
The Museum of Mistakes
This is the first book to present a wide selection of works from the MusĂ©e des Erreurs, or Museum of Mistakes. moreFounded in Brussels in 2013 by Pierre Leguillon, the MusĂ©e des Erreurs is a traveling exhibition that encamps in the halls of brick-and-mortar museumsâlike a traveling circus that comes to townâand then moves on. The rest of the time, the collection is stored in the artistâs studio apartment, mainly in his kitchen cupboards. Most of the items are serially manufactured and of negligible material value: postcards, record sleeves, posters large and small, pieces of fabric, ceramics, folk art, childrenâs drawings, and other miscellany. This book also includes items deemed too small, fragile or insignificant to take on tour in the past, as well as the artistâs own photographs of everyday street scenes that shed some light on various facets of the collection. Whether signed or anonymous, these artefacts defy any claims of authoritativeness in an age in which visual culture is shared on social media and all over the web, without distinctions as to substantive or aesthetic value, often with no captions and, all too frequently, with erroneous attributions. For Leguillon, the constant sorting and reshuffling of the collection helps us to revisit conventional interpretations and subvert, with an ample dose of humor, the sort of cultural âprĂȘt-Ă -porterâ so many museums serve us up nowadays. Essays by Patricia FalguiĂšres and Morad Montazami situate the MusĂ©e des Erreurs in the tradition of art museums and the phenomenon of cultural appropriation. And Carrie Pilto contributes freestyle captions commenting on the featured items.
Produktinformationen
Produktinformationen
Versand & RĂŒckgabe
Versand & RĂŒckgabe
Description
This is the first book to present a wide selection of works from the MusĂ©e des Erreurs, or Museum of Mistakes. moreFounded in Brussels in 2013 by Pierre Leguillon, the MusĂ©e des Erreurs is a traveling exhibition that encamps in the halls of brick-and-mortar museumsâlike a traveling circus that comes to townâand then moves on. The rest of the time, the collection is stored in the artistâs studio apartment, mainly in his kitchen cupboards. Most of the items are serially manufactured and of negligible material value: postcards, record sleeves, posters large and small, pieces of fabric, ceramics, folk art, childrenâs drawings, and other miscellany. This book also includes items deemed too small, fragile or insignificant to take on tour in the past, as well as the artistâs own photographs of everyday street scenes that shed some light on various facets of the collection. Whether signed or anonymous, these artefacts defy any claims of authoritativeness in an age in which visual culture is shared on social media and all over the web, without distinctions as to substantive or aesthetic value, often with no captions and, all too frequently, with erroneous attributions. For Leguillon, the constant sorting and reshuffling of the collection helps us to revisit conventional interpretations and subvert, with an ample dose of humor, the sort of cultural âprĂȘt-Ă -porterâ so many museums serve us up nowadays. Essays by Patricia FalguiĂšres and Morad Montazami situate the MusĂ©e des Erreurs in the tradition of art museums and the phenomenon of cultural appropriation. And Carrie Pilto contributes freestyle captions commenting on the featured items.











