"In a different way, from a conceptual point of view, this work is a challenge for me, for the artist I invited, for the curators who, in turn, invited me to create this project that mixes and confuses the roles and expertise of each one.
"
— Cai Guo-Qiang interview with Jérôme Sans, "Arte all'Arte VI", 2001
Invited by Pier Luigi Tazzi for the 6th edition of Arte all'Arte, artist Cai Guo-Qiang created the contemporary art museum UMoCA – Under Museum of Contemporary Art in Colle di Val d'Elsa.
"It is the very particular character of Colle Val d'Elsa's political and cultural history that stimulated the project by Cai Guo-Qiang, an artist always sensitive to the circumstances of the context in which he has found himself working.
In this case, it is the setup and inauguration of a new small contemporary art museum similar to those the artist has already set up in Japan and China. The museum, called UMoCA (Under Museum of Contemporary Art), is installed under the arches of the San Francesco bridge, built in the first half of the 14th century to connect the city with the Franciscan convent located on the adjacent hill.
Cai is the architect, the director, and the curator of the exhibitions, which will have an annual schedule in conjunction with future editions of Arte all'Arte. UMoCA does not require electricity, except for what is needed to activate the huge neon signs that mark its paradoxical presence in the landscape, air conditioning, staff, or insurance, while it has its own architecture, and contains works of art created by an artist, in this case Ni Tsai Chin, chosen by a curator with the authority granted by a director, who here is Cai himself.
In particular, Ni started as a painter before becoming one of the most important contemporary art critics both in China and Taiwan. When he was appointed director of the National Gallery of Taiwan a few years ago, he invited Cai to hold the first exhibition, which consisted of one of his typical pyrotechnic works, a move that cost him his position. Ni's current participation as an artist for the inaugural exhibition of UMoCA thus marks a reversal of roles and, at the same time, further demonstrates Cai's current interest in highlighting the artist's role in the cultural phase we are experiencing."
Pier Luigi Tazzi, “Arte all’Arte VI”, 2001
Interview by Jérôme Sans
What does UMOCA mean?
It is part of the larger MoCA project. The first one was created last year in Japan and was called DMOCA. DMOCA used the spaces of an abandoned furnace, which in China is called the "dragon kiln," and that's where the name of the museum comes from: Dragon Museum of Contemporary Art. Then this second museum, UMoCA, where U stands for "under," as it is located beneath the arches of a bridge.
How did this idea come about?
It responds to the opening of various Guggenheim museums around the world, the chains of McDonald's, Kentucky Fried Chicken, Starbucks... My ambition is to surpass the Guggenheims with my chain in a few years, both in number and in efficiency. The series of my MoCAs will be closer to the local user and will offer better service to the local community as a whole. Local history and culture are always taken into consideration. Take, for example, the one in Japan: even though the furnace comes from China, the local Japanese communities are historically places where ceramics are made. And similarly here, in Colle, I used a bridge that connected the monastery with the city. Instead of the usual walkway, I preferred to bring life to the less usual space beneath. I heard that the mayor particularly appreciated this idea and wants to transform the place into an artistic or cultural park.
In a different way, from a conceptual point of view, this work is a challenge for me, for the artist I invited, for the curators who, in turn, invited me to carry out this project that mixes and confuses the roles and expertise of each one. For example, you and I, Jérôme, have waited ten years to work together, and in the end, here is the right opportunity to invite me to this event, and, on the same day, I replace you by taking on the role of curator.
How will this museum work?
The museum has 10 rooms: 3 exhibition halls, the administration, the collection, the information desk, the gift shop, the cloakroom, the restrooms, and the café. We have two large signs, very important for the museum, far more important than a business card. Our space is limited, but from a distance, thanks to the signs, it looks enormous. The museum has a steering committee, which also includes the curators of this exhibition, the mayor of Colle, and I hope that in the future, wealthy collectors will join as well. In this exhibition in particular, the public can participate in various activities, and the money raised from the proposed games will go into the museum's funds. Every year, I will personally return to curate an exhibition here.
How do you connect this project to the pyrotechnic works for which you are famous?
Perhaps the connection lies in the qualities of improvisation and not having a predetermined working method. These are the traits that unite all of my artistic production. And then there is the interest in the place. In this case, inviting Ni Tsai Chin to participate in this exhibition is linked to the fact that a few years ago, he was the one who invited me to explode his museum. For me, exploding a museum or founding it is the same thing.
“Arte all’Arte VI”, 2001
Credits
Cai Guo-Qiang
UMoCA, 2001
Colle di Val d'Elsa, Arte all'Arte 2001
Courtesy Associazione Arte Continua – San Gimignano (SI)
Photo Attilio Maranzano
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