In 1952, André Malraux published Le Musée imaginaire de la sculpture mondiale, a seminal text in which he foreshadowed a new way of conceiving Art History as an open discipline. In this approach, the history of styles becomes blurred in favour of a cross-disciplinary understanding that makes room for unexpected, multiple connections grounded in affects and subjectivities. Malraux’s imaginary museum stood closer in spirit to the precursors of the modern museum, aligning itself with cabinets of curiosities—Renaissance chambers of wonders in which bourgeois and noble collectors continued the medieval tradition of assembling all manner of strange objects alongside works of art.
The exhibition Wunderkammer, by Suso Fandiño, is inscribed within this tradition and, in the manner of a cabinet of wonders, traces a series of unusual paths and connections, shaping a museological space in which works interact to generate incisive relationships. This publication seeks to awaken in the reader a desire to uncover hidden meanings, playfully reflecting on issues such as the death of the author, the futility of hegemonic discourse in art historiography, the role of the viewer in art, the political game of borders and ideological marketing, the opposition between high and low culture, and the analysis of language as a system that shapes thought.