The museums participating on the project aim at re-evaluating and rethinking their resources: archives, collections and working methods in order to develop their potentials by creating knowledge and connecting the various types of audiences. The traditional roles of the contemporary art museum are changing: its most important activities are no longer merely storage, studying and exhibiting of artworks, but also an active involvement with the museum’s audience. For this reason, the project will develop combination of exhibitions ans educational programs based on participatory approach, intended for both, the audience and the staff.
A group of teenagers are moving through the exhibition spaces, archives and basement hallways of the Museum of Contemporary Art in Zagreb, always returning to the first Croatian Avant-garde painting, Pa-fa-ma by Josip Seissel. Their movements recall the impulsive energy of playground during recess. The strange game of hide-and-seek that plays out among the modern artworks might also evoke the imagery of high school shootings. The museum is depicted in a sort of hostage situation – the art museum is under siege and this nervous eerie situation plays out playfully in the museums permanent collection. Somewhere else Philip K. Dick’s character Nicolas Brady is being induced with a telepathic stream of handheld video footage of secret modern art collection concealed in a bunker in Leningrad. And endless torrent of modern classics, disturbingly exceeding any realistic volume of such productions, bombards his consciousness and ignites a new critical sight. This epiphanic video transmission is relayed to Nicolas Brady via the godlike satellite Valis. In Nichloas Brady (Target Audience) the satellite takes the shape of Josip Seissel’s Pa-fa-ma and the solid modernistic formations slowly revolves and turns on its on axis, spinning silently through space. In a playful clash between the expressive movements of the youngsters in the fixed structure of the museum space and the odd potential of new imagined art collections through fiction literature, Nicolas Brady (Target Audience) creates a tiny orbit around a modernistic satellite invested in the hidden power relations in the architecture and structure of the (art)museum and the history of Croatian and international avantgarde art.