One of MONA’s deliberate anarchies is
to not label the work. Instead if you want you can hook up with iPods and/or
headphones (the O guide) and learn about the art as you go; from a series of
different voices, including Walsh’s own reasons for buying a piece. However, the
project is supported by a large amount of written material – Monanisms,
the catalogue for the opening show; the Making of MONA about the whole
project; and David Walsh’s memoir A Bone of Fact. We may not be given
‘proper’ art-gallery-type instructions about how to read the art (who made it,
when, what out of, where and in what context) but there is a tremendous amount
of post-modern, post-everything ‘stuff’ which surrounds the collection, infused
by all the irony, partiality, cleverness, and witty asides one has come to
expect. How long this will seem ‘on-trend’ rather than deeply dated waits to be
seen.
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