THE SEVENTH MUSEUM

Introduction
The city of The Hague has a small lake at its center called the Hofvijver, surrounded by buildings of historical interest. Situated at the heart of the city, this district with its characteristic facades and tranquil pool presents an image of refined repose. What makes the district around the Hofvijver so remarkable is that it contains a large number of public buildings, many of which have great historic value. In several instances these buildings, often dating from the 17th or 18th century, have been restored and are now splendid monuments for posterity. It would be hard to find another spot in Holland that contains so much historical wealth and beauty.

What is striking about the conservation and preservation here is its diversity. There is for example the cultural-historical viewpoint (instanced by The Hague Historical Museum. Gevangenpoort), the art-historical approach (the Maurits House, Bredius Museum, Willem V Gallery) and the political aspect (the buildings of the Dutch Parliament, the Binnenhof). These differing approaches determine to a large extent the way in which the historical content of a particular spot is treated and how its art collections or other interesting features are presented to the public.

Each of these buildings, apart from the way in which it is used toady, has its own fascinating previous history. The building known as the Binnenhof, for example, was until quite recently a fortress open only to the chosen few. Today, however, representing the public nature of the Dutch government, the building is accessible to all. Then there is the Maurits House, once a royal dwelling, next an exclusive museum presenting a cabinet of curiosities gathered from every corner of the globe, now a public art gallery.

The manner in which these buildings present their history demonstrates how `we' choose to live with `our' past. The use of quotation marks here shows that we're talking about a legitimate, but enforced, generalization. The reference to `we' and `our' serves to reinforce the fact that we are dealing with the intriguing fiction of a well-considered record of a certain moment which actually is constantly under pressure from changing opinions and changing habits - and at times must yield place to these. Herein lies the impulse for the manner in which these buildings present themselves and their contents, constantly adapting to changing tastes. It is as if we see history being acted out in a window display that reflects the taste of today. In this definition of taste we have as central given the selection mechanism of what the public does and does not get to see - because certain objects are at present in depot or in private rooms - and here we find both the strong and weak side of our art institutions. (Order above chaos, but what kind of order?)

This aspect of continually changing taste cannot be separated from the various - and changing - public functions that these buildings/institutions fulfil. This much, after all, is clear - these public institutions have gained an important role in our national life. Their function and their fate seems inextricably linked today with the long lines of visitors queuing to enter. So much so that certain museum experts are now putting the case - rightly or wrongly - for a far-reaching, up-to-date, public sponsorship.

Contemporary Art and the Hofvijver
What is the place of contemporary art in this (public) scene? Or does it in fact have to win a place for itself? To start with this last point: it seems passˇ to speak of a strict division between `old' (classical) art and the `modern'. Rather, it now seems that contemporary art wants to explore its history. This change of focus, together with the current discussion about art in the public space, its site-specificity, the permanence of the placement of an artwork, and the highly reflective attitude of artists towards their own profession and the art world in general, all combine to make it possible for the district around the Hofvijver, with its many historic buildings, to offer a vigorous challenge.

A site-specific artwork needs to consider the (art) historical, aesthetic and political models of presentation that already exist in this area. In this list also belong the historical and architectural aspects of the Hofvijver itself, a striking stretch of water, surrounded by magnificent buildings and architectural objects reminiscent of a scattered decor. Equally, more intangible elements, such as the history of ideas, representation and taste, have their part to play.

The consideration paid to the way in which objects of great interest are presented may give rise to questions about how certain museums function, what their function is today or could be in the future, questions about conservation and restoration, adding to the collection, organizing exhibitions, curating in general, and other associated functions. We also need to consider the role of the public and probably of other groups - marketing specialists, the media, sponsors and suchlike. All these questions are familiar in the artworld of today, where it has become standard to consider how art functions. There is reflection on both the social nature and presentation of art, as on the role of the artist and the public. In such a context, you even tend to wonder how much of a challenge it will be to consider your own newly-minted suggestions or models. In short, there are intriguing questions here, providing the subject - from today's perspective of contemporary art - with a far greater familiarity and immediacy.

Aim
The aim of the project `The Seventh Museum' is to find out what place can be occupied by Public Art within a context that is closely defined by the conservation and presentation of a heritage that includes historical, art-historical and political elements. We took as starting point the fact that there is a connection between the history of the ideas that have been made concrete in the space around The Hague's Hofvijver, and the way in which the public plays a role in this area. It is important here to see the differences between the various buildings in terms of understanding the area as a whole. Since comprehending time and the temporal plays an important part in this context, and furthermore since there is clearly no lack of visual orientation, the Seventh Museum is offering a home to temporary works. And because it is a museum without walls, it will turn out to be a figment of the imagination!

Location
The geographical area includes the six previously-mentioned institutions together with the area that includes them, which is mainly the Hofvijver (royal lake) and the Vijverberg. It lies in the city centre but its chief interest in cultural-historic. At certain times events are organized in/on the lake and its surroundings, partly by the local tourist offices. Many bodies are involved in the administration of this area, and in ensuring its security.

The Plan
The works on show in the Seventh Museum will be made either on commission or will be on loan. Artists, from whom it may be expected that they can find a solution to the problems posed, will be invited individually to make a work either on the spot or in situ. They will be able to discuss problems arising while they are making their work, and it is expected that the development of the piece, their way of working and/or their attitudes, will be important factors in the process. Others who will be asked to participate (as well as visual artists) will include TV and theatre directors, film makers, musicians and writers who show a certain affinity or connection with the visual arts. This will serve to increase the range of the questions confronted.

In realizing the works we make a distinction between artworks that have a more specifically-targeted audience and works that simultaneously challenge various aspects of the problem. With respect to this, the aim will be to produce a large-scale work once a year. In this connection we think in particular of a multi-disciplinary work, a Gesamtkunstwerk. This section will also - it goes more or less without saying - be the most publicly oriented.

We also wish to study the extent to which existing works by contemporary artists can make a contribution in this context by presenting them temporarily in a specific spot. In doing so, the primary aim is not to provoke a confrontation between old and new, between past and present, but far rather to achieve a continuum in the way in which people look at ancient and modern art. Where great differences are perceived, the resemblances are often neglected. Yet these very resemblances may often be just as attractive.

Surrounded by other works from a collection, the pieces on loan - lifted from their original context for this occasion - may give rise to a number of vital questions. Such questions refer in particular, for example, to (dis)continuity of collections, (de)canonization of the collection presented, and thereby the historically-grown image of the presentation.

Finally, meetings will be organized, that will have a theoretical, reflective and/or advertising nature.

Presentation
Suggestions for works will have to be discussed with the institutions (buildings) involved, with an eye to the nature of the area where they will be exhibited. The possible completion of a work will also take place following discussions with the bodies concerned.

The exact time and place in which the work is to be completed will depend upon both the above-mentioned points of connection that the location offers, as well as the other works being realized in the Seventh Museum project, and the presence and movements of the public.

It goes without saying, this will not be an exhibition in the normal sense of the word. It is the intention that this project will develop gradually but explicitly. The artworks - in some cases with previous announcement, depending on the nature of the work - will be presented at certain times. To put it briefly, there needs to be careful supervision, that will offer the artworks a meaningful setting within this museum.

The Public
The role of the public has come up for discussion on many occasions. But in this case we are dealing with public art - art in the public space.
Each of the buildings in the vicinity of the Hofvijver attracts its own special public, and in very few cases do these overlap. One building will pull in the large, tourist crowds while the next will appeal to an historically-minded or international art-oriented group. In the first instance, the works of the Seventh Museum will have to jockey for a place in the midst of this varied public. In the second place it will speak to another public - more specifically interested in contemporary art. Giving priority to the public who are `the regulars' does full justice to public art. But it doesn't have to end there - and that is something every serious artist will agree with.

Waling Boers
August 1993

An extended concept is available (54K, in Dutch only).

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