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The Imaginary Museum of Tintin – A Second Report
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The Imaginary Museum of Tintin –A Second Report
What would Tintin's stories, reports and adventures look like if we would position him at the center of our current digital society? To what extent could we still speak of 'reporters instinct' if most evidence is sourced indirectly from the Internet? How does this effect the idea of a witness account?
The online exhibition 'The Imaginary Museum of Tintin – A Second Report' takes these questions as the object of investigation and report to establish a potential museum and methodology of Tintin as being subjected to the conditions of the now, the current situation. The exhibition will be informed and advanced by two strands: a concept for a potential museum exhibition as foregrounded by artworks linking to the stories created by Studio Hergé, and a suggestion for a digital methodology to recover Tintin's stories in the present.
As part of an ongoing research trajectory, the digital version of the exhibition 'The Imaginary Museum of Tintin' will show a selection of documentation of artworks that are relevant to and resonate with the respective Tintin comic books. Spanning a career of 56 years and 24 comic books, Studio Hergé (as headed by Hergé, Georges Remi) has been an influence and inspiration to readers all over the world: from children, adults, artists, writers, designers, typographers, and so forth. 'The Imaginary Museum of Tintin' intends to place those parts surrounding the initial and analog books in a debate with current modes of communication and distribution as exemplified by resources from visual culture and artworks.
The second part ('Contexts' and 'Subtexts') is structured along a number of Google searches that subject the individual books created by Studio Hergé to a repositioning in the present. It does so by asking the simple "Where?", "When?", "Who?" and "What?" – the principles of a story. For instance: "Congo", "Congo 1931", "Congo 1931 Tintin", "Congo 1931 Tintin Diamand Smuggle", as based on the book 'Tintin in the Congo' of 1931. The first image suggested will then be selected as a piece of evidence, a resource. In that, the search results pose the question "How do we inhabit an image?" whilst exploring the possibilites of alternative knowledge and counter-memories by means of the displacement and re-contextualisation of collected imagery.
Further reading via:
http://www.kapsul.org/k/noteFiles/download/1040/The%20Imaginary%20Museum%20of%20Tintin%20%E2%80%93%20Introduction.pdf
*Note: 'Het Imaginair Museum van Kuifje' / 'Le Musée Imaginaire de Tintin' was first organised in 1979 and took place at the Centre for Fine Arts in Brussels.
Selected, Composed and Edited by Niekolaas Johannes Lekkerkerk
www.niekolaasjohanneslekkerkerk.com
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