New Media Museums

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frank [26.11.2022 21:39] – adminfrank [19.02.2023 15:03] (current) – admin
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-''Jan Šépka, SEFO – Central European Art Forum. Architecture visualisation. (c)OMA''+''Fig. 1: Jan Šépka, SEFO – Central European Art Forum. Architecture visualisation. (c)OMA''
  
 However, although the museum's collections grew, other gaps in the collections became increasingly apparent as curators' interest in traditional media (especially painting and sculpture) outweighed the already rapidly expanding art production in new media and intermedia. It should be noted that this situation was and still is common in most museum institutions in the Czech Republic and is similar in the Central European region as well.[(This was confirmed by a survey on the collection and care of new media artworks in the collections of state institutions, conducted by students in the New Media Arts & Archive course within the Theory of Interactive Media programme at Masaryk University. The course was led by Barbora Kundračíková, Dušan Barok and Jakub Frank, the initiators of the New Media Museum project. The survey has not been published.)] However, although the museum's collections grew, other gaps in the collections became increasingly apparent as curators' interest in traditional media (especially painting and sculpture) outweighed the already rapidly expanding art production in new media and intermedia. It should be noted that this situation was and still is common in most museum institutions in the Czech Republic and is similar in the Central European region as well.[(This was confirmed by a survey on the collection and care of new media artworks in the collections of state institutions, conducted by students in the New Media Arts & Archive course within the Theory of Interactive Media programme at Masaryk University. The course was led by Barbora Kundračíková, Dušan Barok and Jakub Frank, the initiators of the New Media Museum project. The survey has not been published.)]
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-''Stanislav Zippe, //Spiral, From Titian to Warhol//, 2012. OMA Collection. (c)OMA''+''Fig. 2: Stanislav Zippe, //Spiral, From Titian to Warhol//, 2012. OMA Collection. (c)OMA''
  
 During restoration work, the OMA curators and conservators were in contact with the artist, but he had no specific requests or instructions for repair or reconstruction of the work. In the end, the work was restored with the help of local technicians using components of an old photocopier.  During restoration work, the OMA curators and conservators were in contact with the artist, but he had no specific requests or instructions for repair or reconstruction of the work. In the end, the work was restored with the help of local technicians using components of an old photocopier. 
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-''Federico Díaz, //Sembion//. Installation view. (c)Federico Díaz''+''Fig. 3: Federico Díaz, //Sembion//. Installation view. (c)Federico Díaz''
  
 Probably the most complex example of all the media artworks in the OMA collections is the work //Sembion// by the Czech-Argentine artist Federico Díaz. //Sembion// has all the hallmarks of an intermedia artwork, combining an interactive software and audiovisual installation along with automatically designed objects and digital prints. Probably the most complex example of all the media artworks in the OMA collections is the work //Sembion// by the Czech-Argentine artist Federico Díaz. //Sembion// has all the hallmarks of an intermedia artwork, combining an interactive software and audiovisual installation along with automatically designed objects and digital prints.
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-''Federico Díaz, //Sembion//. Depository storage. (c)OMA''+''Fig. 4: Federico Díaz, //Sembion//. Depository storage. (c)OMA''
  
 Both CD-Rs contain a single file - the boot command – that should launch the Sembion software. However, the software itself is stored elsewhere. It is not clear what else (software or hardware) is needed to reconstruct the installation as it was presented in 2003-2005, nor what the exact function of the software is. This question - arguably the most problematic about //Sembion// as a collection object - belongs not only to the category of collecting and documenting new media, but also to licensing and authenticity, and in a broader sense to the ontology of digital art. This, however, appears to be a problem that is eminently museum-related, which may be one of the reasons why Díaz decided to turn to privately funded and commercial projects. Both CD-Rs contain a single file - the boot command – that should launch the Sembion software. However, the software itself is stored elsewhere. It is not clear what else (software or hardware) is needed to reconstruct the installation as it was presented in 2003-2005, nor what the exact function of the software is. This question - arguably the most problematic about //Sembion// as a collection object - belongs not only to the category of collecting and documenting new media, but also to licensing and authenticity, and in a broader sense to the ontology of digital art. This, however, appears to be a problem that is eminently museum-related, which may be one of the reasons why Díaz decided to turn to privately funded and commercial projects.
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-''Federico Díaz, //Sembion//. Depository storage. (c)OMA''+''Fig. 5: Federico Díaz, //Sembion//. Depository storage. (c)OMA''
  
 Since the acquisition, //Sembion// has been exhibited only once at the //From Titian to Warhol// exhibition at the OMA, where only the SLS object was on view with video documentation of the installation without interactive elements.  Since the acquisition, //Sembion// has been exhibited only once at the //From Titian to Warhol// exhibition at the OMA, where only the SLS object was on view with video documentation of the installation without interactive elements. 
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-''Roman Štětina, //Babyluna//. Depository storage. (c)OMA''+''Fig. 6: Roman Štětina, //Babyluna//. Depository storage. (c)OMA''
  
 The work was commissioned for an exhibition by Jiří Kolář, which is part of the confrontage series //Babyluna//. Kolář's album, consisting of 52 individual sheets with two confronting motifs on the front and the artist's epigrams on the back of each sheet, became Štětina's inspiration in terms of semantics and form. The resulting intervention consisted of a sound installation in which a male voice (radio director Miroslav Buriánek) reads the epigrams and tries to find the correct pronunciation and intonation for each of them, while in the background we hear Štětina clicking his mouse while cutting and editing the resulting work. The articulation of the collaging process triumphed over the content of the spoken word. Another part of Štětina's intervention was his variation or appropriation of one of Kolář's confrontages - when he uses Google image search to vary one of the sheets and the result is a new confrontage, not dissimilar to the original one, but created purely by Google's algorithms. The work was commissioned for an exhibition by Jiří Kolář, which is part of the confrontage series //Babyluna//. Kolář's album, consisting of 52 individual sheets with two confronting motifs on the front and the artist's epigrams on the back of each sheet, became Štětina's inspiration in terms of semantics and form. The resulting intervention consisted of a sound installation in which a male voice (radio director Miroslav Buriánek) reads the epigrams and tries to find the correct pronunciation and intonation for each of them, while in the background we hear Štětina clicking his mouse while cutting and editing the resulting work. The articulation of the collaging process triumphed over the content of the spoken word. Another part of Štětina's intervention was his variation or appropriation of one of Kolář's confrontages - when he uses Google image search to vary one of the sheets and the result is a new confrontage, not dissimilar to the original one, but created purely by Google's algorithms.
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-''Petr Válek, //Vrrrzzophone//, 2021. (c)Petr Válek''+''Fig. 7: Petr Válek, //Vrrrzzophone//, 2021. (c)Petr Válek''
  
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-''Petr Válek, //Import – Export, Válek Attacks!//, 2021. Installation view, CCA Gallery, Šumperk. (c)Petr Válek''+''Fig. 8: Petr Válek, //Import – Export, Válek Attacks!//, 2021. Installation view, CCA Gallery, Šumperk. (c)Petr Válek''
  
 Two kinetic sound objects by Petr Válek were acquired in 2022, together with the artist's video documentation of their ideal setup and functioning.[(They were made at the request of the curator as documentation of the artist's proposed installation of the work, but they also serve as independent video works and can be exhibited as such. For this reason, digital data is treated in the same way as other video or sound works)] Although materially they are more or less traditional media, their sonic element and distinct performative potential situates them in the context of the Collection of New Media and Intermedia. Two kinetic sound objects by Petr Válek were acquired in 2022, together with the artist's video documentation of their ideal setup and functioning.[(They were made at the request of the curator as documentation of the artist's proposed installation of the work, but they also serve as independent video works and can be exhibited as such. For this reason, digital data is treated in the same way as other video or sound works)] Although materially they are more or less traditional media, their sonic element and distinct performative potential situates them in the context of the Collection of New Media and Intermedia.
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-''Jakub Frank and Petr Válek at New Media Museums Colloquium, 2022. (c)OMA''+''Fig. 9: Jakub Frank and Petr Válek at New Media Museums Colloquium, 2022. (c)OMA''
  
 In terms of restoration, the uncomplicated construction and simple technical operation of the works appear to be relatively trouble-free. At the same time, however, their technical instability and the fragility of some elements present a challenge for conservators. In addition, the creative input of the artist, who during the interview expressed an interest in reconstructing the works himself, plays an important role in the process. When asked what would happen to the works after his death, he replied that they would die with him. In terms of restoration, the uncomplicated construction and simple technical operation of the works appear to be relatively trouble-free. At the same time, however, their technical instability and the fragility of some elements present a challenge for conservators. In addition, the creative input of the artist, who during the interview expressed an interest in reconstructing the works himself, plays an important role in the process. When asked what would happen to the works after his death, he replied that they would die with him.