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Museum of Fictions: Fabrication of Authenticity and Institutional Critique in Imaginary Museums

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Museum of Fictions: Fabrication of Authenticity and Institutional Critique in Imaginary Museums Museum of Fictions: Fabrication of Authenticity and Institutional Critique in Imaginary Museums MA Museum Studies Thesis by Jean Carlo Medina Zavala Universiteit van Amsterdam 2019 “We accept reality so readily - perhaps because we sense that nothing is real.” -Jorge Luis Borges, The Aleph Museum of Fictions: Fabrication of Authenticity and Institutional Critique in Imaginary Museums _______________________________________________________________________ MA Museum Studies Thesis Jean Carlo Medina Zavala University of Amsterdam UvA ID: 11607564 Supervisor: Mirjam Hoijtink Second Reader: Christa-Maria Lerm-Hayes Submission date: January 31, 2019 Word Count: 20’623 _______________________________________________________________________ Abstract: Imaginary museums abound in the world, stemming from novels, Gilms, and conjecture. Amongst these, however, are cases of museums that arose from Gictional sources and eventually materialized into real, tangible institutions. These ‘museums of Gictions’ inconspicuously present apocryphal collections through carefully constructed yet ictive narratives, often attempting to engage audiences in their play of make-believe. How do imaginary museums relate to real museums in their fabrication of authenticity? Furthermore, to what extent are imaginary museums successful as a form of institutional critique, and challenging narrative (re)presentations? Through a detailed analysis of three recent museums of Gictions, this thesis aims to encourage a reconsideration of imaginary museums as helpful tools in challenging perceptions of authenticity in established institutions, as well as contesting traditional representations of truth, history, and identity Keywords: Imaginary museum, Gictional museum, authenticity, institutional critique Table of Contents Preface 1 Introduction 15 I. A Fictional Museum / The Museum of Innocence 35 II. Artist Apocrypha / Treasures from the Wreck of the Unbelievable 55 III. (In)Authentic Storytelling / The Making of Modern Art 75 Conclusion & Epilogue 82 Bibliography & References 90 Annex Preface It is increasingly difGicult to pinpoint where the inspiration for this thesis came from. Like an upturned tree, the origin is dispersed— although some past events have sparked my interest in the topic of imaginary museums, it has only been through conversation with colleagues, friends, and supervisors that I decided to pursue this interest and expand it into a thesis. A conversation full of anecdotes and literary references during the Museum Concepts and Narratives seminar at the Universiteit van Amsterdam certainly stuck in my head, and reminded me that museums go far beyond tangible institutions and factual reality. I am especially grateful with Mirjam Hoijtink, who from the start welcomed my research and supervised me with keen interest and a good doze of humor. I owe much to Natalia Martinez for her contagious enthusiasm and constant help, as well as to Marju Tajur and Valeria Ferrari for their insightful conversations on reality, Giction, literature and nostalgia. I also want to point out Jvlie Ganem’s illustrations, which adorn the start of each chapter with a mysterious, monochrome atmosphere that brings to mind the chaotic nature of memory. Finally, this text would have not been written without the profound inluence of two writers: Italo Calvino and Jorge Luis Borges. Their supreme understanding of Giction allowed them to construct impossible cities and inGinite libraries— sites that, in their capacities of relecting the universe through synecdoches and signs, have close ties to museums. I like to think that, had one author not been a librarian, and the other not died so young, perhaps they would have extended their literary reach into museums. Museum of Fictions Introduction Museum of Fictions Jean Carlo Medina Zavala MA Museum Studies Thesis A Non-Fictional Conundrum As we exited the museum, I was left dumbfounded and amazed by the comments of my unintentional companion. The visit had been thoroughly enjoyable, as re?lected by the bag full of souvenirs hanging from her shoulder. Conversation made it clear that this museum was one of her main interests for visiting London, as it was held in the historical house of one of her idols. When asked about what she found most enjoyable about her visit, she singled out the impression left by seeing a smoking pipe belonging to this man, carefully preserved and displayed along with walking canes, hunting hats, and magnifying glasses. “It is so incredible to imagine” she told me, “that this pipe actually belonged to the Sherlock Holmes”. My face couldn’t hide a reaction of utter bewilderment, as I found myself facing a conundrum. How could I possibly break it to her that Sherlock Holmes was a ?ictional character? And perhaps more importantly: what had led her to believe that what she had seen in the museum was entirely real? Indeed, without external references, one would be led to believe that the contents of The Sherlock Holmes Museum are all authentic. Hosted at Holmes’ famous address at 221B Baker Street, the house is decorated with Victorian furniture and objects making reference to the different cases, enemies, and adventures encountered by the famous, yet ?ictional, detective1. For someone who had either not read or misread the original stories, or who had only been introduced to Sherlock Holmes through one of his various incarnations in popular media, it would make sense to think that he was indeed a real person—especially when stepping inside his house, and going through what seemed to be his personal belongings. In the imagination of this young woman, Sherlock Holmes was —and perhaps still is— real. 1 The museum is actually hosted at 237-239 Baker Street, but has been given permission by the City of Westminster to bear the number 221B (see “Sherlock Holmes 101”, The Washington Post). To further the confusion, the building also displays a (forged) blue plaque commemorating Holme’s years residing at the street, an honor usually given by the English Heritage foundation, reserved for non-ictional people. !2 Museum of Fictions Jean Carlo Medina Zavala MA Museum Studies Thesis This interaction left a mark in my memory. The Sherlock Holmes Museum is but one of several instances of ?ictional or imaginary works becoming ‘real’ through a museum framework. Further interest in the topic showed that imaginary museums have long existed as a starting point and a re?lection of real ones, in more recent times being used by artists and curators as a strategy for institutional critique, as will be seen in the following pages. The play between real and imaginary poses the key questions: How do imaginary museums relate to real museums with respect to authenticity? Furthermore, to what extent are imaginary museums successful as a form of institutional critique, and challenging narrative (re)presentations? A Brief and Incomplete History of Fictional Museums There is a case to say that iction is only truly effective when it is persuading enough to be, at least momentarily, believable. To be pulled into a ?ictional world, engaging with imaginary landscapes and characters, plots and drama, is one of the main reasons the public looks for literature and entertainment. This necessity has been thoroughly examined, however Samuel T. Coleridge’s description of the “willing suspension of disbelief for the moment, which constitutes poetic faith” might be the best-known, as the term “suspension of disbelief” has entered the public imaginary2. While it is common to ?ind this term applied to ?ictional works such as novels, theater plays, and ?ilms, it is no so common to ?ind it associated with museums3. After all, museums as institutions historically rely on the presentation of original artifacts and research— as presenters of knowledge, these institutions are not traditionally in need of a “willing suspension of disbelief”, or at least are not expected to do so from their audience. Although now presumed to be institutions dedicated to safeguard and preserve history, or present art in as a neutral environment as possible, it should be remembered that all museums, to a different degree, start out as imaginary. This is a pretty straightforward proposition: all museums, before being built or even written down, had to be imagined, 2 Coleridge, S. T. [1817] (1960). Biographia literaria or biographical sketches of my literary life and opinions. London: J. M. Dent. p. 169. 3 Böcking, Saskia. (2008) “Suspension of Disbelief ”. In The International Encyclopedia of Communication. Wolfgang Donsbach, ed. John Wiley & Sons: USA. p. 1-2 !3 Museum of Fictions Jean Carlo Medina Zavala MA Museum Studies Thesis thought of, conceptualized. Indeed, going back in history one can ?ind examples of proto- museums and private collections that were not strangers to housing fantastic artifacts, based on the often wild imaginations of their owners and the society around them. Although there is no canonized compendium of imaginary museums, it can be asserted that they predate the institution of modern public collections and displays. As their name implies, imaginary museums have ?irst of all existed as speculative devices, conceived by creatives through the ages. Cases abound in the collections housed inside Cabinets of Curiosity or wunderkammers, such as the famous Museum Kircherianum in Rome (?ig.1). These early collections clearly had a thread of playful imagination running through them, as fig.1 the Museum Kircherianum. Image: 1679. Das Kirchen Museum im Collegium Romanum. they
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