In many ways, Malraux's vision has become much more than true: Taken literally, today's "Musee imaginaire" will most likely be a sort of semantic museum, a virtual collection of all artworks online, eventually re-arranged in an hypermuseum that is perfectly accessible through the algorithms of a search engine or an encyclopedic approach which sets out to categorize all kinds of predominant styles in art. But to the same extent as a great number of artworks get sort of visible and digitally accessible, more and more material needs to be ignored, marginalized and kept away in a status of uncertainty, unclassifiable and unwanted as such. Supposed to be neither an artwork nor archive material, rejected by the depot as well as the library, those pieces refuse meaning on a meta-level, precisely because they cannot be reduced to metadata. Rather than imagining as if there were real access, an imaginary museum would have to intervene into the struggles for imagination itself. Its most precious pieces would be what could have been easily thrown away without anyone noticing it. (text by Florian Schneider)
The Grey 19 is based on artworks that float between archive, depot and collection. The floor offers an overview with the 'original' works. This is the basis on which we have constructed the website and the mobile, both build on the metadata that these artworks have gathered while being 'housed' by the Van Abbe museum.