Across
- 4. museum I began by inviting different artists to contribute with an art piece that would be small enough or immaterial to fit inside a hat. In different moments, I do a selection of pieces, tuck them inside my cap and go for a walk while wearing the museum. If the moment arises I take the hat off and present the pieces in the collection telling their stories and those of the authors, one by one.
- 5. the moment there are 120 pieces in the collection by different contributors and 6 museum buildings (with the shape of hats).
- 7. This way of doing has led me to a particular social relation towards others and the different enviroments which I transit by; after some repetitions the act of storytelling and objects carryng and after a disposition to find them, different persons started to approach me with objects and stories for my collections. My perspective of certain objects started to be influenced by the action of receiving or encountering them.
- 11. art history and literature, like Fluxus and
- 12. exhibition In 2017 I initiated the Musée Légitime. The idea came to me from a particular encounter; a text and image inside a book at the documentation center of Lugar a Dudas in Cali, Colombia. It showed an artwork by Robert Filliou the Galerie Legitime (1962-1963). Basically he stablished a comercial art gallery inside his cap with little works of art by his friends. This triggered me to initiate my own art institution. But I decided to swerve from the original idea, and start a museum. Mine was going to be devoted to preserve the pieces by other artists and their stories; a non profit organization devoted to conservation.
- 13. Since 2019 I’m part of To see the inability to see, an ongoing group with artists Maartje Fliervoet and Arefeh Riahi, that explores different archives with an anarchivist approach towards material information. Hospitality, alienation, belonging and exclusion are some of the words that define this search.
- 15. as an exhibition space In 2018, I initiated with Dongyoung Lee an artist book platform in Amsterdam called Good Neighbour. GN is not a publisher, its aim is to make art with words.
- 16. Good Neighbour criteria permeates to the Musee Legitime and my practice in a wider view.
- 17. keenly aware of and interested in pulling through
- 18. My promise to the authors is to remember their stories and their names to be told every time their pieces are presented. Slowly a catalogue raisonee of the collection is being done, a performative process that registers and and documents this particular institution.
Down
- 1. of who is the author, what does it mean to
- 2. and thinking about where and how culture
- 3. In my art practice the creation of collections of objects and internal networks and organizations is constantly present. As an ongoing process, I dedicate time to collect and look for objects, organize and display them and tell the stories they carry.
- 6. Since then the museum and its growing collection has been presented in several art and cultural venues in different cities, within art institutions like other museums and galleries. As well its particular format allows for presentations in other spaces such as a psychiatric hospital, bars and cafes, private apartments and public offices, universities, libraries, trains and boats among others.
- 8. is very much of the moment in terms of asking
- 9. wonderful kind of traditions and trajectories in
- 10. Architectures As curator Carol Stakenas says: “Martin La Roche’s
- 14. created. His practice in its many different forms, it is
- 15. a classic publishing scheme, it explores different publishing organization an editing techniques.
- 16. stories For this I use different modes of unfolding and performance. Spoken and written language, spatial displays, image making and printed matter become an important part of the narrative quality that accompanies every material collection I present. Creating time for a viewer or audience to engage with these narrations is my original aim.