Ming Wong, Life of Imitation, 2009, still from double-channel video
Xiaoyu Weng, who works on the Kadist Asia Program writes an interesting and eloquent proposal for grupa o.k.’s Proposal for a Museum series on SFMOMA’s Open Space blog

By ghettoizing fiction in institutions (and in disciplines such as art and literature), the status of fiction as part of the world itself has been eliminated, and the “reality of real life” valorized; meanwhile one fiction after another is staged on a grand scale in the name of Progress or Modernity. As the last frontier of modernity, museums of modern art fulfill the task of confining fiction. Upon entering the museum context, the fictions carried by artworks are indexed, categorized, historicized, and ordered—often in a linear temporality—and ultimately constrained as autonomous, “authentic” objects. While artists are seeking intersections of meaning in order to define the fundamental fictions of modernity, the organization of modern museums contradicts that very process. Therefore I propose the Museum of the False with the intention of breaking  these constraints.

Weng’s proposal touches on works by Ming Wong, Vincent Monnikendam, Peter Watkins, and Harrell Fletcher. 

Ming Wong, Life of Imitation, 2009, still from double-channel video

Xiaoyu Weng, who works on the Kadist Asia Program writes an interesting and eloquent proposal for grupa o.k.’s Proposal for a Museum series on SFMOMA’s Open Space blog

By ghettoizing fiction in institutions (and in disciplines such as art and literature), the status of fiction as part of the world itself has been eliminated, and the “reality of real life” valorized; meanwhile one fiction after another is staged on a grand scale in the name of Progress or Modernity. As the last frontier of modernity, museums of modern art fulfill the task of confining fiction. Upon entering the museum context, the fictions carried by artworks are indexed, categorized, historicized, and ordered—often in a linear temporality—and ultimately constrained as autonomous, “authentic” objects. While artists are seeking intersections of meaning in order to define the fundamental fictions of modernity, the organization of modern museums contradicts that very process. Therefore I propose the Museum of the False with the intention of breaking  these constraints.

Weng’s proposal touches on works by Ming WongVincent Monnikendam, Peter Watkins, and Harrell Fletcher