Curator and Critic Mouna Mekouar Talks Managing a Living Exhibition

The Fondation Beyeler’s groundbreaking exhibition, “Streaming from our eyes”, running from 19 May to 11 August 2024, heralds a transformative era in the museum’s illustrious history. This ambitious project, a collaborative effort between the Fondation Beyeler and the LUMA Foundation, reimagines the museum and its surrounding park as a dynamic, ever-evolving art space. Conceptualized as a “living organism”, the exhibition features an extraordinary array of contemporary artists, including Michael Armitage, Tino Sehgal, Marlene Dumas, Frida Escobedo, and many others, alongside iconic works by legendary figures such as Paul Cézanne, Andy Warhol, Ferdinand Hodler, and Claude Monet. The continuous rearrangement of these masterpieces ensures that each visit offers a unique experience, with no two days presenting the same display. 

Mouna Mekouar, an acclaimed curator and art critic is part of the team that has realized the exhibition. She brings a wealth of experience from her previous curatorial roles at prestigious institutions such as the Palais de Tokyo and the Centre Pompidou-Metz. Her scholarly expertise and visionary approach are instrumental in fostering a climate of creativity and interdisciplinary collaboration.

The show at Fondation Beyeler is the product of a collective vision involving key figures such as Sam Keller, Mouna Mekouar, Hans Ulrich Obrist, Isabela Mora, Precious Okoyomon, Philippe Parreno, and Tino Sehgal, along with the participating artists. Together, they have cultivated an environment where artistic dialogues flourish and multidisciplinary practices converge. This collaborative spirit is at the heart of the exhibition, with connections and interrelationships between individual works nurtured through close dialogue with the artists. Departing from the conventional static displays typical of museums, this exhibition delivers a fluid and ever-changing experience. Many artworks were created specifically for this site, while others are adapted from existing museum pieces, all contributing to the overarching theme of transformation and interconnectivity. 

“Streaming From Our Eyes” integrates a remarkable array of disciplines, including architecture, philosophy, science, literature, technology, and the visual arts. Each participating artist was encouraged to incorporate elements from these diverse fields, resulting in a richly textured and multifaceted presentation. For instance, Philippe Parreno’s “Membrane” blends technology and environmental science, while Frida Escobedo and Federico Campagna’s “A Library as Large as the World” merges architectural design with literary themes.

Furthermore, the exhibition seamlessly integrates the museum’s interior with its exterior. The surrounding park and gardens are as much a part of the display as the indoor galleries. Visitors will find installations by Fujiko Nakaya, whose fog sculptures envelop the landscape, and Dominique Gonzalez-Foerster’s ethereal visions in the field, blurring the boundaries between the natural and the artificial. Inside, the display orchestrated by Tino Sehgal and Ian Cheng’s digital ecologies transforms the traditional gallery space into a realm of continuous evolution and interaction. “Streaming From Our Eyes” exemplifies the Fondation Beyeler’s commitment to innovative and interdisciplinary curatorial practices, offering a richly layered and continually evolving encounter with art that challenges and redefines the visitor experience.

In the following interview, Mekouar elucidates the conceptual underpinnings of this revolutionary exhibition, shedding light on the collaborative processes and interdisciplinary approaches that define it. Mekouar’s insights provide a deeper understanding of the curatorial strategies and innovative practices that have shaped this extraordinary project.

Mouna Mekouar Fostering Interdisciplinary Collaboration

WHITEWALL: The current exhibition emphasizes interdisciplinary exchange. Can you elaborate on how this concept was developed and its significance in the context of “Cloud Chronicles”?

MOUNA MEKOUAR: The concept of interdisciplinarity was integral to the development of the exhibition from the very beginning. Our core group consisted of seven individuals from diverse backgrounds and generations, including artists like Philippe Parreno, Precious Okoyomon, and Tino Sehgal, as well as professionals from institutional fields Sam Keller, Isabela Mora, and Hans Ulrich Obrist. This diversity laid the foundation for introducing multidisciplinarity into the exhibition.

Throughout our conversations and several workshops, we focused on embedding this concept deeply into the show. Nowadays, few artists work in isolation; even those who are primarily painters often engage with other fields. We encouraged each artist to incorporate elements of interdisciplinarity by engaging with architecture, philosophy, science, and poetry, and through collaboration and dialogue with other artists. This principle was a central guideline for the participating artists, not as a directive but as an invitation to explore and collaborate across different disciplines.

From the outset, it was clear that an exhibition without a focus on multidisciplinarity would be unimaginable. The relevance of this approach is undeniable in today’s art world, making it a natural and essential aspect of our project. This focus on interdisciplinarity allowed us to create a dynamic and evolving exhibition, reflecting the complex and interconnected nature of contemporary artistic practices. By embracing this approach, we were able to foster a richer and more diverse experience for visitors.

Lessons from Palais de Tokyo and Centre Pompidou-Metz

WW: How did your previous experiences at institutions like Palais de Tokyo and Centre Pompidou-Metz influence your curatorial approach for the exhibition now called “Streaming From Our Eyes”?

MM: My background includes working at Palais de Tokyo from 2012 to 2014, where I co-curated the Carte Blanche of Philippe Parreno in 2013, “Anywhere, anywhere out of the world”. This experience profoundly shaped my curatorial approach. Working closely with Philippe Parreno, I learned to rethink institutional organization, treating the entire building as a cohesive landscape or an automaton. His innovative approach, which views the exhibition as a medium, as an object on its own, and as an experience, was a significant influence on my growth as a curator.  

Similarly, at the Centre Pompidou-Metz, I worked with Laurent Le Bon as an associate curator for the opening exhibition, ‘Masterpieces?’ in 2010. This exhibition questioned the contemporary relevance of the notion of “masterpieces” and how to present them in a way that engages the audiences. This critical examination of displaying collections was important for my curatorial practices at Fondation Beyeler, emphasizing the importance of context and interpretation.

Both experiences at Palais de Tokyo and Centre Pompidou-Metz involved reimagining the role of institutions and challenging conventional visitor habits. At Fondation Beyeler, we have taken these principles further by working collaboratively and pushing the boundaries of traditional exhibition formats. These past roles have ingrained in me the importance of flexibility, interdisciplinarity, and a holistic approach to curating.

How Mouna Mekour and Her Team Fostered Artistic Freedom

WW: The exhibition aims to stimulate artistic freedom. How did you and your colleagues foster an environment that allows for this creative liberty, and what challenges did you encounter?

MM: The first step to fostering freedom in the exhibition was to respect each person we invited. We considered every artist’s background, generation, and artistic vocabulary, making sure to listen to them without imposing any specific direction or theme. It was important for us to create a space where we could speak freely, be ourselves without hiding, and bring everything to the table for open discussion.

We aimed to maintain this open environment, allowing for the free exchange of ideas and questions. Artists were not required to present something rigid or framed; their work could be a work in progress. Their thinking and creative processes helped us push the boundaries of the exhibition’s framework. Each artist, with their unique experiences, questions, and uncertainties, became an integral part of the show.

By working together closely, we blurred the lines between our side and theirs. Our goal was to keep the process as collaborative and free as possible, involving artists, philosophers, and other contributors in a multidisciplinary dialogue. We didn’t have a predefined topic. Instead, we told them about multidisciplinarity, collaboration and entanglements. Everything was part of an ongoing dialogue.

“Our goal was to keep the process as collaborative and free as possible, involving artists, philosophers, and other contributors in a multidisciplinary dialogue,”

— Mouna Mekouar

Managing the Dynamics of a Living Exhibition

WW: The exhibition is designed to be a living organism that changes over time. How do you manage the logistics and curatorial decisions to maintain this dynamic nature?

MM: We considered the show as a living organism in the sense that it is always changing, evolving, and moving—it is never the same. Not only the title but also the collection is in motion, constantly moving and changing. Many aspects of the show change during the 12 weeks of the exhibition and even during the opening hours. Fujiko Nakaya’s fog installations, located in three spots of the Fondation Beyeler—next to Precious Okoyomon’s piece in front of the south façade and in the north pond—could serve in my opinion as a metaphor for the entire exhibition. The fog is always moving and changing, dependent on natural elements like the wind, temperature, and humidity. It is never the same, yet it remains a fog. It is dense and opaque, but also fluid, gentle, and smooth. It disappears and brings the landscape into the landscape. This is exactly how we aimed to create the exhibition: to bring something that changes all the time but with a certain rhythm and different criteria. There is a different timeline in the show, and motion is inherent to it.

WW: And how did you manage this? Do you have a schedule?

MM: Yes, of course. When you have an exhibition that takes over the entire building and also some hidden places within the Fondation Beyeler—like Rirkrit Tiravanija’s terrace installation, the former nursery showing Ian Cheng’s film, or the cloakroom transformed by Dozie Kanu—it is a challenge, but a good one. We worked very closely with the teams. It wasn’t just the core group of seven or the invited artists and participants; the entire Fondation Beyeler team was deeply involved in the show. It was all about togetherness—how we could collaborate to take the exhibition further and raise new questions about the institution. This idea of togetherness is really important.

In my opinion, this exhibition is a testament to the collective effort and commitment of everyone involved, highlighting the importance of working together to achieve something truly dynamic and innovative.

“This exhibition is a testament to the collective effort and commitment of everyone involved,”

— Mouna Mekouar

WW: Dominique Gonzalez-Foerster’s installation explores the space between reality and representation. How do you see this piece fitting into the overall theme of “Cloud Chronicles”?

MM: Dominique has always wanted to create a work in the field at Fondation Beyeler. Whenever she visited in the past, she thought, “I should do something in this field.” So, when Dominique was invited, she immediately decided to focus on the field.

Dominique envisioned creating a window open to the world, similar to the concept of Renaissance painting, where paintings were like windows capturing fragments of reality. Dominique’s work takes this idea and opens it to the sky. Her LED screen installation shows the sky with its changing clouds, influenced by time and climate. This piece captures a fragment of the sky and incorporates creatures that appear, disappear, and reappear, creating an interaction between the visible and the invisible. Dominique’s installation fits perfectly with the exhibition’s theme, embracing its dynamic and evolving nature and encouraging viewers to experience and interpret the art in their own way.

WW: Precious Okoyomon’s poisonous garden challenges conventional perceptions of nature. How do you think this installation impacts visitors’ understanding of beauty and danger?

MM: Precious envisioned this space as a transformative experience. As you walk in, you immediately sense a different environment. The climate changes: you feel the humidity and notice the altered atmosphere, signalling that you’re in a new situation. It takes a moment to adjust, and then you begin to notice the plants and beautiful butterflies, creating a dreamlike setting.

Suddenly, an animatronic bear lets out a strange, primal scream, disrupting the serene atmosphere and adding a layer of unease. This sound makes you see the garden in a new light, revealing that some of the plants might be dangerous. The eerie ambiance, combined with the unsettling sound, creates an uncertain state—are you in a dream or a nightmare? This ambiguity forces you to confront both beauty and danger simultaneously.

Precious’s garden is a paradise, but a dangerous one, allowing you to experience both feelings at once. This duality is what makes her work so impactful, challenging visitors to reconsider their perceptions.

Mouna Mekour’s Insight on Technology and Sensory Engagement

WW: Philippe Parreno’s Membrane creates a non-visual perception of its environment. Can you discuss the role of technology and sensory experiences in this work and the exhibition as a whole?

MM: Philippe Parreno’s tower, titled “Membrane”, is a fascinating work. The name itself suggests its function. It contains over 42 sensors that collect data from the environment—elements like humidity, pollution, temperature and the vibrations of the earth. These sensors enable the tower to change and evolve throughout the exhibition. The voice associated with the tower also evolves, reflecting these environmental changes. This concept indirectly highlights the invisible elements around us that constantly affect our moods. The tower detects these changes and reacts accordingly, almost like a character adapting and evolving with its surroundings. 

The use of technology is crucial in this context. Technology brings the tower to life, making it almost as perceptive as a being, sensitive to pollution, pollen, wind, and light quality. The tower’s appearance and behaviour change based on the time of day, from sunrise to sunset. Other works in the exhibition also incorporate technology, pushing beyond traditional art forms. For example, Ian Cheng’s work features a tiny character, turtle, named “Thousand”, which learns to navigate an apartment setting. Thousand’s learning process, including making mistakes and adapting, is a live simulation of real-life experiences, extending the narrative in unexpected ways.

Thousand has learned significantly since the exhibition opened. Visitors can see her progress on the screen, showing how much she has evolved each day. Another notable piece is Pierre Huyghe’s “Idiom”, featuring masks that learn and develop their own language based on interactions with museum visitors. These masks capture data from their environment and use it to improve their language skills daily. This relationship between human and non-human elements raises intriguing questions about our future interactions with technology.

These AI and technology-driven pieces are extensions of us, challenging our understanding of art and objects. They are not human but learn and evolve in ways that prompt us to rethink our relationship with non-human entities. This approach is a step beyond traditional expectations of artworks, using technology as a tool to explore new dimensions and possibilities in art.

WW: The exhibition has multiple titles such as “Cloud Chronicles”, “Echoes Unbound”, and “Misty Spires.” How do these varying titles contribute to the overall narrative and visitor experience of the exhibition?

MM: The multiple titles reflect the exhibition’s core concept of embracing diverse narratives and perspectives. There is no single way to think about or experience the exhibition; it is designed to offer a multiplicity of viewpoints. Each new title brings a fresh perspective and reflects the exhibition’s evolving nature.

Some titles were given by the core group and by the artists or the participants invited to the exhibition. This approach allows everyone to bring their unique perspective and narrative to the exhibition, fostering the artistic freedom we aim to highlight. It showcases the exhibition’s many faces and facets, inviting visitors to engage with it in their own way and experience its richness and complexity.

By offering various titles, we encourage visitors to view the exhibition through different lenses, thus enriching their overall experience. Each title provides a unique entry point into the exhibition, reflecting the diverse contributions and the collaborative spirit that underpins this project. This strategy aligns with our goal of creating an evolving, dynamic exhibition space where multiple voices and interpretations coexist.