We produce a cup only once, but we wash and dry it a thousand times. David Graeber
Elif Sarican, Nika Dubrovsky, and Elizaveta Mhaili
The idea of the Museum of Care is to provide a space where people, artists and non-artists, cooperate with each other to change, restore, and repair the social fabric of society, as opposed to a traditional museum, which most of the time is designed to create the space to exhibit, appreciate, and archive certain sorts of objects or to document certain sorts of situations, with the purpose of presenting them as one or another form of the sublime. A large number of new museums are built every year around the world. No one is quite sure where the phrase “museum-industrial complex” originally came from, but the art critic, media theorist, and philosopher Boris Groys has been referring to this phenomenon for many years now, emphasizing the scale of museum expansion bringing together family entertainment, touristic development, investment, and sacred space in service of the production and reproduction of what are considered society’s highest values. Why, then, do we need to add another project to what already seems like a neurotically long queue of infinitely expanding spaces of representation? We believe that our museum represents a genuine departure: it is a museum that does not need buildings or sponsors, guards or archives, one that does not need cashiers, accountants, and lawyers.