Today we are going to direct your attention to a report of our meeting with Marco Scotti, one of the two curators of MoRE, Museum of REfused and unrealised art projects, a virtual file archive museum which gathers art projects never performed for several reasons.
The MoRE Museum was born in 2012 from a project by Marco Scotti and Elisabetta Modena, two curators and scholars of the University of Parma who, starting from their researches, got the idea to make a collection of artworks still not achieved for reasons of logistic, economics, technology and ideology. Within the collection there are donations from 37 internationally renowned artists; from an initial cluster of 3 works, today it reaches 68 archived projects. The site keeps and values documents concerning projects that, without a suitable conservation, would risk getting lost in memory, with the aim to give them back their ultimate purpose: fruition. Marco Scotti points out: “Being part of MoRE does not mean these projects won’t be put into effect in the future”, all artists are the owners of their own business and can decide at any time about their artwork fate.
We ask Mr. Scotti how they managed to find the projects collected at MoRE and how artists reacted to the publication proposal. “We found the first works throughout our academic researches, then we received many offers and we had to make a selection”. We know that in common imaginary these projects could be considered as a failure in an artist’s career, however that may turn out as a great opportunity to make his work known by the public.
Surfing the site is both an extremely interesting and enjoyable experience. It satisfies the need for knowledge and arouses natural curiosity towards human events, lying behind a project, often staying in the background but central in case those events occur. Each project contains the related documentation together with a description text. A significant new feature is given by the assignment of meaning to the absence as a key pull factor. Consultation of materials on file provide a sort of considerations about the contemporary art executive processes, by shifting the focus from the final result to the process dynamics that may achieve an artwork or lead it to failure.
As already told, some predictable reasons are related to economics or logistics issues, sometimes it’s about projects rejected in favour of others during public competitions or prizes. Meteorite al contrario (Inverted Meteorite) by Davide Bertocchi for instance, is the launch into space of a medium size stone of with an opposite trajectory. Consequent studies have defined that such a procedure would involve extremely high technical and engineering costs. Among the reasons there is one based on, one might say, a paradox of impossibility: it is the series categorised under the name Theoretical exercise, whose utopian assumptions or theoretical and conceptual structures make the works, from the very beginning, wittingly not feasible.
How is MoRE financially supported? “That project has been carried out through the CAPAS support (University of Parma, Italy) which has allowed the use of D-space platform, an institutional repository archive”. Within the MoRe future plans, besides the widening of the collection and hopefully a desirable exhibition, there’s a taking part in a talk at Mia Fair 2015.
This post is also available in: Italian