The Delirious Museum: A Journey from the Louvre to Las Vegas

The Delirious Museum: A Journey from the Louvre to Las Vegas

Calum Storrie

Language: English

Pages: 256

ISBN: 1845115090

Format: PDF / Kindle (mobi) / ePub

The Delirious Museum gives a new interpretation of the relationship between the museum and the city in the twenty-first century. It presents an original view of the idea of the museum, proposing that it is, or should be, both a repository of the artefacts of the past and a continuation of the city street in the present. Storrie re-views our experience of the city and of the museum taking a journey that begins in the Louvre and continues through Paris, London, Los Angeles and Las Vegas, re-imagining the possibilities for museums and their displays and re-examining the blurred boundaries between museums and the cities around them. On his quest for The Delirious Museum he visits the museum architecture of Soane and Libeskind, the exhibitions of Lissitsky and Kiesler and the work of such artists as Duchamp and Warhol, taking readers on a stimulating journey through cities and museums worldwide. Serious general readers interested in urban culture, design and architecture, as well as professional architects, cultural studies and museology academics will enjoy the book, which is well illustrated in black and white.

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E D E L I R I O U S M U S E U M Duchamp’s next encounter with the Delirious Museum had less of the laboratory about it. The Boîte-en-valise (also called the Portable Museum, From or by Marcel Duchamp or Rrose Sélavy and Box in a Suitcase) was less an experiment, more a re-imagined, yet fully formed version of the museum. In an interview in 1955 Duchamp said: Instead of painting something the idea was to reproduce the paintings that I loved so much in miniature. I didn’t know how to do it. I

Jim Dine and ‘fag ends’ twisted into shape by guards at the Venice Biennale), ray gun toys and models made by Oldenburg. There are also photographs of immovable ‘ray guns’ (such as fractures in the pavement and marks on walls) that are termed ‘Certified Ray Guns’. This uncritical curatorship of the Mouse Museum and the Ray Gun Wing is at odds with the, sometimes enigmatic, relationships explored by Broodthaers, but the museum has no difficulty in containing both. This is at once its strength and

prior to this, news reached London of Belzoni’s death near Timbuktu. The archaeologist’s widow, Sarah, left in penury by the death of her husband, began arrangements for another exhibition of Belzoni’s finds and at first wanted to re-acquire the sarcophagus. Soane resisted this and, possibly as a mediating gesture, began arrangements for a benefit event that would publicize Belzoni’s exhibition. On the evenings of 23, 26 and 30 March 1825, invited guests were admitted to the ground and basement

decorative luxury. Scarpa took the language that he evolved in his museum work onto a level that transcends straightforward relationships between object and environment. The restless narratives that he created can be appreciated both as installations carried out with exemplary wit and poetry and as fragments of delirious, built psychogeography. Palermo Anthony Vidler has spoken of the urban uncanny as ‘the spatial incursions of modernity’ into the fabric of the formerly ‘walled and intimate’

the pavement marks the line of the Wall. Following this vestigial split in the city a longer section of the Wall has been preserved on Niederkirchnerstrasse, balanced precariously above another relic of trauma, the basement vaults of the Gestapo headquarters. This is the site of The Topography of Terror, an outdoor exhibition that will be moved to a new building on an adjacent site by the architect Peter Zumthor. The Wall is protected by a fence; its surface on the western side is, of course,

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