WHAT IS IT?- Literally translating from German to ‘Wonder Room’, Wunderkammers, or a Cabinets of Curiosities arose in the mid 16^th century. They attempted to bridge the gap between science and the supernatural, in a time when not much was known about natural science and the wider world. These cabinets often contained artifacts from exotic newly discovered countries, as well as natural wonders and abnormalities, such as two headed animals and remains of fantastical creatures such as mermaids and dragons. 

 

Aristocrats would use their cabinets as a bizarre symbol of status, showing them to friends at parties. These cabinets could range from a small chest of draws, to whole rooms dedicated to exhibiting the strange and macabre set of objects. RJW Evans states that the cabinets could be "serving a largely representational function, and dominated by aesthetic concerns and a marked predilection for the exotic," or “the more modest collection of the humanist scholar or virtuoso, which served more practical and scientific purposes."

 

"The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." Francesaco Fiorani, reviewing Bredecamp 1995 in Renaissance Quarterly 51.1 (Spring 1998:268-270) p 268.

 

"The Kunstkabinett itself was a form of propaganda." Thomas, "Charles I of England: The tragedy of Absolutism", A.G. Dickens, ed. The Courts of Europe (London) 1977:201

 

It was frowned upon to add too much material evidence of an item’s validity as this discouraged conversation and exploration of ideas regarding the item. It did not encourage curiosity.

 

One of the most famous examples of a Wunderkammer is Ole Worm’s ‘Museum Wormianum’- this Wunderkammer came under the latter category of RJW Evans’ assessment, Ole Worm actively was sceptical about his collection. Many cabinets contained ‘Unicorn horns’, which Worm eventually debunked as Narwhal tusks. It is also interesting to note that Worm’s collection was classified in a very uncommon way in comparison to modern museums, with mummies being classified as ‘minerals’ rather than human or animal remains. 

 

A contemporary example of a Wunderkammer is The Viktor Wynd Museum of Curiosities, Fine Art & Unnatural History. This museum exhibits classic examples of what you might find in an old Cabinet of Curiosities with modern curiosities, such as the alleged excrement of celebrities kept in jars. Wynd’s museum feels much more playful in comparison to older Wunderkammers. Perhaps this is due to the idea of the Wunderkammer not having as much of a serious place in modern society.

 

Wunderkammers began to die out by the early Victorian period as the public museum became more popular and commonplace, and as the world became slowly less mystifying. Perhaps this is why today we have an absence of these cabinets, as everything feels explainable, communication between communities is now so much more reliable, as well as our attitudes to science becoming much more effective and efficient.

 

There is also a massive ethical concern with Wunderkammers as some pieces within them can definitely be deemed as exploitative to certain groups within society. For example, many Wunderkammers, such as the one belonging to Ferdinand II, Archduke of Austria, that had a large focus on medical paintings of people with physical deformities. The other issue is obviously that a lot of these early collectors would commission people to steal from foreign cultures, an issue that we still face with many contemporary public museums to this day.

 

My interest in Wunderkammers comes from an obsession with the macabre and unnatural. From an early age I have collected fossils and animal bones found on the local moors, egg casings from skates and fish, birds’ eggs and ancient jewellery and coins found while metal detecting. I think that people definitely still harbour a fascination for strange natural specimens and discoveries. I also really like the curation and composition of these Wunderkammers, as they have no real rhyme or reason and simply play for shock value.

 

I would really enjoy creating my own installation in the form of a Wunderkammer for unit 10, consisting of drawings, sculptures and taxidermy that are all referenced and have rough backstories in order to create verisimilitude. I love the idea of creating my own world, wherein these objects can still be found wondrous.