Gerald Matthews Museum of Un-Natural History

La Couille Gauche de Napoleon


In the year 1821, on the Isle of St. Helene in the Atlantic Ocean, one Dr. Francesco Antommarchi is said to have snipped the contained appendage from the still-warm corpse of the former Emperor of France.

This treasure was recently discovered among the doctor’s belongings by a distant cousin in Corsica and offered up for sale on the international market.

The Museum of Un-Natural History has acquired said artifact for possible purchase depending on the results of carbon testing and DNA analysis. It is soon to be on special display.

Una Leda dadaísta de Gerald Matthews

Following is a translation of a recent post from a blog by Mariana López Ávalos, a Latin American fan of the Museum. The blog is dedicated to the many artistic renderings of Leda and the Swan, “Leda y el Cisne” (translation from the original Spanish kindly performed by Professor Celia Weller of Whitman College).

Leda is redefined by every artist who confronts her. Lines, forms, colors, concepts, three dimensions, collages . . . in every sort of concept and format Leda gives us the best of herself, including through an object as utilitarian and pragmatic as a box. When one seeks to innovate all is valid, when one seeks to innovate with an express need to look for different and coherent meanings, syntax, and grammer, one enters the terrain of objects, space and aesthetic. There we find, in this strange place of inverted syntax and new grammer — in which irony, sarcasm and even, at times, happines prevails — the work of Gerald Matthews.

It is not an easy work; the artist declares himself a Dadaist. Following this strange line of Dadaism that, within Surrealism, marked the beginning of a path of intense and even twisted searching, we find the Museum of Un-Natural History. This museum narrates for us a very specific, very personal history, full of memories, anecdotes, objects that unexpectedly and happily mix to show us a chaotic gallery of old shoes, bottles with some message or other, legs, old photos, cages to protect a fragile liberty, boxes — houses with ordinary day-to-day histories, it is not a classifiable work, it is an undefined style because this heterogeneity goes beyond the objects themselves: it moves toward the semantics of that which is not classifiable, just like life, like the world, like humanity. . . this is the work of Matthews.

And since Leda makes herself a part of the natural history of this humanity that accumulates challenges, memories, objects, contradictions and ideas . . . There in that world of Gerry’s own, we find our Leda with her swan and her children . . . all in a box . . . a marvelous box.

To learn more about the artist, about his museum, about his way of understanding, knowing, and translating his aesthetic world through the use of common materials, but with a provocative, rebellious vision, in which the artistic vision is not always complacent and never-the-less invites one to play, in order to visit this place in which the conceptual is everything, beyond forms: [visit the Museum of Un-Natural History].

To view the original post in Spanish, please follow this link.