LiMac was innaugurated in year 2002 and establised as a museum in movement that operates in different locations where its base of operations is, in each case, the city that houses it.
LiMac is presented as a museum of projects and, at the same time, as a museum project. LiMac is a project whose purpose is, precisely, to project. This museum proposes the exhibition of the relationship between objects rather than the objects themselves.
LiMac does not wish to be a different museum; it just wants to be recognized as a museum, period. LiMac is one more museum project, like so many others. When imagining LiMac one should conceive a museum just like any other. Its characteristics are the same: it has a representative image, a collection, a catalogue, a website. It is not, then, a sort of ideal museum. Far from being a so-called imaginary museum or personal museum, this museum wishes to be the reflection of what a contemporary art museum would be in Lima, with all its aspirations and defects.
LiMac is presented as a real museum through the different ways in which real museums reach Lima; in other words, through souvenirs, catalogues and printed material. A fake museum or a faked museum, the souvenirs and the catalogues produced by the LiMac give rise to false future memories, false future visits. Both objects and memories; those of LiMac are projected, ironically, in two directions: they arrive from a non-existent past experience and, given that their present is constantly under construction, they are directed toward a future experience of unattainable concretion.