#MUSEUM OF LIVING ART MAC#
The MAC defines itself as an institution permanently open to the public with the following objectives: Through this dual mission, the museum aims to deliver on its commitment to build bridges between society and new forms of artistic expression, hosting different and sometimes unconventional community involvement activities. It explores new ways of creating art, managing for this purpose, both, his collection and curatorial line, regarding the national and international exhibitions invited, from a contemporary look, that is reflected since the origins of the museum, through the samples exposed. The second strand of the MAC's mission is simply to be a high quality, specialist museum of modern and contemporary art. The museum uses art as a medium of expression and social inclusion, promoting debate and reflection on all the fields of human knowledge. The first, as part of the University of Chile, is educational, relating the university's goal of being a pluralistic institution that hosts the widest possible range of the cultural diversity that forms Chilean society. The pieces date from the late 19th century through to the modern day, and include the work of artists such as Roberto Matta, Nemesio Antúnez, Matilde Pérez, José Balmes and important international art figures as Oswaldo Guayasamín (Ecuador), Emilio Pettoruti (Argentina), Friedensreich Hundertwasser (Austria), Isamu Noguchi (US), David Batchelor (England), Jesús Ruiz Nestosa (Paraguay) and Dino Bruzzone (Argentina). The most complete and important are its collections of nearly 1,000 engravings and nearly 600 paintings, with another 130 drawings, watercolours and sketches and some 80 sculptures completing the collection. The museum collection currently holds around 2,000 pieces. The valuable heritage has been growing over the years, mainly through donation, purchase and competitions held to add more pieces to the collection. Its collection originated from its first exhibition, to which both Chilean and foreign artists resident in Chile loaned their works – and later donated some of them permanently. In its six decades, the museum has collected many works by Chilean artists as well as some international pieces. In 1974, the museum moved to the building of the Palacio de Bellas Artes (Fine Arts Palace) in Parque Forestal, where it is still located today. Its main purpose was to promote and serve as a platform for spread the work of contemporary artists, as part of the University of Chile's policy to contribute to the development of cultural life in Chilean society.
Moving through the exhibit areas, ceilings and light levels are lowered to create a sense of compression, which is offset by the higher ceilings and increased light levels of the walk-through exhibits where translucent, stylized leaf ceiling panels create a diffused, dappled light.The museum was created by law in 1946, and inaugurated on August 15, 1947, in the building known as El Partenón in Quinta Normal Park. Low level accent lighting illuminates the interior volumes of the roofs and takes inspiration from the Texas sky at dawn and dusk. Interior animal exhibits are framed and displayed as living pieces of art. Changing light and shadow patterns on the interior stone walls are reminiscent of a reptile’s scale patterns. Galvalume roof panels curve like reptilian scales to follow the roof’s complex shapes. Curved roofs floating above the limestone walls recall the Fort Worth prairie’s rolling hills and limestone outcroppings. In working with the zoo’s staff to understand each animal’s needs and habitat, the team became inspired by the landscape and biological forms. The Fort Worth Zoo’s new herpetarium, named the Museum of Living Art or MOLA, required not only the space and infrastructure to accommodate the zoo’s complex program for animal display and conservation, but also required that the building break away from more traditional zoo architectural forms.
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