Ohtahlayan-Sun Group of Museums

The Ohtahlayan-Sun Group of Museums is responsible for the management of the Ohtahlayan-Sun Trust (nicknamed Aesthetic Square), one of the largest land trusts in Marci Square, and the museums of art and history on the trust.

In 1819 the Museum of the Ohtahlayan Sun (now: Museum for the Arts of the Renaissance Period [MARP]) opened, funded by Louis-Philippe Ohtahlay, the founder of the Blix Times. The Museum was named in honour his father, Jean-sol Ohtahlay, who was a great friend of Ronald Kay Blix, and who was nicknamed Sun. The museum was a tremendous success, and had one of the greatest art collections ever accumulated in the ‘new world.’ In 1876, the art collections were becoming quite different with Renaissance works, Medieval works, and Classical works. It was decided to fund a new building to house the older works, called the Museum for the Art of the Medieval Age (MAMA). The fourth Art Curator, Christoff Valois, fought for the creation of two new buildings and collections in 1900: The Museum for the Indigenous Arts (MIA, soon to be renamed the Early Indigenous Arts Collection, EIAC), and the Museum for Art of Classical Antiquity (MACA). These museums also did tremendously well. Christoff Valois envisioned that as the collection expanded, new buildings should be created for modern works. He decided that no more contemporary works should would be added to the MARP (then MOS) building and collection, and in 1919 opened the Museum for the Modern Arts (MMA). He said that roughly every fifty years, the OSG should open a new collection and building. He bought much of the area around the OSG for future use, creating “aesthetic square” as he called it, which would be maintained by the city of South Blix until OSG needed to expand for new collections.

The OSG has been very careful about selling parts of aesthetic square, knowing that one day in the far future, it will all be needed for the OSG’s massive collection. In the 1980s, OSG agreed to give land to the Marci College of Art and Design (MCAD), recognizing the importance of the institution which had lost its former building due to high rents. In 1932, the aesthetic hall was created by OSG for performance art. But in the 1990s, it became too expensive for OSG to maintain the building, so it began renting it out. At first this was to Blixium, which used it as a movie theatre. In 2009, OSG did not renew the lease with Blixium due to its unethical oil investments and business practices. In 2013, OSG finally found a new tenant: New London Hall, which is now using it as a Grand Concert Hall.

In 2008, OSG helped found the bell hooks library, recognizing the lack of libraries in the area, and allowed for the creation of bell hooks st., partly running on the OSG land-trust. This library stands in the shadow of the grotesquely capitalistic Appledoor Curve, standing at 1.5km tall.

In 2016, meeting with the Episkeewulise, who are indigenous to the area called South Blix, OSG decided to allow the Indigenous Arts Council of Episkeewulise to maintain the land, with a mission to use the land for arts and the public. In August 2017, the OSG announced that it would be opening a second Indigenous Arts building on Ohtahlay and Weseley, to open in fall 2020. This will be called the New Indigenous Arts Collection (NIAC).

In October 2017 the new museum, convergence, a museum of some metamodern art opened.

Entry to the OSG Museums is free upon presentation of a dCARD. Otherwise, users pay a flat fee of $15 for a three-day pass to the museums, with children and students entering for only $10 for three days.

The OSG is a founding member and participant in the Global Art Lending Program (GALP), headquartered in the OSG Administration Building. Participation in the GALP allows museums of all sizes from around the world to lend art with one another, with complex trading schemes. Other major Delongonian participants include the Nockley Gallery, the Blixian National Museum, King Rupert I the Divine Empirical Museum, The People's Gallery, Waterloo Art Institute, South Matewood Art Gallery, Blix University Museums, the Royal Emileville Institute, the Seasonal Gallery, and the Museums of the Capital University. Usually art is not traded inner-nationally, but internationally (and usually inter-continentally). Due to the comprehensiveness of the OSG collections, the OSG is able to trade properties from many different artistic eras, for art from widely varying eras.