Road Kill – MIMA

The Millennium Iconoclast Museum of Art, MIMA, is (and by the time you read this ‘was’) Brussels’ modern art museum. Staging an exhibition by an artist recognised world wide is not simply a matter of shipping a few pieces and hanging them on the wall. Transport in itself can be a major exercise – moving unique and irreplaceable pieces worth millions of Euros/Dollars around the world is not an exercise undertaken lightly. Think ‘project management’. Organising the exhibition itself and choice of materials is ‘curating’ usually involving several people. The layout ‘exhibition design’, ‘installation sound/video design’. Then ‘marketing’, ‘media relations’, ‘exhibition brochure’, wall text, photography, video… At every stage the artist him/herself is involved (and usually the main artist is supported by a team of co-workers/artists – just as Rubens and others did centuries ago). Then there’s a team actually running the museum selling tickets, monitoring the exhibits, selling food and drink.

This isn’t Geoff Chaplin hanging a few picture on his wall and inviting his mates round for a drink.

The museum relies on financial support from big business, charities, individuals and other organisations as well as ticket sales. When the museum was cut off from direct access by roadworks in April 2024 visitor numbers dropped dramatically. By late in the year it was decided the museum was no longer a viable proposition and it closes (closed) on 5th January 2025.

A former brewery bought by the Brussels council and private investors was renovated, parts turned into hotels and the smallest building was let to MIMA in 2015. We had gone to Brussels in late October and visited the museum after discovering “Multitude” by Portuguese artist Alexandre Farto (aka “Vhils”) was the final exhibition being staged at MIMA. ‘Unusual/Original’ is a feature of all famous modern art. In this case art (often portraits) was created either by removing existing material from walls with a pick axe or pneumatic drill, or creating images from pieces of torn old posters. ‘Political’ is often another feature of modern art and was certainly an element in part of this final exhibition.

Conspiracy theories pop up – was cutting off MIMA by roadworks a deliberate act to silence a political voice? Had the council and investors decided the building could be more profitably used? Art may be considered an easy cut by politicians trying to save expense or a frivolous past-time of the rich but even if you believe that to be the case museums, galleries, concert and opera halls attract tourists and generate a substantial income to a city as well as raising its spirit and self esteem.

The featured image shows the direct approach to MIMA from the old part of Brussels – officially cut off by barricades but partially opened by unknown enterprising individuals. Even so stepping over a high concrete barrier made the route impassable to my wife.

Photographs were taken with a Rolleiflex 2,8GX on Foma 100 developed in Bergger PMK pyro and scanned on an Epson GT X-900.

Share this post: