![]() The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. ![]() The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. The pieces assembled in “Disappearances, Shadows and Illusions” lead us to accept that our visual experience before a work of art is not so much an affirmation of our existing values, but rather a purifying ritual, refreshing our eyes, mind and spirit, inclining us to view the world in a new light.Necessary cookies are absolutely essential for the website to function properly. A video showed her mother, lost in the endless labyrinth of Alzheimer’s, a labyrinth in which daily routines become strange, and objects distort their functions and even their spatial location, plunging the subject into a kind of abyss in which the prevailing feeling is immense panic in the face of the unknown. Become part of the growing MOI community and join our network of. Our Museums are currently present in over 40 locations in 25 countries across 4 continents, and our expansion continues. The artist, Elizabeth Cerejido, with her series “Absence,” addressed the fleeting nature of human memory. Museum of Illusions is the global leader in the Edutainment Industry as well as the largest and fastest-growing privately owned chain of museums in the World. Inspired by the wave of violence shaking his country, bathroom curtains, which distort macabre silhouettes of human beings, allude to how death and disappearances can become as quotidian and familiar as taking a shower. Other works, such as “Cortinas de baño” (Bathroom Curtains) by the Colombian, Oscar Muñoz, referred to how the decisive influence of social context can make even the most inhospitable situations seem mundane. Various objects, arranged in a manner similar to traditional museums’ “historic environments,” completed the installation, creating the misleading sensation that they were evidence of Lincoln’s life. The artist, with this piece, questions historical truths, which are susceptible to being manipulated from the present. In a video, which he placed within an enormous wooden cone suspended from the ceiling, the artist created a scenario which never took place in the life of this personage. Museum of Illusions - Miami, Miami Beach, Florida. COOPER structured his work around the figure of Abraham Lincoln. “Drainpipes and death myth…” reflected on how temporal distance can generate a new discourse relative to historic events. The oeuvre placed before our eyes everyday objects, with known specific functions as in the case of light bulbs, but presented them from a completely different perspective.įor his part, the Miami-based artist, COOPER, presented an installation that demonstrated the relative, doubtful and at times elusive nature of history. An enormous sun, created using fluorescent bulbs, emerged from the floor and flooded the space with a fierce red light, a light that awakened a sensation of heat, which appeared to grow stronger as the individual drew ever closer. “Western Sun” by Mark Handforth stood out amongst the pieces that challenged the senses. This exhibition, however, questioned the aura of sanctity surrounding a museum, and proposed a much more dynamic interpretation of and interaction with the works of art. This type of manipulation was somewhat paradoxical, taking into consideration that the exhibition took place in a museum, an institution traditionally associated symbolically with absolute knowledge and immutable truth. The pieces required the spectator to construct his own interpretation of the artistic phenomenon in question. Participating artists, many of them residents of Miami, presented pieces, which through manipulation of lights, perspectives or meanings, instantaneously alluded to ideas such as impermanence and doubt. Over the summer Miami Art Museum hosted “Disappearances, Shadows and Illusions,” an exhibition curated by Peter Boswell, which made one reflect on the relative and at the same time deceptive nature of human perception, and challenged the visitor to actively participate in his role as observer.
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