这里是著名艺术家夫妇杨·史云梅耶和他已故的妻子伊娃的家，一座位于捷克霍尼斯塔科夫的超现实主义宫殿内。在这里，令人叹为观止的绘画、素描、雕塑、版画、物品和材料摆满了一个又一个房间，但这并不是一个向公众开放的博物馆。史云梅耶说过，这是他最后一部作品。

这里是著名艺术家夫妇杨·史云梅耶和他已故的妻子伊娃的家，一座位于捷克霍尼斯塔科夫的超现实主义宫殿内。在这里，令人叹为观止的绘画、素描、雕塑、版画、物品和材料摆满了一个又一个房间，但这并不是一个向公众开放的博物馆。史云梅耶说过，这是他最后一部作品。

The Phantom Museum was originally commissioned by the Wellcome Trust as a video installation for the British Museum exhibition Medicine Man: The Forgotten Museum of Henry Wellcome, which ran from June to November 2003. This provided an opportunity for the public to examine some of the rarer items in the extraordinary collection of American-born pharmaceutical pioneer Sir Henry Wellcome (1853-1936), who assembled over 125,000 medical artifacts, many of which are currently stored in London's Science Museum and normally viewable by appointment only. 　　Typically, the Quay Brothers' film consists more of a series of impressions of the Wellcome collection than a guided tour, their approach summed up by its subtitle 'Random Forays into Sir Henry Wellcome's Medical Collection'. A linking device (shot on grainy black-and-white Super 8 stock) involves a man clad in a black suit and white gloves ascending staircases, warlking along corridors, switching on lights and investigating rooms full of cabinets bearing tantalising labels ('Shrunken Heads - Scalp'). 　　Interspersed with these are much sharper colour sequences, depicting various objects in Wellcome's collection. Sometimes they're displayed as static museum pieces, sometimes rotated, and occasionally animated. Many of the exhibits are explicitly sexualised, from the diagram demonstrating the use of a chastity belt (next to an example of the real thing) to tender Oriental sculptures of human lovemaking. Many of the collection's many dolls come apart to reveal their anatomically-correct innards - one female body has a baby in her walnut-sized womb, connected via an umbilical piece of string. 　　Prosthetic arms and legs abound, in one case attached to a live human body, while there are plenty of dead ones glimpsed in the collection's storerooms, their lipless mouths fixed in a permanent grin. If the film is often unsettling, this is less because of the Quays' proven feel for the uncanny than for the way the Wellcome collection itself inescapably exploits our most fundamental fears: of birth, sex, mutilation and death. 　　The Quays originally edited the film to pre-existing recordings of the music of Czech composer Zdenek Liska (previously featured in The Cabinet of Jan Svankmajer in 1984), but were unable to clear the necessary rights. In the final version, filmmaker-musician Gary Tarn provided a plangent semi-electronic accompaniment, occasionally interspersed with sound effects, notably in the shot of an old birthing chair and forceps being pressed into service on an invisible mother-to-be, whose baby can be heard crying as it emerges.

The Phantom Museum was originally commissioned by the Wellcome Trust as a video installation for the British Museum exhibition Medicine Man: The Forgotten Museum of Henry Wellcome, which ran from June to November 2003. This provided an opportunity for the public to examine some of the rarer items in the extraordinary collection of American-born pharmaceutical pioneer Sir Henry Wellcome (1853-1936), who assembled over 125,000 medical artifacts, many of which are currently stored in London's Science Museum and normally viewable by appointment only. 　　Typically, the Quay Brothers' film consists more of a series of impressions of the Wellcome collection than a guided tour, their approach summed up by its subtitle 'Random Forays into Sir Henry Wellcome's Medical Collection'. A linking device (shot on grainy black-and-white Super 8 stock) involves a man clad in a black suit and white gloves ascending staircases, warlking along corridors, switching on lights and investigating rooms full of cabinets bearing tantalising labels ('Shrunken Heads - Scalp'). 　　Interspersed with these are much sharper colour sequences, depicting various objects in Wellcome's collection. Sometimes they're displayed as static museum pieces, sometimes rotated, and occasionally animated. Many of the exhibits are explicitly sexualised, from the diagram demonstrating the use of a chastity belt (next to an example of the real thing) to tender Oriental sculptures of human lovemaking. Many of the collection's many dolls come apart to reveal their anatomically-correct innards - one female body has a baby in her walnut-sized womb, connected via an umbilical piece of string. 　　Prosthetic arms and legs abound, in one case attached to a live human body, while there are plenty of dead ones glimpsed in the collection's storerooms, their lipless mouths fixed in a permanent grin. If the film is often unsettling, this is less because of the Quays' proven feel for the uncanny than for the way the Wellcome collection itself inescapably exploits our most fundamental fears: of birth, sex, mutilation and death. 　　The Quays originally edited the film to pre-existing recordings of the music of Czech composer Zdenek Liska (previously featured in The Cabinet of Jan Svankmajer in 1984), but were unable to clear the necessary rights. In the final version, filmmaker-musician Gary Tarn provided a plangent semi-electronic accompaniment, occasionally interspersed with sound effects, notably in the shot of an old birthing chair and forceps being pressed into service on an invisible mother-to-be, whose baby can be heard crying as it emerges.

紐約大都會博物館位於第五大道、中央公園旁，是美洲最大的博物館，與羅浮宮和大英博物館齊名。2020年，大都會博物館正準備以劃時代的展覽歡慶150歲生日，然而就在展覽開幕前一週，遭遇新冠肺炎疫情，宣佈史上第一次無限期的閉館。人們開始思考藝術博物館存在的意義，大都會博物館將以何種面貌回歸？如何爭取社區支持？展覽規劃如何納入多元性？本片探討博物館的社會意義，揭露鮮為人知的營運內幕，值得一看。

紐約大都會博物館位於第五大道、中央公園旁，是美洲最大的博物館，與羅浮宮和大英博物館齊名。2020年，大都會博物館正準備以劃時代的展覽歡慶150歲生日，然而就在展覽開幕前一週，遭遇新冠肺炎疫情，宣佈史上第一次無限期的閉館。人們開始思考藝術博物館存在的意義，大都會博物館將以何種面貌回歸？如何爭取社區支持？展覽規劃如何納入多元性？本片探討博物館的社會意義，揭露鮮為人知的營運內幕，值得一看。

博物馆被视为城市的象征，其收藏展示着各民族的文化身份。这些世界知名的博物馆不断地适应社会变迁。每一年，成千上万的参观者排着长队，为了一睹悬挂于展廊墙上的珍宝。在这部八集的系列纪录片中，我们将与这些宛如生命体般的博物馆相遇，它们有诸多的故事亦面临着诸多挑战。与艺术家及艺术爱好者薇薇安·魏斯伍德、玛莉娜·阿布拉莫维奇、奥拉维尔·埃利亚松、沃尔夫冈·乔普一起，观众将欣赏到一部分世界上最有感染力的大师作品，并感受这些博物馆是如何的生机勃勃。

博物馆被视为城市的象征，其收藏展示着各民族的文化身份。这些世界知名的博物馆不断地适应社会变迁。每一年，成千上万的参观者排着长队，为了一睹悬挂于展廊墙上的珍宝。在这部八集的系列纪录片中，我们将与这些宛如生命体般的博物馆相遇，它们有诸多的故事亦面临着诸多挑战。与艺术家及艺术爱好者薇薇安·魏斯伍德、玛莉娜·阿布拉莫维奇、奥拉维尔·埃利亚松、沃尔夫冈·乔普一起，观众将欣赏到一部分世界上最有感染力的大师作品，并感受这些博物馆是如何的生机勃勃。

Enjoy a visit to MoMA and see masterworks from the museum's collection of modern and contemporary art. What do the superstars of modern art-van Gogh, Matisse, Picasso, Pollock, and Warhol-have in common with the Vincent Black Shadow motorcycle and an Apple iPod? All share the stage at New York's Museum of Modern Art. Here the two big questions are: What makes it modern AND what makes it art? MoMA's scholars, along with David Rockefeller (son of MoMA founder Abby Rockefeller), prove that the modern art of any age is not the newest; it's the next.

Enjoy a visit to MoMA and see masterworks from the museum's collection of modern and contemporary art. What do the superstars of modern art-van Gogh, Matisse, Picasso, Pollock, and Warhol-have in common with the Vincent Black Shadow motorcycle and an Apple iPod? All share the stage at New York's Museum of Modern Art. Here the two big questions are: What makes it modern AND what makes it art? MoMA's scholars, along with David Rockefeller (son of MoMA founder Abby Rockefeller), prove that the modern art of any age is not the newest; it's the next.