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«COLLECTIONS IN MOTION» THE PERMANENT EXHIBITION MUSEUM CONCEPT OF THE MUSEUM OF CONTEMPORARY ART, ZAGREB

Summary/Abstract: The authors have opted for a new title – Collections in Motion – instead of the usual term ’permanent exhibit’ because they wanted to initiate and demonstrate the shift that has occurred in the presentation, communication and interpretation of the holdings of the Museum of Contemporary Art. At the same time, with this title they wanted to emphasise the essential qualities of contemporary art: movement, change, variability, uncertainty... The «Collections in Motion» have a flexible framework; they are ready for change, they make relocation, enlargement or downsizing possible. Since, today, the Museum of Contemporary Art is a multi-program institution that operates in a specific social context and targets the broadest circle of beneficiaries, the «Collections in Motion » strives to be a dynamic backbone that enables and advances the program activities of the Museum to be profiled, generated and identified. The concept of the spatial organisation of individual segments of the « Collections in Motion » is equally anti-normative and non-authoritarian. It would provide – in line with the dynamics of the building designed architect Igor Franić – a fragmented, vector-like, dispersed movement through the exhibition space with desirable changes of direction. The presentation of the «Collections in Motion» is based on the assumption that it is possible to divide the artwork gathered in the Collections of the MCA in the past five decades (about 9,000 works of Croatian and international artists) according to essential difference they establish vis à vis «the world of art» and «the world of life». Taking into account the criterion of dominant expression in individual artworks it is possible to arrange the presentation of the MCA holdings in five major segments. In Segment 1 - entitled «Art on Art» - the works of art make statements about their own inner essence; in Segment 2 - «Art as Life» - they make statement about their social mission; in Segment 3 - «Project and Destiny» - they present a manifest of their own projected nature; in Segment 4 - «Words and Images» - dominant performative aspect of artwork lies in the hybridisation of images and texts, i.e. images and ideas, while in Segment 5 - «A Great Enigma of the World» - what features as dominant characteristic are the mythologies of individual artists – so distinct and isolated from the prevalent course that it seemed desirable to present them separately.[...]

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