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| The transformative effect of changing works on perceptions of authorship and the role of conservation is not limited to installations. Authors such as Rudolf Frieling and Annet Dekker write about examples of site-specific, relational and performative works.[(Dekker, Annet, "Networks of Care", in Dekker, //Collecting and Conserving Net Art: Moving beyond Conventional Methods//, London: Routledge, pp 71-98. Frieling, Rudolf, "The Museum as Producer. Processing Art and Performing a Collection", in //New Collecting: Exhibiting and Audiences After New Media Art//, ed. Beryl Graham, Surrey: Ashgate, 2014, 135–58.)] Dekker says that artists are of course still important in the process of reinstallation, but instead of being inward looking, the museum assumes the role of facilitator for a group of people formed around the artwork in order to continue it, in other words, its 'network of care.' Similar forms of distributing authorship for the purposes of preservation are usually referred to as open, proliferative preservation. In this sense, Van de Vall speaks of a processual paradigm of preservation.[(Van de Vall 2015.)] The latter differs from both the scientific paradigm, whose central concern is the material integrity of the work as a physical object, and the performative paradigm in that it does not rely entirely on the conceptual identity of the work, which is expressed as a set of instructions. Indeed, processual works are subject to uncontrollable factors such as weather, material wear, audience interaction or participation. In this context, the aim of conservation is to support the continuation of the work by transferring the necessary skills, procedures and information to those involved. | The transformative effect of changing works on perceptions of authorship and the role of conservation is not limited to installations. Authors such as Rudolf Frieling and Annet Dekker write about examples of site-specific, relational and performative works.[(Dekker, Annet, "Networks of Care", in Dekker, //Collecting and Conserving Net Art: Moving beyond Conventional Methods//, London: Routledge, pp 71-98. Frieling, Rudolf, "The Museum as Producer. Processing Art and Performing a Collection", in //New Collecting: Exhibiting and Audiences After New Media Art//, ed. Beryl Graham, Surrey: Ashgate, 2014, 135–58.)] Dekker says that artists are of course still important in the process of reinstallation, but instead of being inward looking, the museum assumes the role of facilitator for a group of people formed around the artwork in order to continue it, in other words, its 'network of care.' Similar forms of distributing authorship for the purposes of preservation are usually referred to as open, proliferative preservation. In this sense, Van de Vall speaks of a processual paradigm of preservation.[(Van de Vall 2015.)] The latter differs from both the scientific paradigm, whose central concern is the material integrity of the work as a physical object, and the performative paradigm in that it does not rely entirely on the conceptual identity of the work, which is expressed as a set of instructions. Indeed, processual works are subject to uncontrollable factors such as weather, material wear, audience interaction or participation. In this context, the aim of conservation is to support the continuation of the work by transferring the necessary skills, procedures and information to those involved. |
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| In summary, the preservation of contemporary art relies on the informed interpretation of the conservator, as discussed in [[bauerova-en|Zuzana Bauerová's contribution]] to this collection. This parallels the shift in archival theory that has taken place in recent decades. It has to do with the recognition of the power of institutions over history, as well as the fact that everything archivists do is subjective. Extending this thesis, the artist Cornelia Sollfrank highlights the concept of 'situatedness', which can help conservators understand what they can do, rather than striving for objectivity.[(Sollfrank, Cornelia, "obn_a - A Situated Archive of the Old Boys Network", in //Networks of Care: Politiken des (Er)haltens und (Ent)sorgens//, eds. Anna Schäffler, Friederike Schäfer, and Nanne Buurman, Berlin: neue Gesellschaft für bildende Kunst (nGbK), 2022, pp 72-80. Online: https://monoskop.org/images/e/e5/Schaeffler_Schaefer_Buurman_eds_Networks_of_Care_Politics_of_Preserving_and_Discarding_2022.pdf#page=74.)] Or, in the words of Donna Haraway, 'feminist objectivity' can only be achieved through the interconnection of different, 'partial perspectives.' It is important, then, to acknowledge the plurivocal narratives in determining the artist's intent and in the pursuit of documentation in general.[(Sollfrank 2022, 77.)] | In summary, the preservation of contemporary art relies on the informed interpretation of the conservator, as discussed in [[bauerova-en|Zuzana Bauerová's contribution]] to this collection. This parallels the shift in archival theory that has taken place in recent decades. It has to do with the recognition of the power of institutions over history, as well as the fact that everything archivists do is subjective. Extending this thesis, the artist Cornelia Sollfrank highlights the concept of 'situatedness', which can help conservators understand what they can do, rather than striving for objectivity.[(Sollfrank, Cornelia, "obn_a - A Situated Archive of the Old Boys Network", in //Networks of Care: Politiken des (Er)haltens und (Ent)sorgens//, eds. Anna Schäffler, Friederike Schäfer, and Nanne Buurman, Berlin: neue Gesellschaft für bildende Kunst (nGbK), 2022, pp 72-80.)] Or, in the words of Donna Haraway, 'feminist objectivity' can only be achieved through the interconnection of different, 'partial perspectives.' It is important, then, to acknowledge the plurivocal narratives in determining the artist's intent and in the pursuit of documentation in general.[(Sollfrank 2022, 77.)] |
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| ====The proceedings==== | ====The proceedings==== |
| As the Tate's media conservator Patricia Falcão once remarked, although we often cannot clearly identify the 'significant properties' of the work in question, it is important to think about them and try to write them down, because we learn a lot in the process. Exploring 'significant properties' is a means of determining what to focus attention on in order to answer fundamental questions about the work and what is important for its conservation. The term was originally adopted by Pip Laurenson from the archival community and has since been used interchangeably with the terms 'work-determining properties' and 'work-defining properties.' Patricia Falcão also stressed the importance of involving the artist in the process, ideally from the early stages of acquisition. | As the Tate's media conservator Patricia Falcão once remarked, although we often cannot clearly identify the 'significant properties' of the work in question, it is important to think about them and try to write them down, because we learn a lot in the process. Exploring 'significant properties' is a means of determining what to focus attention on in order to answer fundamental questions about the work and what is important for its conservation. The term was originally adopted by Pip Laurenson from the archival community and has since been used interchangeably with the terms 'work-determining properties' and 'work-defining properties.' Patricia Falcão also stressed the importance of involving the artist in the process, ideally from the early stages of acquisition. |
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| Installation-based works change from exhibition to exhibition. In this context, several contributors place an emphasis on iteration reports, the purpose of which is to chronicle changes to the currently exhibited iteration, including the decision-making process behind them. They serve as a companion to the identity report of the work in question.[(The basis for iteration reports in a number of museums is a report developed by Joanna Phillips at the Guggenheim Museum and published on its website, https://www.guggenheim.org/wp-content/uploads/2015/11/guggenheim-conservation-iteration-report-2012.pdf. Several other museums have followed the suit in recent years and published their forms online, for an example of SFMOMA, see Barok, Dušan, Julia Noordegraaf and Arjen P. de Vries, "From Collection Management to Content Management in Art Documentation: The Conservator as an Editor", //Studies in Conservation//, vol. 64, no. 8, 2019, pp 472-489. Online: https://doi.org/10.1080/00393630.2019.1603921)] | Installation-based works change from exhibition to exhibition. In this context, several contributors emphasise iteration reports, the purpose of which is to chronicle changes to the currently exhibited iteration, including the decision-making process behind them. They serve as a companion to the identity report of the work.[(The basis for iteration reports in a number of museums is a report developed by Joanna Phillips at the Guggenheim Museum and published on its website, https://www.guggenheim.org/wp-content/uploads/2015/11/guggenheim-conservation-iteration-report-2012.pdf. Several other museums have followed the suit in recent years and published their forms online, for an example of SFMOMA, see Barok, Dušan, Julia Noordegraaf and Arjen P. de Vries, "From Collection Management to Content Management in Art Documentation: The Conservator as an Editor", //Studies in Conservation//, vol. 64, no. 8, 2019, pp 472-489. Online: https://doi.org/10.1080/00393630.2019.1603921)] |
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| There are various institutional models to support preservation. The development of a media conservation laboratory seems appropriate for larger collections of media installations such as the Tate, MoMA and Guggenheim. Another approach mentioned was that of an interdepartmental working group. SFMOMA offers the example of its 'Media Team', which consists of curators, conservators, technicians and other staff who meet monthly to discuss issues related to the presentation, conservation, acquisition and loan of media-based works. Another model is offered by LIMA, an Amsterdam-based NGO that acts both as a distributor of media art and as a conservation facility for media-based works and components for the country's network of art museums. | There are various institutional models to support preservation. The development of a media conservation laboratory seems appropriate for larger collections of media installations such as the Tate, MoMA and Guggenheim. Another approach mentioned was that of an interdepartmental working group. SFMOMA offers the example of its 'Media Team', which consists of curators, conservators, technicians and other staff who meet monthly to discuss issues related to the presentation, conservation, acquisition and loan of media-based works. Another model is offered by LIMA, an Amsterdam-based NGO that acts both as a distributor of media art and as a conservation facility for media-based works and components for the country's network of art museums. |
