Freed from customary categories, our new acquisition policy – just like our research policy – refocuses on the workshop. Admittedly, our collection maintains certain affinities with the great collections of art brut and outsider art, however, it can be distinguished by its history and various features. In short, if the workshop artistic creations are adjacent and “tolerated” in art brut and outsider art, they are central to the Trinkhall collection. The difference can seem anecdotal. But, it is fundamental and, decisively, drives the identity and topical nature of our Museum and the exceptional beauty of the collection which fully reflects our acquisition policy.
The Trinkhall’s responsibility is to promote the heritage and creative value and the study of the works produced in the workshop, which are often endangered and could become sparse when not considered by gallery owners or unscrupulous dealers. With this perspective in mind, we have extensively rethought our process and embarked upon a vast growth campaign of the collection. Our guiding principles are very simple: on the one hand, increasing the presence of artists already represented in the collection; and on the other hand, progressing with the “invention” of works that seem important to us, if they are not awarded the notoriety that they deserve. To keep on top of this double ambition, we must bring together a nominal and coherent ensemble broad enough to be circulated and studied in depth. This acquisition policy involves a close partner relationship with the workshops where the pieces were created. It is not about acquiring piece by piece the works of artists who are already established, but above all, protecting and promoting those waiting for notoriety. This is one of the most thrilling missions and one of the most important responsibilities that our Museum aims to meet.