• LIve at the Museum at Nanjing - Jiangsu Art Gallery, China


Live at the Museum is a series of films in which buskers and other artists perform without permission in front of major museums around the world. The democracy of art and the use of public space are key components of this work. It is an indefinitely ongoing series and while each work stands on its own, they are interconnected through a shared distance to global cultural agendas and a quiet beauty emanating from the covert act of street performance. Live at the Museum is an investigation into the collective and institutional affirmation given to culture, while also functioning as a digital archive to cache the contribution of its participants.


Seoul – Culture Station Seoul 284

Performed by Hean Kim

Seoul – Nat. Museum of Contemporary Art

Performed by Haram Kim (김하람)

Seoul – Seoul Museum of Art

Performed by Seo Yeon Rizzy Lee

Seoul – Total Museum of Contemporary Art

Performed by Narae Lee

Seoul – Arko Art Center

Performed by Eunice H. Nam

Seoul – Daelim Contemporary Art Museum

Performed by Woo Yeon Yoo

Gwacheon – National Museum of Modern and Contemporary Art

Performed by Eun Hyae Cho

Leeum, Samsung Museum of Art

Unknown performer


Tokyo – Nat. Museum of Nature and Science

Performed by Hideyuki Kawashima

Tokyo – Tokyo Metropolitan Art Museum

Performed by Aquiles Hadjis


HONG KONG – Hong Kong Museum of Art

Performed by Sunny Cheung

GUANGZHOU – Guangdong Art Gallery

Performed by Yuan Jing Guang (袁景光)

SHENZHEN – Dafen Art Museum

Performed by Wei Zhang Bin (魏章斌)

NANJING – Jiangsu Art Gallery

Performed by Liu Xiao Sai (刘小赛)

BEIJING – Today Art Museum

Video uploaded soon – Performed by Hu Zhong Jun (胡忠军)

SHANGHAI – Shanghai Museum

Video uploaded soon – Performed by Fan Liang (范亮)


Taipei – Museum of Contemporary Art

Video uploaded soon – Performed by Adad, Iing, Akuruy, Saway (陈明贵, 林美玉, 曾为捷, 曾骏捷)

Taipei – Taipei Fine Arts Museum

Performed by 傑利 (Jelly Lee)


Chiang Mai – CM University Art Museum

Performed by Boualai Inboon

Bangkok – Museum of Contemporary Art

Performed by Jirathitikarn Hemsuwan

Bangkok – Bangkok University Art Gallery

Performed by Santi Tiranakul Vidal

Bangkok – Bangkok Art & Culture Centre

Performed by Karen Culture Group

Ayutthaya – National Art Museum

Performed by Cynthia Li


Sydney – Museum of Contemporary Art

Video uploaded soon

Sydney – Art Gallery of NSW

Performed by Go Matsui

Hobart – Museum of Old and New Art

Performed by Eloise Kirk

Wellington – Wellington City Gallery

Performed by Robert John McDonald


VANCOUVER – Vancouver Art Gallery

Video uploaded soon

TORONTO – Royal Ontario Museum

Performed by Midori Emmi Mukai

Seattle – Seattle Art Museum

Performed by Alexander Dugdale

New York – Solomon R. Guggenheim Museum

Performed by Justin Wood

Portland – Portland Art Museum

Performed by Krystal Hardwick

Sacramento – Crocker Art Museum

Performed by Joe Kye


Berlin – Neue Nationalgalerie

Performed by Christian Minke

Cologne – Museum Ludwig

Unknown performer

Milano – Palazzo Reale Di Milano

Performed by Ion Eduard – Vaduva Marian – Costantin Tanasie

Leipzig – Museum der bildenden Künste

Video uploaded soon


The most striking visual aspect of the series is the relationship of the lone-figure of the performer against the backdrop of the often intimidating architectural template of museums, built with displaying hierarchy in mind. These monuments of culture are a built signifier of critical endorsement. In front of them, the performers are generally filmed without an audience, their music or dance is unnoticed. As a viewer we become an audience of one. The performance takes place for the sole purpose of itself, unseen and unheard by others in the moment, emanating a melancholic, lonely and a sometimes joyful experience.

Employing the street performers as well as local videographers and assistants is an important aspect of the series. They are not one homogeneous group, rather they differ vastly, but also share similarities. In scouting the streets performers are chosen with regards to a particular talent or memorability and their relation to each venue or local communities. An arresting example of this process is the trio of buskers performing in front of the Palazzo Reale (“King’s palace”) in Milano, Italy. All three study at the Milan Conservatory, a college of music that in the past two centuries has educated many of Italy’s most important musicians. Stemming from Bulgarian families, commonly attributed as “gypsies”, the members of the trio often become victims of ethnic profiling. Despite their talent, the only chance they see to earn money and support their studies is to illegally perform in public spaces. They regularly have confrontations with police officers while all are simultaneously students at a very prestigious school. While the institutional education takes place indoors, most Italians will primarily notice them for their activities in public space. This process reinforces resentments and the underlying social structure.

All films have been shot without approval or consents of the institutions involved, reminiscent of the Occupy movement. This protest first received wide coverage when starting out on September 17, 2011 in New York City’s Zuccotti Park, just a block away from Wall Street. Similarly to Live at the Museum, a prominent and symbolic place of a public sphere was reclaimed by a local group for a limited period of time. Then, Occupy became international, when just three weeks later protests had taken place or were on-going across 82 countries. So far, Live at the Museum has been filmed in ten different countries on four continents.

Like Occupy, there is also a collaborative worldwide process at play. An open source approach to the filming process ensures that the films are the product of localised collaboration as they can be shot without the presence of the artist. The series becomes a faster growing and broader proposition than works facilitated under the guise of commission or commercial facilitation.

Live at the Museum seeks to challenge the status quo and to inspire new actions, innovative approaches or even ideas for a new open institution. We might not need more refined forms of commercialism and criticism but instead a wider open participatory discourse about the aspects of democracy, diversification and participation of art in a broader sense, and the responsibilities and privileges that come along with it, equally discussing microcosms and macrocosms.

By Martin Schulze


  • 2013, Münchner Stadtmuseum (solo screening), Munich (Germany), Galeria Autonomica, curated by Christian Minke and Christoph Pankowski
  • 2014, Total Museum of Contemporary Art, Seoul (Korea), curated by Haily Grenet, Martin Schulze, Jeongsun Yang
  • 2014, Guangzhou Art Center, Guangzhou (China), Critical Intent, curated by Gary Sangster and Fan Lin (upcoming)


    André Hemer (b.1981) is a New Zealand artist who works between a variety of media- interplaying digital interfaces and artifacts, painting, and installation using architectural space. Much of his recent work deals with the idea of creating, copying, and deconstructing archive systems within a visual and digital realm.
    He has exhibited widely internationally and was the winner of the influential 2011 National Contemporary Art Award at the Waikato Museum of Art (New Zealand). Hemer is currently based in Sydney, Australia.


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