Imagined Museum of Contemporary Art

An imagined museum with real intentions: highlighting the value of art in everyday life.

“Spontaneous Tribute to Constant Nieuwenhuys”, 2018.

“Spontaneous Tribute to Constant Nieuwenhuys”, 2018.
For Constant Nieuwenhuys, and I agree, it is clear that if we are able to satisfy the basic needs of everybody, there will be no more reason to live a life of production and timekeeping.
And then, if everybody could have more free time to express their creativity, the today’s so-called “art” would lose all meaning.


By observing our surroundings from different points of view we can change our perception of it: we can change our reality.

To change our reality we need to know how to shift our perceptions and viewpoints.

Society as it is currently configured offers us very little free time to stimulate our imaginations. One must have imagination to see new possibilities, find new opportunities, and change reality and society.

A man without imagination is a dead man; a society without imagination cannot evolve.

Through this new kind of museum, SerraGlia aims at stimulating the imaginations of viewers to initiate an inner process leading to a more acute awareness and sensibility.

It is fundamental in today’s world that every work of art should connect with people and communicate a clear message to the viewer: these are the conditions for arousing a certain sensibility, one that is repressed by our current society.


This proposal to expand and diversify the domain of “art” is analogous to Bruno Munari’s Imaginary Museum of the Aeolian Islands (1955), which in turn was inspired by the Readymade* and Situationist movements.

*Term applied from 1915 to a commonplace prefabricated object isolated from its functional context and elevated to the status of art by the mere act of an artist’s selection (MoMA).

In addition, more theoretical information and resources – questioning the meaning of art itself – can be found at (updated 1.2018):

Rudolf Arnheim, Art and Visual Perception: A Psychology of the Creative Eye (2004)
Vladimir Arkhipov, Home-Made: Contemporary Russian Folk Artifacts (2006)
John Berger, Ways of Seeing, (1973)
E. H. Gombrich, Art and Illusion (2000)
Bruno Munari, Fantasia (1977)
Bruno Munari, Design as Art (1966)
Constant Nieuwenhuis: New Babylon. Opus International #27 (September 1971)
Constant Nieuwenhuis: Internationale Situationniste #2 (December 1958)
Yuriko Saito, Everyday Aesthetics (2008)
Lucy Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 (1997)
Keri Smith, The Wander Society (2016)
Leonard Koren, Wabi-Sabi for Artists, Designers, Poets & Philosophers (2008)

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