Important works of renowned international painters and sculptors are displayed on the ground and underground floors of the building, as well as a collection of photographs revealing some important moments of Mr.
He wanted to bring culture to all the peoples of his country, no matter their race, social class or creed; a museum, he believed, was a great start for that. Intellectuals and artists took part in his endeavour showing support not only towards his objectives, but also towards his populist political approach.
As the military coup took place the museum was shut down and some of the art had to be taken away as to be protected from destruction. This movement also had support from the international art elite who continued to donate artworks as a clear form of protest.
The foundation began an extensive process of gathering all the donated art then housed in various institutions in Santiago. In the museum was inaugurated in its current building, which through its renovation process, after years of closed doors, was found to have been a torture and intelligence station for the military. A room remains kept intact preserving wires used for listening surveillance as well as torture equipment.
As a result of so many donations FSA posses an extensive collection of art, in order to provide the general public with access to them all, the exhibition at the museum rotates from 2 to 3 times per year.
The exhibition Debut. The case of the MSSA was not an isolated initiative regarding international ventures committed to political and social causes.
The exhibition, of graphic and documentary character, was curated by the Lebanese researchers Kristine Khouri and Rasha Salti, with the active participation of the MSSA. This research, which provides new perspectives towards to Western art, connected the history of the museums of solidarity of Palestine, Nicaragua, South Africa and Chile, created during the convulsive s and s. Both exhibitions are driven by conferences, experimental workshops and guided tours aimed at diverse audiences, with an emphasis on the community surrounding the museum, which is composed of university students, senior citizens and Latin American migrants.
These networks with the local community will have their own expression in an exhibition on the neighborhood, scheduled for the second semester of , which will have an unprecedented collaborative curatorship.
In its new form MIRSA constituted itself as a museum in exile, exhibiting parts of its collection internationally. Different organisations launched support committees to help continue the collection of artworks in exile as a symbolic support for Chilean democracy. However, a sustained international outcry in response to the dramatic turn of events led to a number of important displays of solidarity with the people of Chile. The utopian idea of creating a museum based on donations organised on the rationale of solidarity distinguishes the Museum from the neoliberal and market logics that increasingly structure museums today.
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