New Media Museums

test

Trace:

Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revisionPrevious revision
Next revision		Previous revision
Last revisionBoth sides next revision
frank [01.10.2022 19:48] – adminfrank [26.11.2022 21:39] – admin
Line 107: Line 107:
  
 ===Roman Štětina – Babyluna=== ===Roman Štětina – Babyluna===
- 
-{{frank-6.jpg?640}} 
- 
-''Roman Štětina, //Babyluna//. Depository storage. (c)OMA'' 
  
 The gradual change in the aims and ambitions of OMA and SEFO has led to a greater representation of contemporary progressive art forms and the introduction of artists of the younger generation in exhibitions and collections. These include contemporary interventions in exhibitions of canonical works of art, transhistorical approaches within the permanent exhibition, site-specific and public-art realisations within the SEFO Triennial, and many more. All of these reflected the tendency towards intermediality or post-media approaches and presented new technological challenges for curators, installers and conservators.  The gradual change in the aims and ambitions of OMA and SEFO has led to a greater representation of contemporary progressive art forms and the introduction of artists of the younger generation in exhibitions and collections. These include contemporary interventions in exhibitions of canonical works of art, transhistorical approaches within the permanent exhibition, site-specific and public-art realisations within the SEFO Triennial, and many more. All of these reflected the tendency towards intermediality or post-media approaches and presented new technological challenges for curators, installers and conservators. 
  
 Among them was an artistic intervention created by Roman Štětina - Czech intermedia artist, laureate of the Jindřich Chalupecký Award and assistant of the studio of intermedia art at the Academy of Fine Arts in Prague. Among them was an artistic intervention created by Roman Štětina - Czech intermedia artist, laureate of the Jindřich Chalupecký Award and assistant of the studio of intermedia art at the Academy of Fine Arts in Prague.
 +
 +{{frank-6.jpg?640}}
 +
 +''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.
Line 160: Line 160:
 ''Jakub Frank and Petr Válek at New Media Museums Colloquium, 2022. (c)OMA'' ''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 construction 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.
  
 An interview with Petr Válek, devoted to the issues of the integrity of his works, their preservation and restoration, as well as their installation and the interpretation of the artist's intent, was conducted publicly as part of the New Media Museum Colloquium and has been included in [[oma|this anthology]].  An interview with Petr Válek, devoted to the issues of the integrity of his works, their preservation and restoration, as well as their installation and the interpretation of the artist's intent, was conducted publicly as part of the New Media Museum Colloquium and has been included in [[oma|this anthology]]. 
Line 181: Line 181:
  
 ~~NOTOC~~ ~~NOTOC~~
 +
 +
 +----
 +
 +See also the video presentation [[oma|What's lying on the shelf? – What should have been done before the acquisition and what is to be done now?]] by  Jakub Frank and Petr Válek in this volume.
 +