
Contents
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Entering the Discursive Museum Entering the Discursive Museum
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Writing Modern Art in the Room of Islamic Art Writing Modern Art in the Room of Islamic Art
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Writing Modern Art in the Room of Naïve Art Writing Modern Art in the Room of Naïve Art
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Writing Modern Art in the Room of the Nation Writing Modern Art in the Room of the Nation
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Writing Modern Art in the Room of the Universal Writing Modern Art in the Room of the Universal
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Writing Modern Art Out of the Bazaar Museum Writing Modern Art Out of the Bazaar Museum
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Opening the Discursive Museum to Public Transcripts Opening the Discursive Museum to Public Transcripts
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Conclusions Conclusions
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Four Imaginary Museums and Their Real Phantoms: Exorcising Monumental Discourse
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Published:March 2010
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Abstract
This chapter examines how Moroccan intellectuals and artists deeply committed to modern art cleared spaces for negotiation of their position within the discourse of modernity and its aesthetic manifestations. In the Moroccan discursive museum, many artists believed that their work was basically a transformative engagement in the decolonization of art and the creation of a national culture. Moroccan artists, intellectuals, and curators argue that Moroccan museums do not exist. However, they succeeded in creating their own imaginary museum, a discursive museum that housed not art objects but issues of great debate on art and culture. Additionally, it discusses how art and artists made significant contributions to creating new and dynamic cultures that address and contest the marginalization locally and across postcolonial communities.
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