MoTA presents its first-ever Impermanent Museum collection with works by artists we’ve worked with since 2007. The collection Arte/Facts shows works that are parts or residues of a process- either works-in-progress or processual works.

MoTA is a museum without physical space promoting works that avoid genre and medium definitions. The works transit between boundaries, are multi referential, and open questions instead of trying to answer them.

‘Transitory’ is thus understood in a wider sense: not only as temporary, but also as transitioning in space and time and as a unique geographical and historical position (between east and west).

Since its beginning – by defining itself as a museum in space and time – MoTA bound itself to openness in mediums, contents and approaches. Transitory art in the museum joins interests for practices which have already acquired names, such as generative art, artivism, sound art, live cinema, art and science, public space art and other experimental movements which do not have a name yet. This crossing of fields of art which are still being developed and discovered through the very works we present, is what is common for the works in our collection. Though it shows only a small part of the whole, the collection will become more and more comprehensive in the decades to come.

The exhibition is designed as a conventional gallery with the purpose to show works that have a life beyond the exhibited object – either as an event in time (Panzer, Expectation); as an interaction (Bittner, Ada); in virtual space (Seppukoo, Lomas); or as their combination.

The MoTA museum collection is impermanent and versatile. The works included defy the understating of an artwork as an already concluded whole in time and space. Instead, they ought to be understood as a break in the process, as side effects or as tools and methods which are able to recreate the artwork. With the emergence of art documentation, as already recognized by Groys, art isn’t only present in objects anymore. The objects that refer to what the artwork is and are exhibited as the artworks themselves, are actually not. And instead of seeing the artwork as the end result of a process, they refer to life itself, without trying to present it.