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| milewska [19.02.2023 15:32] – admin | milewska [19.02.2023 15:32] (current) – admin |
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| To summarize the surveys realized as part of the Japanese exhibition: YCAM received 41 responses to a total of 124 surveys, four of which were made public on the project website. Masaki Fujihata responded to Kensuke Sembo's proposal to create an exhibition that looked like an ancient burial in the following way: "Who on earth would want to participate in such an exhibition? [...] I don't want to see my works in a tomb."[(https://rema.ycam.jp/en/archives/essay/reincarnation-of-media-art/ (accessed 24.01.2022))] Fujihata was eventually convinced, and several other artists provided responses ranging from a complete rejection of the work's materiality (Kyle McDonald) to meticulous planning and documentation of the work (Akos Maroy). Yap Sau Bin wrote about re-mediation - a type of conservation - in the sense of "analog-> digital-> analog,"[(https://rema.ycam.jp/en/archives/qanda/ (accessed 24.01.2022))] which corresponds with Jussi Parikka's Media Archaeology.[(Parikka, Jussi, //What is Media Archaeology//, Polity, 2012.)]. | To summarize the surveys realized as part of the Japanese exhibition: YCAM received 41 responses to a total of 124 surveys, four of which were made public on the project website. Masaki Fujihata responded to Kensuke Sembo's proposal to create an exhibition that looked like an ancient burial in the following way: "Who on earth would want to participate in such an exhibition? [...] I don't want to see my works in a tomb."[(https://rema.ycam.jp/en/archives/essay/reincarnation-of-media-art/ (accessed 24.01.2022))] Fujihata was eventually convinced, and several other artists provided responses ranging from a complete rejection of the work's materiality (Kyle McDonald) to meticulous planning and documentation of the work (Akos Maroy). Yap Sau Bin wrote about re-mediation - a type of conservation - in the sense of "analog-> digital-> analog,"[(https://rema.ycam.jp/en/archives/qanda/ (accessed 24.01.2022))] which corresponds with Jussi Parikka's Media Archaeology.[(Parikka, Jussi, //What is Media Archaeology//, Polity, 2012.)]. |
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| For the Polish iteration of the project, video interviews with the exhibiting artists were recorded and screened at the WRO Art Centre and on its online platforms. Among the videos and quotes, one slogan stood out: "A dead work is a forgotten work," according to Zenial; so artists do not want to be forgotten. It should be added that media artists are among the most technologically aware creators, observing new, rapidly changing technologies. To conclude, the //Reincarnation of Media Art// project not only presented different approaches to preservation, but also artists' attitudes and raised awareness of conservation, not forgetting Nam June Paik's reflection "My TV is not always interesting, but not always uninteresting."[(http://www.medienkunstnetz.de/source-text/31/ (accessed 24.01.2022))] | For the Polish iteration, video interviews with the exhibiting artists were recorded and screened at the WRO Art Centre and on its online platforms. Among the videos and quotes, one slogan stood out: "A dead work is a forgotten work," according to Zenial; so artists do not want to be forgotten. It should be added that media artists are among the most technologically aware creators, observing new, rapidly changing technologies. To conclude, the //Reincarnation of Media Art// project not only presented different approaches to preservation, but also artists' attitudes and raised awareness of conservation, not forgetting Nam June Paik's reflection "My TV is not always interesting, but not always uninteresting."[(http://www.medienkunstnetz.de/source-text/31/ (accessed 24.01.2022))] |
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| ==== Dead artworks ==== | ==== Dead artworks ==== |
