Only open for a 24-hour period
Prada presented the “24h Museum”, designed by Francesco Vezzoli with AMO, Dutch architect Rem Koolhaas’ think tank. The “24h Museum” was launched during the Haute Couture Spring/Summer Fashion Week in Paris at 8:30pm, on Tuesday 24 January for 24 hours, and closed its doors yesterday, Wednesday 25 January at exactly 8:30.
Presented in the historic Palais d’Iéna, it was the first time a contemporary art show took place in this building, designed by Auguste Perret between 1936 and 1946. Today home of the “Conseil Economique, Social et Environnemental”, the third French parliament, the place was originally designed to be a museum.
AMO’s installation for the “24h Museum” was divided in three sections, each inspired by a particular type of museum space: historic, contemporary and forgotten. The three sections were instrument to the sequence of events that take place during 24 hours in different areas of the ground floor of the Palais d’Iéna. The central space is a large metal cage made from grills and neon lights that encloses the work by Francesco Vezzoli.
A three sections set up –historic, contemporary and forgotten
Vezzoli created a “non-existent museum” where he showed his personal tribute to the femininity through interpretations of classical sculptures that make reference to contemporary divas. “They are my icons” he says, “turned into sculptures and placed on marble pedestals”.
- The main space, a large cage made from grills and neon lights looked like A Clockwork Orange set mixed with a NYC Studio 54 feeling, hosted a series of neoclassical statues with puzzle heads of the celebrities Vezzoli has worked with (from Britney Spears to Courtney Love or Cate Blanchett to name few of them) that light up from the inside, turning from white to pink and red.
- At the top of the stairway, epicentre of the building, Vezzoli is placed a majestic sculpture of a female, reinterpreted with the features of a mysterious goddess.
- The “Salon des refuses” third part of the museum located in a hidden part of the ground floor, featured imaginary relics of Vezzoli’s art, and was turned as a small disco-club the evening of the 24th.
An ephemeral “Total Museum”
The museum result was a collage of experiences and spaces of diverse size and quality: an imaginary and ephemeral “total museum”. But the steady stream of visitors was the real show. “This time, the audience gets to react,” Vezzoli says before the opening. “They are the performance.”
Yesterday, when the clock completed it’s 24 hour turn, everything disappeared to never pop up again.
Francesco Vezzoli concluded : “I try to never repeat myself”