The contested interior space of the museum and its artifacts are receiving due attention. Museum objectors are altering content, examining unacknowledged assumptions and biases, and developing new ways of seeing and experiencing that will act as new models for critical, creative discourse. Museum objectors range from entire countries (notably Greece, which has been asking the British Museum to return the marble gods of the Parthenon since 1833), to community groups and creative practitioners. A prime example of the latter type of museum objector was Marcel Duchamp. His interiorist interventions of the 1930s and 1940s set the tone for creative practice within the notion of interiority, informed exhibition display and experience, and expanded museum discourse. This paper proposes that Marcel Duchamp extended his creative artistic practice into the field of interior design to subvert critical discourse on authoritarian aesthetics and display. Within this context of critical reflection, the museum as an artistic medium is also fast becoming an accepted methodology of creative practice. To examine this practical, creative work, we first draw on Jacques Derrida’s theoretical discussion about the concept of ‘the archive,’ to acknowledge the language of interiority and to focus on the ‘curated interior’ by juxtaposing the domestic and institutional interior and the notion of topology as a form of creative methodology. As a stepping-off-point, we will explore Marcel Duchamp’s conceptual nuances of the interior, specifically his La Boîte-en-valise, as a masterful blending of the archive (collection), the melding of creative disciplines, and commentary on the museum practices. We will then examine the challenges faced by two American and one Canadian museums’ exhibitions in the 1980s, followed by a review of more recent works highlighting progressive change within these museums. The works by Spring Hurlbut in 2001 and Kent Monkman and Wangechi Mutu in 2019 illustrate evolving discussions about the use of creative practitioners working with museum collections and interiors. As the landscape of the curated interior within the institutional setting (museum) has changed, it is a crucial time to take stock of the different possibilities when addressing the spaces between the memories of the archive: what is remembered, how it was/is remembered? This new methodology of museum as artistic medium is substantially expanding modern critical discourse on the interiority and the archive.

中文翻译：

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室内主义干预和档案策略：博物馆和创意从业者的当代术语

博物馆的内部空间及其文物受到了应有的关注。博物馆反对者正在改变内容，检查未被承认的假设和偏见，并开发新的观看和体验方式，这些方式将成为批判性、创造性话语的新模式。反对博物馆的人来自整个国家（尤其是希腊，自 1833 年以来一直要求大英博物馆归还帕台农神庙的大理石神像）、社区团体和创意从业者。后一类博物馆反对者的一个典型例子是马塞尔·杜尚。他在 1930 年代和 1940 年代的室内主义干预为室内性概念中的创造性实践、知情的展览展示和体验以及扩大的博物馆话语奠定了基调。本文提出马塞尔·杜尚将他的创造性艺术实践延伸到室内设计领域，以颠覆关于威权美学和展示的批判话语。在这种批判性反思的背景下，博物馆作为一种艺术媒介也正迅速成为一种公认的创作实践方法。为了检验这个实用的、创造性的工作，我们首先借鉴雅克·德里达关于“档案”概念的理论讨论，承认内部性的语言，并通过将家庭和机构内部与概念并置来关注“策划内部”拓扑学作为一种创造性的方法论。作为一个起点，我们将探索马塞尔杜尚的室内概念细微差别，特别是他的 La Boîte-en-valise，作为档案（收藏）的巧妙融合，创意学科的融合，以及对博物馆实践的评论。然后，我们将研究 1980 年代两个美国和一个加拿大博物馆的展览所面临的挑战，然后回顾最近的作品，这些作品突出了这些博物馆的进步变化。Spring Hurlbut 2001 年和 Kent Monkman 和 Wangechi Mutu 2019 年的作品展示了关于使用创意从业者处理博物馆藏品和室内设计的不断发展的讨论。随着机构环境（博物馆）内策展内部景观的变化，在处理档案记忆之间的空间时，是评估不同可能性的关键时刻：记住了什么，它是如何被记住的？这种将博物馆作为艺术媒介的新方法正在极大地扩展关于内部性和档案的现代批判性话语。