Santiago Sierra
Removal of the glass windows of a museum

“A team of glaziers will be hired by the museum to dismantle and remove the whole of the existing glass windows in the museum’s exhibition area, internally and externally. The rest of the areas, like the office and storage rooms will be respected. Nonetheless, we consider not only necessary but a part of this project, to reinforce security measures in those areas of the museum with the required intensity and procedure. The removal of these glass windows will entail the entry of organic and human material which shall not be retreated. The space shall last at least one week in these unprotected conditions by the date of the inauguration. The glass parts will be kept in a storage room away from the public’s sight, as well as any material or furniture that might be removed or deteriorated.”
— Santiago Sierra

Santiago Sierra’s work often revolves around exchange, transaction, and negotiation. Each of his actions, installations, or performances involves a significant period of negotiations, which, while not visible to the public, are integral to the final work. Additionally, his works have consequences for those directly involved, such as gallery owners or museum employees.

For Museum Dhondt-Dhaenens, Sierra proposed a project titled Removal of a Museum’s Glass Windows. This project required the museum to hire a team of glaziers to dismantle and remove all the glass windows in the museum’s exhibition area, both internally and externally, while leaving the office and storage areas intact. Security measures were to be reinforced where necessary. The project stipulated that the museum would remain in this unprotected state for at least one week from the inauguration date, with the removed glass stored out of public sight.

The implementation of this project involved extensive and challenging negotiations for the museum’s management and staff. Removing the glass windows was not a simple task and had numerous implications, including security, conservation, and operational challenges. The museum had to arrange alternative housing for its collection, which required further negotiations with other museums and transport companies.

Despite these challenges, the museum decided to proceed with the installation due to Sierra’s reputation for provoking critical thought and his willingness to take risks. This installation aligned with MDD’s approach of critically engaging with the concept of the museum as an institution, blending the permanent collection with temporary exhibitions and exploring the interaction between interior and exterior spaces. Sierra’s intervention, while controversial, offered a powerful commentary on the minimalist architecture of the museum and invited reflections on the role and nature of museums. An unexpected outcome of the project was the aesthetic and poetic quality of the unprotected museum space.