Towards a Museum of Colours

Why?

Because there is no such institution in the world: no multidisciplinary museum tackling the diversity of colours.

Because colours talk to all types of people, regardless of age, nationality, or socio-cultural background.

Because colours are all around us, without us knowing the impact they have on our everyday life.

Because we all have elements of knowledge about colours, we are all interested in knowing more.

Because colour is the perfect topic to bind sciences, arts, society and the common world together.

Because cultural innovation is based on multidisciplinarity.

Because we need the 3-dimensional space of a Museum to treat such a complex topic.


Because we need a physical space to catalyse international colour research.`

What?

The field of research and knowledge about colours is vast, if not infinite. Universal in time and space, they seem a particularly complex subject to deal with. The goal is not to be exhaustive in the presentation of knowledge related to colours, but to represent the plurality of related approaches, whether artistic, scientific or sociological. We want to present to the public a path that includes these differents aspects.

The narrative framework of the museum will work from verbs linking colors to humans: perceiving colors, but also naming, observing, producing, using, inventing or interpreting them are all tracks that we will develop in the Museum of colours. We propose an anthropological point of view based on the interaction between humans and colors.

These paths will make it possible to place multidisciplinarity in the center of the museum, as well as to cross historical and contemporary approaches. Finally, at each stage of the visit, they will enable you to cross the playful, documentary, experimental and sensory levels specific to a museum experience.

This setting will be enriched with a space of temporary exhibitions, in order to go deeper into cultural dimensions, historical periods, scientific research or artistic movements. The creation of a live performance space will allow colours to be open to a multitude of creative fields. The setting of a research center will provide the international scientific community with a physical space for collaborations.

How?

A museography between arts and sciences.

The theme of colours suggests a museography based on multidisciplinarity and cross-approaches. Thus, our mission is to show how different elements of knowledge are connected to each other, and to outline the specific way the world of colours operates.

For example, fashion used to have a strong influence on dyeing techniques, visual arts depend on the materials that exist to express it, and symbols can take their meaning from the observation of nature.
More generally, colours make it possible to observe arts and sciences in parallel. The context of the museum allows different voices and truths to coexist.

The selection of content is based on a series of collective workshops and individual exchanges with many color specialists (researchers, designers, architects, color consultants …) who meet in the context of the International Association of Color (AIC) and Deutsche Farben Zentrum (DFZ) congresses.

Where? 


A project for Berlin.

After years of division and trauma of social as well as urban nature, the German capital is experiencing yet another identity crisis around different poles of reconstruction and innovation. The division of the city has had a significant impact on its cultural growth by multiplying the institutions dedicated to it.

It is today one of the privileged places for cultural experimentation in Western Europe. The German capital enjoys a dynamic that is still far from having reached its limits. Berlin is a city where you come to try and experiment, without risk of proposing something different or even off-topic …

Issues related to the creation of a museum of colors – whether intellectual, logistical or technical – must find original modes of resolution. This is only possible in an environment that offers great flexibility in the ways of working and a real ability to adapt. The project is already benefiting from the immense creativity of Berliners · se · s, while constituting a privileged playground for professionals of various natures (scenographers, cultural mediators, etc.). The collective working method has also developed in this direction.

Finally, the architectural and industrial heritage to be re-exploited makes it possible to envisage an installation in a building steeped in history. Everything starts with a dream; ours is called Tempelhof.