Standing in the Turbine Hall, I gape as the wondrous, gigantic mirrorball slowly descends from the ceiling, and watch the specs of light travel slowly across the walls. It is a beautiful sight in this amazing space, like the coolest rave ever getting ready to begin. It also feels like my project has come full circle, as if reality mirrors the mirrorball metaphor in my prologue. I’m nearly done. The five columns of bright daylight spilling through the windows on the rear wall not only amplify the cathedral-like qualities of the grand hall, they too seem to me to assume metaphorical qualities, representing the ‘five pillars’ of the museum act, the museum as archetype, as abstract idea. So conditioned to museological reflection by now, I cannot not see it, even if know I’m overstretching the meaningfulness.
A part of the BMW Tate Live event: If Tate Modern was Musée de la danse?, this session is called Adrénaline: a dance floor for everyone. But even though this definitely feels like the place to be, the party does not take off; instead of an adrenaline rush there’s a shared, mixed feeling of awe and ackwardness, and more mobile phones than dance moves to be spotted in the crowd. How to dance the museum? What to make of it all? My mind oscillates between getting it and not getting it, and between minding and not minding if I do. But I like the idea.
The programme booklet speaks of mobility and memory, of ephemerality, of the museum as a mental space. Conceptualising choreographer Boris Charmatz likens the event to “trying on a new pair of glasses with lenses that opens up your perceptions to forms of found choreography happening everywhere”. A heteroscopic kind of vision, perchance? Or is it just me reading extra meanings into these words, cherry-picked from the pages to rhyme with my own? Even so, Charmantz’ manifesto (like Pamuk’s, like the Musetrain manifesto, like Malraux’s imaginaire) represents a call to think (differently) about the museum, to ask the questions what if and then what? The propositions about changing temporalities, changing views, that the terms they are a-changing, abound. Its not just me, then.
For three years I have been musing on museums on this blog, discussing all manners of ideas and questions with myself. Rather than reaching a state of clarity, of (relative) enlightenment, this process seems to keep spinning round and round, sparking off new thoughts, new uncertainties, as research is prone to do, I suppose, making you only more keenly aware of what you have yet to understand. Consequently, drawing conclusions and making statements about the state of the arts stills feels like taking stabs in the dark.
Nevertheless, I have made my illumination, my propositions. Here’s hoping they will also matter to others.