'Collapse Better': An artist's exploration of how museums can engage with their audience  

A climate collapse is inevitable. But what role should museums and cultural institutions play in this context? And how can they adapt and help society? 

These are the questions at the heart of the exhibition "Collapse Better" by Reus-born artist Quim Packard. It is on display at the Museum of Modern Art at Tarragona Provincial Council (MAMT) until March 30.  

Packard reflects on the institutional role of museums by using drawings that resemble children's illustrations, comics, and graffiti. With this, the artist is advocating for greater openness to society and calling on museums to take on a more educational function. 

"We need to change their DNA; it's not about burning them down, but about how they can do more and with greater impact," he explains.  

MAMT has dedicated three rooms to the exhibition, which include illustrations, everyday objects, and even artifacts from other museums that Packard relocates and gives new meaning.  

"The critique is that museums should be more open and listen more; they should explore new ways of engaging in dialogue and working with the community in today's context," says the artist, who is also a cultural manager and art mediator.  

He thinks exhibition spaces should not focus so much on the individual artist as a creator, but more on the collective, strengthening educational and mediation programs.  

He believes that such a shift would "benefit everyone," arguing that in a changing world "the most resilient communities are those that work collectively, listening, with empathy and solidarity." 

Although Packard is addressing a universal theme through this exhibition, he does so from a local perspective. Rooted in the Camp de Tarragona region, his drawings feature concepts such as drought, petrochemicals, trains, reservoirs and vegetable gardens.  

"I live in Falset, I'm from Reus, and I studied in Riudoms," he emphasizes, citing "water management, petrochemical industries, the air we breathe," and infrastructure as key regional issues that "need better organization." 

He argues that "it is the responsibility of cultural institutions to raise these issues at the local level, since, ultimately, our audience is from here." 

Regarding the simplicity of his drawings, which resemble children's artwork, Packard defends their accessibility. "People say, 'Oh, my child could do that.' Well, fantastic! It's great that everyone can engage, draw, and explore different ways of representation," he concludes.