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What About Now? on the Symbolic Role of the Mudam in Luxembourg

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What About Now? on the Symbolic Role of the Mudam in Luxembourg Master Thesis What About Now? On the Symbolic Role of the Mudam in Luxembourg Submitted to the Graduate School of Humanities at the University of Amsterdam in partial fulfilment of the requirements for the degree Master of Arts in Heritage Studies: Museum Studies Under the supervision of Prof. Dr. Christa-Maria Lerm Hayes Second reader Dr. Mirjam Hoijtink Submitted by Jamie Kay Armstrong on 31st January 2019 Table of Contents Introduction .......................................................................................................................... 1 Chapter One. Luxembourg, a “cultural desert”? On the history of Luxembourg and the arts in the twentieth century ............................................................................................................. 7 1.2 “An idiot’s guide” to the Mudam Collection .............................................................. 12 Chapter Two. The Mudam Collection on display................................................................. 16 2.1 Telling the origins of the collection. Paintings from the 1980s and 1990s .................. 16 2.2 A museum in self-reflexivity. Eldorado ..................................................................... 25 2.3 Grappling with the beliefs and identities of our time. Dieu est un fumeur de Havanes 31 2.4 The Mudam Collection abroad. A More Perfect Day .................................................. 38 Chapter Three. The Mudam museum and Collection in relation to national identity ............ 47 Conclusion .......................................................................................................................... 55 List of Figures ..................................................................................................................... 57 Bibliography ....................................................................................................................... 59 Appendix ............................................................................................................................ 72 A. Floor plans .................................................................................................................. 72 A.1 Floor plan: Paintings from the 1980s and 1990s. Mudam Collection ..................... 72 A.2 Floor plans: Eldorado ............................................................................................ 73 A.3 Floor plan: Dieu est un fumeur de Havanes ........................................................... 76 A.4 Floor plans: A More Perfect Day. Mudam Collection Luxembourg ........................ 77 B. Plan of From Lucy with Love by Christian Andersson ................................................. 78 C. Interview with Suzanne Cotter from 15th November 2018 ........................................... 79 I would like to express many thanks to my supervisor Prof. Dr. Christa-Maria Lerm Hayes for generously sharing her incredible knowledge with me. Her guidance, understanding and calmness were essential in the process of writing this thesis. Thanks also go to my professors of museology, Dr. Mirjam Hoijtink and Prof. Dr. Bram Kempers, for teaching me the Dutch motto ‘alles komt goed’ and greatly supporting me in my choice of topic. Although these lines will never do justice to the unlimited thanks I owe to the Mudam’s head of collection, Marie-Noëlle Farcy, and her assistant, Lisa Baldelli, I want to thank them for all the time and excitement they have given and shared with me. Their help and inexhaustible offerings of it have been indispensable to the completion of this thesis. Knowing that my research would make a difference to them motivated me greatly. I am further grateful to the Mudam’s director, Suzanne Cotter, and the head of the fine arts collection from Luxembourg’s National Museum of History and Art, Gosia Nowara, for kindly joining me on my time capsule and allowing me to investigate the past and the future of contemporary art collections and museums in Luxembourg. Finally, I thank the team of the University of Amsterdam’s Writing Centre, as well as my proof reader Robin Fixter for making sure all this makes sense. Introduction Built on top of the ruins of the eighteenth century Fort Thüngen, the architecture of the Musée d’Art Moderne Grand-Duc Jean, Mudam, has the appearance of harmoniously connecting the old and the new of its surrounding city, Luxembourg.1 It seems that the ancient walls of the fort and the modern structure of the museum, opened in 2006 and designed by the prominent architect Ieoh Ming Pei, mutually enrich one another by entering into dialogues about history and the present, heritage and the future (Fig. 1). Fig. 1 View of the Mudam architecture and the Fort Thüngen. Over the past years of visiting this museum of contemporary art, which is the first and only one of its kind in the country, the relationships it has with the surrounding city, the small country and its people has intrigued me. Whether this museum has brought crucial changes to the contemporary cultural landscape and possibly even to national cultural identity in Luxembourg remains a conjecture. Importantly, the museum and its young collection of art from the 1980s until today were essentially shaped by their cultural context and, reciprocally, continue to determine it.2 In interviews and editorials of the museum’s annual reports, which almost by nature are idealised in tone, Enrico Lunghi, former and second director of the Mudam (2009– 2016), claims that the museum is fundamentally anchored in its environment and interacts with it.3 Similarly, he states that the museum’s artistic programme constantly refers to its particular 1 The acronym Mudam results from the first letters of Musée d’Art Moderne Grand-Duc Jean. 2 Thirty works from the Mudam Collection date from before 1980 (Lisa Baldelli, assistant conservator at the Mudam, personal e-mail communication, 20th November 2018). 3 France Clarinval, and Céline Coubray, “‘Porter un regard sur le monde,’” Paperjam (1st July 2016): 149. 1 situation.4 In order to critically investigate the accuracy of these claims, this thesis is thus concerned with the following question: To what extent do the Mudam’s curatorial approaches to the display of its collection articulate the museum’s symbolic role in the Luxembourg context? This leads me to ask the following sub-questions: How does the museum relate to Luxembourg? What distinguishes the Luxembourg context from others? In what manners do the exhibitions engage with the cultural and societal environment? In how far does the display of the collection trigger primarily locals but also international visitors to identify with artistic culture? In order to investigate this relation between the museum and its context, I will approach the subject with what museologist Jean Davallon terms a symbolic approach.5 Davallon argues that a museum institution needs to be defined on the basis of the society it is anchored in and not vice versa.6 The symbolic approach is thus a method to analyse a museum’s function in relation to the society it is surrounded by. According to Susan Pearce, “society […] consists in its history, in the trajectory through time which has produced the notion of a given community to which individuals belong, and within which all its content, including its material culture, has symbolic meaning and value.”7 By this approach, the functions of the museum are not limited to the core functions defined by the International Council of Museums (ICOM), namely those of collecting, conserving, studying and exhibiting.8 Davallon suggests that such an approach can be adopted by investigating a museum’s “symbolic operations,” which include the heritagisation of objects and the objects’ display in exhibitions.9 The exhibition, Davallon continues, enables visitors to enter into contact with the world that these objects represent and the world these objects are originally part of.10 In accordance with the concept of narrating culture, widely used since the 1990s, it is thus by the means of these objects that the museums suggest a mediation between the visitors and the world these objects originally issue from.11 According to Davallon, this approach allows to read the institutions outside their own frameworks.12 Thereby, it expands ICOM’s definition of the museum with regard to function.13 4 Musée d’Art Moderne Grand-Duc Jean, 2012 Annual Report (Luxembourg: Mudam, 2013), 2. 5 Jean Davallon, “La ‘muséologie’ pour penser l’évolution des musées?“ in Parlons Musée! Panorama Des Théories Et Des Pratiques, edited by Céline Schall et al. (Luxembourg: Éd. Guy Binsfeld, 2014). 6 Davallon, “La ‘muséologie’ pour penser l’évolution des musées?“ 21. 7 Susan Mary Pearce, “Collecting Ourselves,” in On Collecting: An Investigation into Collecting in the European Tradition, edited by Susan Mary Pearce (New York: Routledge, 1995), 166–67. 8 International Council of Museums, “Museum definition,” date unknown, https://icom.museum/en/activities/standards-guidelines/museum-definition. 9 Davallon, “La ‘muséologie’ pour penser l’évolution des musées?“ 22. 10 Davallon, “La ‘muséologie’ pour penser l’évolution des musées?“ 22. 11 Davallon, “La ‘muséologie’ pour penser l’évolution des musées?“ 22. 12 Davallon, “La ‘muséologie’ pour penser l’évolution des musées?“ 23. 13 Notably, institutions’ roles in society have in the past years been subject to much attention from the art world. One example is the Van Abbemuseum’s exhibition and project Museum of Arte Útil (December 2013 – March 2014),
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