The famous Lausanne design museum of mudac is undergoing its transformation with the opening for its new buildings scheduled for June 2022. A transformation which will be accompanied by a redefinition of the policy for the acquisition of works and the meaning of the collections, as explained by its deputy director Marco Costantini.
Lausanne is taking advantage of the new impetus given by the Plateforme 10 project – the constitution of a veritable arts district in the heart of the city, associating the three museums devoted to visual creation – to push back its walls and find new sources to better promote the omnipresence of design in our daily lives. Double exhibition areas, mediation space located directly on a platform that can simultaneously accommodate several exhibitions, four times the volume of collections reserves, but also a research center and library shared with the Musée de l’Elysée, not to mention the he reception of the public with a large bookstore-boutique, a café and a restaurant, it is a real “augmented” mudac that visitors will be able to discover when it officially opens in June 2022. And all the more so since its visual identity and its website have also been completely redesigned in view of this great change.
This physical transformation of the building is not an end in itself. It is also accompanied by the redefinition of the policy for the acquisition of works and the meaning of the collections. Focusing mainly so far on the design of ceramic, jewelry, print, textile and glass objects, the mudac begins a more global reflection and a methodological reorientation much more focused on the documentation of the creative processes. general, with supporting sketches, preparatory drawings, samples and prototypes.
“Seize what unites contemporary creators”
“The general idea is that it is no longer possible today to present the collections by techniques or materials as each creation maintains with others elements of neighborhood at the level of production systems, distribution but also semantics” , explains Marco Costantini, Deputy Director of mudac. “The issues that every creator tries to solve, whether he is a designer, a jeweler or a ceramist, are often the same. Why create a new chair or a new vase? How will I position myself in relation to the major questions linked to the use of materials and the issues of sustainable development? What can my new object bring to society? Exhibiting all of the objects in our collections together can help capture what unites contemporary designers. ”
In fact, the mudac collection will be extended to other materials, more modern and technological, to bear witness to the major evolutions and revolutions that design and all the applied arts are going through today. ” New materials have appeared, such as algae, others come from recycling ” , continues Marco Costantini. “Technologies play a very important role in the search for new materials that pollute less or have an impact on the environment. It is therefore our duty as a public institution to present this research by bringing into the collections emblematic pieces of this state of mind. “
Back and forth between geographical areas that produce meaning
In addition to this more intertwined reading of contemporary design in these creative processes, the mudac also wishes to better consider their geographical origin, by giving more space to non-European productions in order to better consider them in a broader discourse of design. .
“In a world that we like to describe as globalized, unlike resources that are not or not enough, it is important to question the meaning of design according to the geographical area in which we are located. “ admits Marco Costantini. “The word design in Europe does not always have the same meaning as if you are in Asia, Latin America or the Middle East. It is therefore a question of understanding these differences or variations in order to avoid a too Eurocentric gaze. Collecting these artefacts from extra-European countries must therefore also allow us to question our own productions by comparing them with those of other countries. These back and forths produce meaning. Design is above all a question of context, even if the tools are common. “
While awaiting the progress of this reflection, an appointment is made next November for a foreshadowing of an opening offering carte blanche to Swiss artist Christian Marclay. He will present in situ an installation of digital projections made up of thousands of still images from the mudac and Musée de l’Élysée collections.
Double exhibition surfaces, mediation space located directly on a platform that simultaneously hosts several exhibitions … it is a real “augmented” mudac that will open in June 2022.