUDIO - A NEW MUSEUM?

The MOO is small:
The advantages are many, and could include: 
  • It can fit into other places easily
  • It can move around more easily than a big museum
  • It appeals to small people or creatures
  • It doesn't try to do too much
  • It has humility 
  • It can be see from all angles- e.g. from above, below, or the side or the inside 

The MOO is open: 
The advantages are many, and could include: 
  • It is never not available to visit
  • The 9 am-5 pm routine has been disrupted
  • Everyone is welcome - regardless of if they have something to teach or something to learn or if they are excluded from other places 
  • It should be able to expand people’s minds
  • Many realities can exist within it 
 
The MOO displays new art forms:
The advantages are many and could include:
  • Maybe the new ones will be better
  • Maybe the new ones will help us stand in the paintings instead of outside them
  • Maybe the new ones will be more flexible
  • Maybe the new ones will reveal the truth we are all looking for
  • Maybe the new ones will give rise to further new ones
 
The MOO can be viewed online:
Initially this may seem to be a disadvantage but in fact, it is of great advantage
  • Anyone, in the whole world, with a smart phone and 4G can visit
  • There is no debate among the Committee as to the entrance price. It is free
  • The MOO can easily be integrated into other museums 
  • The caretakers do not require cleaning products or mops
  • It has unlimited numbers of windows
  • It requires no keys to open up in the morning. It is the Museum of Openness
  • Keys instead can adjust how loud the other visitors are speaking, how bright the light shines on the paintings, allowing you to move around without physical exertion
  • Exhibits can change more frequently
  • Health and Safety incidents are limited to eye strain and back-ache
  • The Museum Education Department has many possibilities
  • No dust 
 
The MOO challenges us:
We are used to buildings having doors that are closed, we are used to needing to be inside buildings, not outside them, we are used to everything being at a convenient scale, we are used to being asked by curators to fit into their exhibition targets. But the MOO has the advantage of:
  • Providing a space where the directors and curators are OPEN to receiving new work and welcome new viewers. Consequently it:
  • Frees the viewers to try something new, and more manageable
  • Frees the artist to try something new
  • Hopefully make these challenges easy and humorous
 
 



​»Realitäten verschieben sich. Was gewohnt und nah war wird fern, die inspirierende Ferne wird zur Erinnerung. Unwichtiges wird wichtig, Wichtiges gerät in Vergessenheit. Das wirkliche Leben und Erleben mutiert am Rechner zum Poltergeist seiner selbst. Es ist als hätte die Welt einen andere Form angenommen: je länger die Pandemie anhält, desto plumper und sentimentaler wirken die Versuche, Kunstmarkt und Ausstellungen so lange herumzuschieben, bis dann alles wieder so ist wie es einmal war. Wird es überhaupt wieder so werden wie es einmal war? Werden wir dann sagen, dass sich der Aufwand gelohnt hat? Heute ist die Welt surrealer den je und ich möchte diese Verschiebung der Realität nutzen, um den digitalen Raum für zwei Perspektiven zu öffnen: die Improvisation und die künstlerischen Arbeiten meiner Freunde. Aus diesem Grund habe ich ein Museum gebaut. Ich freue mich auf Ihren Besuch!« 

Alf Löhr

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  • Home
  • About
  • Contact
    • Turner in Kent
  • Pat DeCaro
  • Hélène Binet
  • Michael Jäger
  • Matthias Kohlmann
  • Esther Fritz
  • John Roloff
  • Jo Schöpfer
  • Birgit Tümmers
  • Claudia Terstappen
  • What is this Museum for?
  • Intro Michael
  • john R
  • Anastasia Voutyropoulou
  • Martina Geccelli
  • Ransom Notes
  • Bruchstücke- Shatters
  • A.V one
  • Text Shatters
  • Exhibition Anastasia
  • TEXT ANASTASIA
  • Die nicht-inszenierte Poesie von Anastasia Voutyropoulou
  • Vistula EINLEITUNG IN DEUTSCH
  • Vistula INTRODUCTION IN ENGLISH
  • Claudia Terstappen Dark Nights
  • SARA Lisboa
  • Sara Japan
  • Sara AUSTRALIA
  • DIE VERWANDLUNG DES MUSEUMS
  • The transformation of the museum
  • BLITZ
  • ERDEERE
  • Dunkle Nächte C. Terstappen
  • DARK Nights c. Terstappen
  • New Page
  • Sara Lindsay
  • gabor Stark
  • libretto
  • Libreto
  • Gabor Stark book
  • Preface Gabor