Vilém Flusser Museums & Collections
The Vilm Flusser Museums sprang into existence in 1891 when the founder of the Swiss National Gallery in Basel established an institution, the Stiftung Flusser, dedicated to art. Flusser aimed to collect and display works of art, which were considered important for the society. Flusser did not recognize the distinctive features of art praxis but was rather interested in its artistic thinking.
The Vilm Flusser Museums - Archives house the legacy of the Czech-born philosopher. Flusser's trove of intellectual treasures includes thousands of manuscripts, hundreds of hours of video recordings, and two recently rehabilitated works in digital form. Though Flusser's early work was marked by a focus on existentialism, he turned to the philosophy of communication and developed a theory of the shift from linear to visual thinking.
The collection consists of four distinct sections: the Object collection, Photo Archive, Media Archive, and Paper Archive. The latter includes fieldnotes and documentation that illuminate the history and culture of objects. These materials have travelled thousands of miles and are actively used by museum curators and researchers. Through their unique stories, museum objects often reveal connections between past, present, and trade. They have also undergone new transformations in the hands of artists.
In addition to collecting art, the collection is home to numerous works by Flusser, including the work of renowned writers and thinkers. Objects in Flusser's collection are essential to his work. These collections are unique collections of his most famous works. Whether it's an original painting, a reproduction of an original work, or an edition of his earliest works, Flusser's collection has something for everyone.
Vilm Flusser was born in Prague on May 12, 1911. He grew up with his parents, Melitta and Gustav, in the city's Dejvice district. He went on to study philosophy at Karls University Prague and then the London School of Economics. Later he moved to Brazil and worked as an accountant. After the death of his father, he finds a job in an import/export firm in Sao Paulo.
The Vilm Flusser Archive houses the legacy of the Czech philosopher, including tens of thousands of manuscripts and hundreds of hours of video recordings. Recently, the museum rehabilitated two of Flusser's born-digital works. Flusser was an outspoken critic of the computer age and the emerging digital media. He worked to elucidate new philosophizing and discourse technically, despite his opposition to the new technologies.
Schendel's work was also an influential influence on Flusser, but this effect is difficult to establish definitively. Though Flusser did not have a direct relationship with Schendel, they were linked by dialogue. This dialogue produced new information, and Flusser wrote about it with confidence. This connection is difficult to establish without direct contact, but the effect of Flusser's ideas is profound.
The Vilm Flusser Museums consists of tens of thousands of manuscripts, hundreds of hours of video recordings, and recently, two born-digital works. Flusser, a Czech-born philosopher, was a fierce critic of the computer age. In this exhibition, he examines the praxis of art in the digital age. He shows how the public can participate in art by analyzing the works of artists that are not merely representative but also provocative.
The first exhibition at the Vilm Flusser Museums and Collections explores the influence of the artist on contemporary culture. Artists such as Jordan Crandall, a theorist, and performer, are shown alongside important works by other artists. His works have been featured in exhibitions in the United States and Europe. He was also the recipient of the Vilm Flusser Theory Award, given by the Berlin-based Transmediale.
The Director of the Vilm Flusser Museums 'Judith Rossinger' is an internationally recognized scholar and curator. She has written and presented on contemporary history, the Neoconcrete movement, the work of artists, and the philosophy of Vilm Flusser. Her work has appeared in many academic journals, including Leonardo and Flusser Studies. She is also an active participant at international symposia and has published books in these fields.
The archive of Vilm Flusser, Czech-born philosopher, contains his legacy in English and German. The archive includes tens of thousands of pages of manuscripts and hundreds of hours of video recordings. Recent projects include rehabilitating two of his born-digital works. Flusser was an early critic of the coming computer age and engaged his passion for new digital technology by engaging with his own ideas and techniques.
Flusser began his life as a young boy in Prague, Czechoslovakia. He studied philosophy at the Karls University in Prague before emigrating to London. In 1939, he meets Edith Barth, the future wife of Flusser. He soon settles in Sao Paulo after graduating from the London School of Economics. His family members were killed during the Second World War, and Flusser is forced to flee his homeland and find refuge in Brazil.
Although flusser is a relative of David Flusser, the author's autobiography focuses more on his personal life and work as an artist. Flusser's early works were inspired by the philosophy of Martin Heidegger. He also influenced phenomenology and existentialism. His work also contributed to the dichotolatry of art and communication.
In addition to his work as an artist, Flusser also authored several books. His autobiography, 'Towards a Philosophy of Photography', was the most widely read of his works. It includes the most complete description of his unique writing style and method of translating texts. He wrote in four languages, including English. The autobiography is a must-have for anyone interested in art.
Dialogue with Schendel
In the exhibition, "Dialogue with Schendel," curator Vilm Flusser explores the artist's history of displacement. Born in Sarajevo, Schendel moved several times and eventually settled in Porto Allegre, Brazil, where he resumed his work in the plastic arts. His history of displacement is particularly prominent in his series of Monotipias, in which words from both his native languages are combined in overfull list-like formations. In their simplicity, the works appear to evoke the abstract ideas of Schendel's life.
While the influence of Schendel cannot be definitively proven, the artist's life and work is deeply shaped by his relationship with him. The connection between the two artists is a result of the power of dialogue. While Schendel failed to acknowledge Flusser in his published texts, his dialogues with Flusser are deeply influenced by the artist's work.
Despite this reductive approach, Schendel's work demonstrates his skill in manipulating language. He juxtaposes letters, words, and phrases from two languages to form "visual poetry." His works go far beyond the materiality of art making, and allow viewers to explore the relationship between language, time, and human thought. While there is no single answer to this question, Dialogue with Schendel at Vilm Flusser Museums & Collections offers a fascinating look at Schendel's work.
Mira Schendel is one of the most important post-war artists in Latin America. She worked with several important intellectual figures of the XXXth century and influenced younger artists in her native country. Her works are largely buried in private collections in Brazil. However, recent exhibitions in North America and a Tate Modern retrospective have helped remedy this imbalance.