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	<title>DAILY SERVING &#187; Museum of Stolen Art</title>
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		<title>Virtual Absence and Presence in the Museum of Stolen Art</title>
		<link>https://www.dailyserving.com/2016/04/virtual-absence-and-presence-in-the-museum-of-stolen-art/</link>
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		<pubDate>Tue, 12 Apr 2016 07:00:33 +0000</pubDate>
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				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Digital Media]]></category>
		<category><![CDATA[New Media]]></category>
		<category><![CDATA[Art Practical]]></category>
		<category><![CDATA[Genevieve Quick]]></category>
		<category><![CDATA[Locating Technology]]></category>
		<category><![CDATA[Museum of Stolen Art]]></category>
		<category><![CDATA[virtual reality]]></category>
		<category><![CDATA[Ziv Schneider]]></category>

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		<description><![CDATA[Today from our partners at Art Practical, we bring you the most recent edition of their popular “Locating Technology” column, a consideration of the Museum of Stolen Art (MOSA). Author Genevieve Quick notes that “MOSA capitalizes on the unknown: the whereabouts of the artworks, sometimes the conditions of their theft or looting. Rather than explaining the significance of given artworks as conventional museums do, MOSA poses questions about their[.....]]]></description>
				<content:encoded><![CDATA[<p><em class="date"><em>Today from our partners at </em></em><a href="http://www.artpractical.com/">Art Practical</a><em class="date"><em>, we bring you the most recent edition of their popular <em class="date"><em>“</em></em>Locating Technology<em class="date"><em>”</em></em> column, a consideration of the Museum of Stolen Art (MOSA). A</em></em><em class="date"><em>uthor <a href="http://www.artpractical.com/archive/contributor/genevieve-quick">Genevieve Quick</a> notes that “<em>MOSA</em> capitalizes on the unknown: the whereabouts of the artworks, sometimes the conditions of their theft or looting. Rather than explaining the significance of given artworks as conventional museums do, <em>MOSA</em> poses questions about their absence.” This article was originally published on</em></em> <em class="date">April 7, 2016.</em></p>
<div id="attachment_51668" style="width: 610px" class="wp-caption aligncenter"><a href="/wp-content/uploads/2016/04/GQ_4_art_detective.jpeg"><img class="size-medium wp-image-51668" src="/wp-content/uploads/2016/04/GQ_4_art_detective-600x376.jpeg" alt="Ziv Schneider. Art Detective: The Museum of Stolen Art, 2015; Android VR app.  Courtesy of the Artist." width="600" height="376" /></a><p class="wp-caption-text">Ziv Schneider. <em>Art Detective: The Museum of Stolen Art</em>, 2015; Android VR app. Courtesy of the Artist.</p></div>
<p>Ziv Schneider’s <a href="http://mosa.ziv.bz/" target="_blank"><em>Museum of Stolen Art (MOSA)</em> (2014–)</a><sup> </sup>employs virtual reality (VR) to rethink how museums and technology approach embodiment, audience, and collections. As a smartphone app, <em>MOSA</em> allows viewers to navigate virtual galleries, complete with audio tours that contextualize its exhibitions and pop-up didactic texts about the individual works. In harnessing VR’s imaginative possibilities, <em>MOSA</em> displays absent artworks—those that have been removed by criminal acts, war, or dubious historical agreements, domestically and abroad. As a virtual environment, <em>MOSA’</em>s fluid relation to place and audience challenges how museums attempt to represent and inscribe local cultural identities, as well as construct a global citizenry. With several rotating exhibitions spanning from ancient to contemporary civilizations—<em>Stolen European Paintings</em>, <em>Stolen Photographs</em>, <em>The Looting of Afghanistan</em>,<em>The Looting of Iraq</em>, and <em>Recent Thefts</em> are currently on view—<em>MOSA</em> addresses the individual and cross-cultural heritages of Europe, the U.S., and the Middle East. Indirectly, <em>MOSA</em> suggests that conflict and war have been instrumental in many art thefts around the world, historically and more recently. While operating didactically, <em>MOSA</em> also includes many voids that invite questions about museums’ strategies and missions.</p>
<p>As many museums expand, their architectural presence marks their escalating cultural and economic interests. In addition to being repositories of art, brick-and-mortar museums are cultural brands that cities use to elevate or maintain their status as culturally relevant and as tourist destinations. As a VR museum, <em>MOSA</em> sidesteps the battle for cultural capital among conventional museums by offering immateriality and simulation. Downloadable for free, <em>MOSA</em> is portable and easily accessible to anyone with a smartphone and a Cardboard viewer. Viewers make <em>MOSA</em> present where they are, rather than having to travel to a place, either within one&#8217;s city or beyond.</p>
<p><a href="http://www.artpractical.com/column/locating-technology-the-museum-of-stolen-art/">Read the full article here.</a></p>
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