The Imaginary Museum
The Imaginary Museum is imbedded in the Museum of Innocence project. It is an art installation and soundscape that invites us to explore how children perceive the concepts of museums, art, collections, and beauty. At its core, this project seeks to answer a simple yet profound question: what do children imagine when they hear the word “museum”? I engaged with the pupils of De Droomboom Elementary School in Laeken, gathering their thoughts, ideas, and dreams. The result is not a traditional collection of physical objects but rather an immersive, auditory experience—a collection that comes to life through the voices of children.
This participatory project culminates in a multi-speaker installation, created in collaboration with sound artist Arno Boey, which becomes an integral part of the visitor’s journey. As you walk through the space, the soundscape of children’s voices fills the air, blending with ambient sounds, noises, and imaginative wishes.
The soundscape itself is a rich tapestry of diverse perspectives and languages. It captures the innocence and spontaneity of their imaginations, providing an experience that is as thought-provoking as it is playful. Voices fade in and out, overlapping and weaving together to create a sense of collective dreaming, as each child contributes their unique vision of what a museum could be—one that transcends the traditional boundaries of walls, halls, and objects behind glass.
Central to the installation is a chalk floor plan, a physical manifestation of the children's ideas, which outlines the layout of their dream museum. This drawing acts as both a guide and a symbol, pointing towards the limitless possibilities of imagination. Visitors are invited to reflect on the way children view not only museums, but also the role of art and culture in their lives.
The Imaginary Museum serves as a reminder that museums, at their best, are not static institutions, but dynamic spaces shaped by the people who interact with them. By giving children a voice in this project, I encourage to reconsider the traditional notion of a museum and to think more broadly about the ways in which art and culture can be inclusive, participatory, and open to new interpretations. The installation challenges us to step out of our adult perspectives and to see the world, even briefly, through the eyes of a child—where museums are not simply repositories of the past, but spaces of possibility, filled with wonder and creativity.
The children's voices form a striking contrast to the ambitious and prestigious plans of the actual museum. When exhibited on the museum's real construction site, their voices become playful ghosts, haunting the space with an innocence that highlights deeper social questions. In a city where public space is increasingly dominated by development and gentrification, the presence of these children's imaginings prompts a reflection on the shrinking availability of free, unstructured play. Their ideas serve as gentle but poignant reminders to reconsider the role of public space and the place of children within the urban landscape, subtly challenging the priorities that shape our cities.
The project was exhibited during Molenfest on the construction site of KANAL-Centre Pompidou in 2024
