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 == Dead Artworks as Narrators: (Re)use of Broken Artworks in the Media Art Narrative at the Exhibition //Reincarnation of Media Art// in WRO Art Center in Wrocław (2019) ==
-[[Sonia Milewska]]
+[[contributors#milewska|Sonia Milewska]]
+{{TOC}}
 ==== Introduction ====
-Perhaps the perspective of protecting works of art should shift from thinking about extending life – to ‘being to death’ in order to benefit from them as much as possible. The quoted idea is the conclusion of one of the Getty Conservation Institute specialist panels on changes and developments in the field of modern art conservation (2008)[(On 25 and 26 January 2008, the Getty Conservation Institute (GCI) and the Getty Research Institute presented //The Object in Transition: A Cross Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art//. https://www.youtube.com/watch?v=0l931jxDFqw (accessed 24.01.2022))]. This paper delivers commentary and analysis on 'dead artworks’, although the research is limited to media art, which, despite their youth, often die first. The topic is discussed in the example //Reincarnation of Media Art// exhibition curated by Agnieszka Kubicka-Dzieduszycka in WRO Art Center in Wrocław (2019)[(https://wrocenter.pl/pl/rma/ (accessed 24.01.2022))] – a Polish iteration of the concept, by the Japanese artist group exonemo, of Mausoleum of Media Art realized at YCAM, the Yamaguchi Center for Arts and Media (2018)[(https://rema.ycam.jp/en/ (accessed 24.01.2022))].
+In order to reap as much benefit from works of art as possible, the perspective on their preservation might shift from thinking about prolonging life – to ‘being until death’. The quoted thought is the conclusion of one of the Getty Conservation Institute expert panels on changes and developments in the field of contemporary art conservation (2008).[(On 25 and 26 January 2008, the Getty Conservation Institute (GCI) and the Getty Research Institute presented //The Object in Transition: A Cross Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art//. https://www.youtube.com/watch?v=0l931jxDFqw (accessed 24.01.2022))] This paper provides commentary and analysis on 'dead artworks’, although the research is limited to media art, which, despite its youth, often dies first. The topic is touched upon in the exemplary exhibition exhibition //Reincarnation of Media Art// curated by Agnieszka Kubicka-Dzieduszycka in WRO Art Center in Wrocław (2019)[(https://wrocenter.pl/pl/rma/ (accessed 24.01.2022))] – a Polish iteration of the concept of Mausoleum of Media Art realized at the Yamaguchi Center for Arts and Media (YCAM) by the Japanese artist group exonemo.[(https://rema.ycam.jp/en/ (accessed 24.01.2022))]
-The pages that follow will provide an overview of the current debate over the death of works of modern art, including media art. Then, in the context of various conservation approaches and artistic paradigms, the forms of its protection will be briefly listed, as well as the sources of broken artworks. A contemporary critical view on forcible preservation, over-archiving, and large quantities of artifacts in warehouses will be presented using a conservatory perspective of research. The following chapter demonstrates how to use broken artworks in a narrative of media art history. The final section contains research on an attempt to systematize and name the objects discussed in the paper.
+The following pages provide an overview of the current debate on the death of modern artworks, including media art. Then, in the context of various conservation approaches and artistic paradigms, forms of its preservation will be briefly mentioned, as well as sources of broken artworks. A contemporary critical view of forced preservation, excessive archiving and large quantities of artifacts in storage will be presented using a conservationist research perspective. The next section shows how to use broken artworks in the narrative of media art history. The final section includes research on attempts to systematize and name the objects discussed in the article.
-==== The debate about death ====
+==== Death debate ====
-{{milewska_1.jpg?604x340}}
+{{milewska_1.jpg?nolink&604x340}}
 ''Fig. 1. [[https://rema.ycam.jp/en/events/performance-tetsuya-umeda-phantom-of-media-art/|Reincarnation of Media Art]] exhibition in YCAM Japan.''
-The twentieth century is characterized by new paradigms, and significant changes in the field of art, which impacted not only art recipients but also critics, curators, and conservators. Art protection is complicated, so defining art, as well as deciding what to keep and at what price, became difficult. Modern art is rapidly degrading due to fragile elements, experimental techniques, and unstable new materials. As a result, we frequently come across dead artworks that are the result of an experiment or assumptions, which have been damaged in transit or are mechanically broken. Richard Rinehart lists three ways for art to die in the context of media art: death by technology, death by institution, and death by law[(Rinehart, Richard, Jon Ippolito (eds.), //Re-Collection: Art, New Media, and Social Memory//, Cambridge, MA: MIT Press, 2014.)). Maintaining works of media art that rely on obsolete technical devices becomes increasingly difficult as specific models, their replacements, and experts in a given technology vanish.
+The 20th century was characterized by new paradigms, and significant changes in the field of art that have affected not only art audiences, but also critics, curators and conservators. Art preservation is complicated, so defining art, as well as deciding what to preserve and at what price, are difficult. Modern art is rapidly degrading due to fragile elements, experimental techniques and unstable new materials. As a result, we often encounter dead artworks that are the result of experimentation, that were damaged in transit or are mechanically damaged. Richard Rinehart lists three ways art dies in the context of media art: death by technology, death by institution, and death by law.[(Rinehart, Richard, Jon Ippolito (eds.), //Re-Collection: Art, New Media, and Social Memory//, Cambridge, MA: MIT Press, 2014.)] Maintaining media artworks that rely on outdated technical devices is becoming increasingly difficult as specific models, their replacements, and experts in the technology vanish.
-Curators and conservators, together with experts from various science specializations, face the challenges of acquiring and preserving electronic and digital works. The art conservation theory evolves to adapt to the problems of newer technologies, which Pip Laurenson defines as a dynamic system – 'an assembly of components, connected together in an organized way'.[(Laurenson, Pip, "The Management of Display Equipment in Time-based Media Installations", //Tate Papers//, 3 (2005). Available online: https://www.tate.org.uk/research/publications/tate-papers/03/the-management-of-display-equipment-in-time-based-media-installations (accessed 24.01.2022))] She emphasizes that keeping media art in use is the best prevention strategy. Those complicated by their media's temporal nature artworks have a potential for ‘emulation, migration, and re-interpretation' according to Hanna B. Hölling[(Hölling, Hanna B., "The Archival Turn", In //Data Drift: Archiving Media And Data Art In The 21st Century//, Riga: RIXC and Liepaja’s University Art Research Lab, 2015, p. 74. Available online: http://www.hannahoelling.com/wp-content/uploads/2016/09/The_Archival_Turn.pdf)]. The identity of media art is dispersed throughout various objects, processes, and contexts, and the death of art becomes a topic of debate due to the potential volatility of media. This variability is strongly intertwined with the extensive documentation of the work, which in some cases becomes part of the artwork.[(Wielocha, Aga, "Art Objects as Documents and the Distributed Identity of Contemporary Artworks", //ArtMatters: International Journal of Technical Art History//, 2021, pp. 106-113.)]
+Curators and conservators, along with experts from a variety of scientific specialties, face challenges in acquiring and preserving electronic and digital works. Art conservation theory is evolving to adapt to the problems of newer technologies, which Pip Laurenson describes as a dynamic system, "a set of components, linked together in an organized fashion."[(Laurenson, Pip, "The Management of Display Equipment in Time-based Media Installations," //Tate Papers//, 3 (2005). Available online: https://www.tate.org.uk/research/publications/tate-papers/03/the-management-of-display-equipment-in-time-based-media-installations (accessed 24.01.2022))] She stresses that keeping media art in use is the best preventive strategy. According to Hanna B. Hölling, these artworks, complicated by their media temporality, have the potential to be preserved through "emulation, migration and reinterpretation."[(Hölling, Hanna B., "The Archival Turn," In //Data Drift: Archiving Media And Data Art In The 21st Century//, Riga: RIXC and Liepaja's University Art Research Lab, 2015, p. 74. Available online: http://www.hannahoelling.com/wp-content/uploads/2016/09/The_Archival_Turn.pdf)]. The identity of media art is scattered across different objects, processes and contexts, and the death of art becomes a topic of debate due to the potential volatility of media. This variability is strongly intertwined with the extensive documentation of the work, which in some cases becomes part of the artwork.[(Wielocha, Aga, "Art Objects as Documents and the Distributed Identity of Contemporary Artworks," //ArtMatters: International Journal of Technical Art History//, 2021, pp. 106-113.)]
-Art conservators discuss the death of art, but more in the context of avoiding rather than accepting it. The theme of art mortality was presented at the conference in the field of modern art restoration //Mortality Immortality?// (1998)[(Constantine, M., "Mortality Immortality? The Legacy of 20th-Century Art", 1998, post-conference paper, online: https://www.getty.edu/conservation/publications_resources/newsletters/13_2/feature1.html (accessed 24.01.2022))], followed by another organized by Getty Conservation Institute (2008)[(//The Object in Transition: A Cross Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art//, online source https://www.youtube.com/watch?v=0l931jxDFqw (accessed 24.01.2022))], and at the last INCCA panel titled //Death of an Artwork// (2022)[(INCCA Talk in collaboration with CAN! Conversation, on the subject of the ‘Death of an Artwork’, organized on 19 January 2022. https://incca.org/events/incca-talk-collaboration-can-conversations (accessed 24.01.2022))]. Rosario Llamas-Pacheco recently summarized this issue, identifying the death of art with its disappearance, despite the fact that the causes of art's death vary: from natural degradation to an accident to an intentional artistic approach[(Llamas-Pacheco, Rosario, "Some Theory for the Conservation of Contemporary Art", //Studies in Conservation//, 65:8 (2020), p. 492.)]. Following Mario Sousa's death paradigm, Llamas-Pacheco proposes an attitude of accepting the death of a work not only of its matter but also of its concept[(Llamas-Pacheco 2020, p. 493.)]. Regardless of the causes of death, collections deal with damaged works, their broken or replaced parts that do not represent a work of art but are replaceable elements.
+Art conservators discuss the death of art, but in the context of its avoidance rather than acceptance. The topic of art mortality was presented at a conference on contemporary art restoration //Mortality Immortality?// (1998),[(Constantine, Mildred, "Mortality Immortality? The Legacy of 20th-Century Art", 1998, post-conference paper. Available online: https://www.getty.edu/conservation/publications_resources/newsletters/13_2/feature1.html (accessed 24.01.2022))] then at another organized by the Getty Conservation Institute (2008).[(//The Object in Transition: A Cross Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art//. https://www.youtube.com/watch?v=0l931jxDFqw (accessed 24.01.2022))], and at a recent INCCA panel entitled //Death of an Artwork// (2022)[(INCCA Talk in collaboration with CAN! Conversation, on "The Death of an Artwork," held on 19 January 2022. https://incca.org/events/incca-talk-collaboration-can-conversations (accessed 24.01.2022))] Rosario Llamas-Pacheco recently summed up the issue by equating the death of art with its disappearance, even though the causes of art death vary from natural degradation to accident to intentional artistic action.[(Llamas-Pacheco, Rosario, "Some Theory for the Conservation of Contemporary Art," //Studies in Conservation//, 65:8 (2020), p. 492.)] Following Mario Sousa's paradigm of death, Llamas-Pacheco proposes an attitude of accepting the death of a work not only of its matter, but also of its concept.[(Llamas-Pacheco 2020, p. 493.)] Regardless of the causes of death, collections have to deal with damaged works of art, their broken or replaced parts, which do not constitute a work of art, but are replaceable elements.
-Despite preventative conservation, artworks lose parts, have replaced mechanisms, and occasionally lose their meaning. As in the case of Joseph Beuys, whose //Felt Suit// (1970) is suspended in conceptual and physical limbo in the Tate Collection after being eaten by moths.[(Barker, Rachel, Alison Bracker, "Relic or Release: Defining and Documenting the Physical and Aesthetic Death of Contemporary Works of Art", in //Triennial Meeting (14th), The Hague, 12-16 September 2005: Preprints//, London: James & James, 2005, p. 1012.)] Another example, Nam June Paik's artworks are the best illustration of the existence of replaceable parts while also being closely related to art with rapidly aging technology, as seen in the review of //TV Garden// (1974).[(Hanhardt, John G., "Nam June Paik, TV Garden, 1974", in Depocas, Alain, Jon Ippolito, Caitlin Jones (eds.), //Permanence Through Change: The Variable media Approach//, New York: Solomon R. Guggenheim Museum, and Montreal: Daniel Langlois Foundation, 2003.)] Assuming artist awareness, the best preventive plan, and tracking the technology's adoption curve, we must consider that some technical elements will break and require replacement – but what about the originals?
+Despite preventive conservation, works of art lose parts, have their mechanisms replaced, and sometimes lose their meaning. As in the case of Joseph Beuys, whose //Felt Suit// (1970) is suspended in conceptual and physical limbo in the Tate Collection after being eaten by moths.[(Barker, Rachel, Alison Bracker, "Relic or Release: Defining and Documenting the Physical and Aesthetic Death of Contemporary Works of Art," in //Triennial Meeting (14th), The Hague, September 12-16, 2005: Preprints//, London: James & James, 2005, p. 1012)]. Another example, Nam June Paik's works illustrate well the notion of interchangeable parts, and at the same time closely link art with rapidly aging technology, as seen in the review //TV Garden// (1974).[(Hanhardt, John G., "Nam June Paik, TV Garden, 1974", in Depocas, Alain, Jon Ippolito, Caitlin Jones (eds.), //Permanence Through Change: The Variable media Approach//, New York: Solomon R. Guggenheim Museum, and Montreal: Daniel Langlois Foundation, 2003)]. Assuming the artist's awareness, the best precautionary plan, and tracking the technology adoption curve, we must take into account that some technical elements will break down and need to be replaced - but what about the originals?
 ==== Reincarnation of Media Art ====
-{{milewska_2.jpg?604x403}}
+The original concept for the Mausoleum of Media Art came from artist Kensuke Sembo, during a discussion on media art conservation between the exonemo group and YCAM curators. He and Masaki Fujihata invited artists to "consider the death of artworks and the possibility of their reincarnation in the future."[(https://rema.ycam.jp/en/ (accessed 24.01.2022))] Visitors to the exhibition explored relics and documentation of time-based art in a mausoleum inside YCAM's main building. Audioguide was used to guide visitors through the exhibition, which began with a presentation of Nam June Paik's "death of the work" of CRT monitors from //Video Chandelier No.1// (1989).
+{{milewska_2.jpg?nolink&604x403}}
 ''Fig. 2. Reincarnation of Media Art exhibition in Wro Art Center in Wrocław. Photo: Zbigniew Kupisz. Courtesy of WRO Art Center.''
-The original concept of a Mausoleum of Media Art came from the artist Kensuke Sembo, during a discussion on media art conservation between the exonemo group and the YCAM curators. Together with Masaki Fujihata they invited artists to ‘consider the death of artworks and the possibilities for reincarnating them in the future’[(https://rema.ycam.jp/en/ (accessed 24.01.2022))]. The exhibition's visitors explored relics and documentation of time-based art in the mausoleum inside YCAM's main building. The audioguide was used to guide visitors through the exposition of relicts of media art, which started with a presentation 'death of a work' of Nam June Paik's CRT monitors from //Video Chandelier No.1// (1989).
+The Polish iteration of //Reincarnation of Media Art// was created as part of the 18th WRO Media Art Biennale at the WRO Art Center (2019), a pioneering festival and institution in Poland that has been promoting, producing and documenting media art for 30 years. The exhibition was curated by Agnieszka Kubicka-Dzieduszycka, and the works presented were selected in collaboration with other members of the WRO team. In this case, a synthetic voice led visitors through the mausoleum, referring only to the tomb with the entrance (Fig. 2), and told about the causes of death of the works displayed in the crypts - plexiglass cubes on pedestals (Fig. 3). The audio guide was played on old portable devices like a cassette radio or portable CD player.
-{{milewska_3.jpg?604x403}}
+{{milewska_3.jpg?nolink&604x403}}
 ''Fig. 3. Reincarnation of Media Art exhibition in WRO Art Center in Wrocław. Photo: Zbigniew Kupisz. Courtesy of WRO Art Center.''
-{{milewska_4.jpg?366x549}}
+{{milewska_4.jpg?nolink&366x549}}
 ''Fig. 4. Reincarnation of Media Art exhibition in WRO Art Center in Wrocław. Photo: Zbigniew Kupisz. Courtesy of WRO Art Center.''
-The Polish iteration of //Reincarnation of Media Art// was created as part of the 18th Media Art Biennale WRO at WRO Art Center (2019), a pioneering festival and institution in Poland that has been dealing with the promotion, production, and documentation of media art for the past 30 years. Agnieszka Kubicka-Dzieduszycka curated the exhibition, and the works on display were chosen in collaboration with other WRO team members. In that case, a synthetic voice guide leads visitors around the mausoleum, referring only to the tomb with the entrance (Fig. 2), and tells them about the causes of death of the works displayed in the crypts – plexiglass cubes on pedestals (Fig. 3). The audio guide was played on old portable devices like a radio cassette player or a portable CD player.
+The WRO Art Center showed dead works by eight artists collaborating with WRO and YCAM, including a recurring homage to the "father of media art": the Wrocław exhibition also began with Nam June Paik, exhibiting the interiors of a broken CRT monitor from //Zen for TV// (1963), and a U-Matic cassette (1980s). This was followed by works by other artists: a cell phone used in Rafael Lozano-Hemmer's performance //Hemmer Amodal Suspension// (2003); a hard drive with data from //Web Hopper// (1996) by Koichiro Eto; //YMO Techno Badge// (1980) by Masaki Fujihata; old iPhones with apps by Nao Tokui (2008); VHS tapes from the performance //Ucieleśnianie// [Embodyiment] (1994) by Piotr Wyrzykowski; VHS with //Performans na żądanie// [Performance on Request] (2001) by Anna Plotnicka and Pawel Janicki; broken game consoles of the Gameboyzz Orchestra project (2001); broken floppy disks by Lukasz Szalankiewicz aka Zenial and the artist's audio release on floppy disk (1996-2019).
-WRO Art Center showed dead works of eight artists collaborating with WRO and YCAM, including the repeated hommage to the 'father of media art': the exhibition in Wrocław also started with Nam June Paik, displaying in this case the innards of a broken CRT monitor from //Zen for TV// (1963), and U-Matic cassette (1980s). Works by other artists followed: mobile phone used in Rafael Lozano-Hemmer's performance – //Hemmer Amodal Suspension// (2003); hard disk with data of //Web Hopper// (1996) by Koichiro Eto; //YMO Techno Badge// (1980) by Masaki Fujihata; old iPhones with Nao Tokui's applications (2008); VHS tapes with performance //Ucieleśnianie// [Embodyiment] (1994) by Piotr Wyrzykowski; VHS with //Performans na żądanie// [Performance on Request] (2001) by Anna Płotnicka and Paweł Janicki; broken gaming consoles of the Gameboyzz Orchestra Project (2001); broken floppy disks of Łukasz Szałankiewicz aka Zenial, and an actual sound release on a floppy disk by the artist (1996-2019).
+The exhibition in Wrocław was an example of various conservation strategies or relics of dead artworks. Preservation through documentation, which was developed to preserve time-based art, can be applied to Lozano-Hemmer, Plotnicka and Janicki. The light show photo album additionally focuses on viewers' memories. Works of art are also represented by technology, such as telephones, placing them in a historical context. The VHS tapes on display can be viewed as documentation - a record of Płotnicka's performance (2001), but also as an artifact used by Wyrzykowski in a creative act (1994). As Sylwia Szykowna notes, another layer of meaning is object memory, where the objects are tangible intermediaries between historical events. [(Szykowna, Sylwia, "Zmienna trwałość dzieła – problem pamięci sztuki mediów w kontekście wystawy Reinkarnacja sztuki mediów" [Variable Durability of a Work of Art – The Problem of Media Art Memory in the Context of the Exhibition ‘Reincarnation of Media Art’], //Przegląd Kulturoznawczy//, 2(44) 2020, p. 118.)] Broken hard drives or floppy disks (Koichiro Eto) can also be used as a form of mediation. Nam June Paik's TV, on the other hand, best exemplifies the most important aspect of media art: variability and its implications for conservation strategies.
-The exhibition in Wrocław was an example of various conservation strategies or a relic of dead artworks. Preservation by documentation, which was developed for time-based art protection, can be applied to the performances of Lozano-Hemmer, Płotnicka&Janicki. The light show's photo album additionally focuses on audience memories. The artworks are also represented by technology, such as telephones, placing them in the historical context. The VHS tapes on display can be viewed as either documentation – a recording of Płotnicka's performance (2001) – or as an artifact used by Wyrzykowski in a creative act (1994). As Sylwia Szykowna points out, it has a different meaning and example of object memory, where those items are tangible intermediaries between historical events.[(Szykowna, Sylwia, "Zmienna trwałość dzieła – problem pamięci sztuki mediów w kontekście wystawy Reinkarnacja sztuki mediów" [Variable Durability of a Work of Art – The Problem of Media Art Memory in the Context of the Exhibition ‘Reincarnation of Media Art’], //Przegląd Kulturoznawczy//, 2(44) 2020, p. 118.)] Broken hard disks or floppy disks (Koichiro Eto) can also be used as a form of mediation. Nam June Paik's TV, on the other hand, best exemplifies the most important aspect of media art: variability and its implications for the maintenance strategy.
+This conservation paradigm constructed by the Variable Media Network refers to practices aimed at maintaining certain parameters of the work's stability, transforming works of art, but in accordance with the intent of their creator.[(https://variablemedia.net/e/ (accessed Jan. 24, 2022))] Another approach is "changeability," a concept introduced by Hölling that refers to the possibility of changing one work of art into another, transforming conservation into the continuation of art.[(Szykowna 2020, p. 121.)] Being part of a work of art, Nam June Paik's TV carries at least one ruin-relic value mentioned by Llamas-Pacheco that deserves preservation: cultural, intentional, historical or iconic type.[(Llamas-Pacheco 2020, p. 496.)] In addition, the artist's signature on the TV with the number //4/12// is reminiscent of Duchamp's gesture and designates a work that is one of a kind.[(Szykowna 2020, p. 120.)]
-This conservation paradigm constructed by Variable Media Network refers to practices aimed at maintaining certain parameters of work stability, transforming artwork, but in accordance with the intention of its creator.[(https://variablemedia.net/e/ (accessed 24.01.2022))] Another approach is 'changeability,' a concept introduced by Hölling that refers to the possibility of changing one artwork into another, transforming conservation into art continuation rather than conservation.[(Szykowna 2020, p. 121.)] While part of the work, Nam June Paik's TV carries at least one Llamas-Pacheco listed value of ruin-relic that deserves preservation: cultural, intentional, historical, or iconic type.[(Llamas-Pacheco 2020, p. 496.)] Furthermore, the artist's signature on the TV with the number //4/12// resembles a Duchamp gesture and designates a one-of-a-kind work.[(Szykowna 2020, p. 120.)]
+//Reincarnation of Media Art// also included an artist survey about the future of their work. Its results, as well as artists' awareness of the preservation of their works, are of particular interest to conservators. This awareness is a topic for a separate study, but it should be mentioned in light of the presence of Rafael Lozano-Hemmer, who promotes //Best Practices for Conservation of Media Art from an Artist's Perspective//.[(https://github.com/antimodular/Best-practices-for-conservation-of-media-art (accessed 24.01.2022))]
-In addition to the exhibition//, Reincarnation of Media Art// is also a research platform, with a set of three questions raised to artists about the future of their works. The results of the surveys, as well as artists' awareness of the protection of their works, are particularly interesting for conservators. This awareness is the topic for a separate study, but it should be mentioned in light of Rafael Lozano-Hemmer's presence, who promotes //Best Practices for Conservation of Media Art from an Artist's Perspective//.[(https://github.com/antimodular/Best-practices-for-conservation-of-media-art (accessed 24.01.2022))]
+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 surveys included in the Japanese exhibition: YCAM received 41 responses to a total of 124 questionnaires, four of which were made public on the project's website. 'Who on earth would want to participate in a show like this? [...] 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))] Masaki Fujihata responded to Kensuke Sembo's proposal to create an exhibition that looks like an ancient burial. Fujihata was eventually persuaded, and some other artists provided responses to the questions, ranging from outright 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 preservation – 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 archeology.[(Parikka, Jussi, //What is Media Archaeology//, Polity, 2012.)]
+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))]
-In the Polish iteration of the project, video interviews with the artists invited to the exhibition were recorded and displayed at WRO Art Center and its online platforms. Among the video and quotes shown in Wrocław, one slogan stood out: 'A dead work is a forgotten work' according to Zenial; thus, artists do not want to be forgotten. It must be added that media artists, through the observation of new rapidly changing technologies, are one of the most technique-conscious creators. To summarize, the //Reincarnation of Media Art// project not only demonstrated preservation approaches, but also the artists' attitudes and raised preservation awareness, not to forget Nam June Paik’s consideration ‘My TV is not always interesting, but not always uninteresting.’[(http://www.medienkunstnetz.de/source-text/31/ (accessed 24.01.2022))]
 ==== Dead artworks ====
-The focus of this thesis was to evaluate the worth of the items on display at the //Reincarnation of Media Arts// exhibition. The most common noun used to describe displayed objects was 'dead artworks,' because the mausoleum's founders used the concept of death. In the examination of the Wrocław show, Szykowna refers to the exhibits as ‘relics’ and ‘material remains.’[(Szykowna 2020.)] Kensuke Sembo, one of the Japanese proposal's authors, used more direct phrase 'corpses’. The term ‘ruin-relic’ also defines Llamas-Pacheco as: ‘the state in which the artwork, after the passage of time, [...] has reached a point at which it is no longer capable of facilitating the entity’s experimentation’.[(Llamas-Pacheco 2020, p. 496.)]
+The purpose of this article was to assess the value of the objects displayed in the exhibition //Reincarnation of Media Art//. The most common noun used to describe the exhibited objects was "dead artworks," as the founders of the mausoleum used the concept of death. In an examination of the Wrocław show, Szykowna refers to the exhibits as "relics" and "material remains."[(Szykowna 2020.)] Kensuke Sembo, one of the authors of the Japanese proposal, used the more direct term "corpses." The term 'ruin-relic' is also defined by Llamas-Pacheco as: "the state in which the artwork, after the passage of time, [...] has reached a point at which it is no longer capable of facilitating the entity’s experimentation."[(Llamas-Pacheco 2020, p. 496.)].
-Consequently, the objects should be preserved despite their poor condition or loss of integrity because they reflect other cultural values and serve as historical witnesses. If one accepts Janina Hoth's definition, such witnesses could be represented by photographs of performances presented at the //Reincarnation of Media Art// exhibition. She characterizes the dominant witnesses of historical knowledge despite the fact that they are merely ‘mediators of a specific point of view.’[(Hoth, Janina, "Historicization in the Archive: Digital Art and Originality", in Grau, Oliver, Janina Hoth, Eveline Wandl-Vogt (eds.), //Digital Art through the Looking Glass//, Krems a.d. Donau: Donau-Universität Krems, 2019, p. 147.)] These documents cannot be recorded in their current form due to their media coverage, according to Hoth, but should be re-edited by conservators / archivists and again by observers.[(Hoth 2019, p. 146.)]
+Therefore, objects should be preserved despite their poor condition or loss of integrity, because they reflect other cultural values and serve as witnesses to history. If one accepts Janina Hoth's definition, such witnesses could be the photographs of the performances presented at the exhibition //Reincarnation of Media Art//. She characterizes the dominant witnesses of historical knowledge, even though they are merely "mediators of a specific point of view."[(Hoth, Janina, "Historicization in the Archive: Digital Art and Originality," in Grau, Oliver, Janina Hoth, Eveline Wandl-Vogt (eds.), //Digital Art through the Looking Glass//, Krems a.d. Donau: Donau-Universität Krems, 2019, p. 147)] These documents, according to Hoth, cannot be recorded in their current form because of their mediality, but should be re-edited by conservators/archivists and observers.[(Hoth 2019, p. 146.)]
-In this context, the most challenging is the readymade and Fluxus movement, in which the document or its copy becomes a piece of art, as Filipovic describes using Marcel Duchamp's notes as an example.[(Filipovic, Elena, //The Apparently Marginal Activities of Marcel Duchamp//, Cambridge, MA: MIT Press, 2016.)] As a result, it's tricky to come up with a clear definition of art documentation, which could be useful in determining an object's status. As marked by Aga Wielocha along with the expansion by Fluxus of the field of art on happenings, actions, and events 'the distinction between artwork and documentation began to blur.'[(Wielocha 2021, p. 109.)]
+In this context, the greatest challenge comes from the readymade and the Fluxus movement, in which a document or its copy becomes a work of art, as Filipovic describes using the example of Marcel Duchamp's notes.[(Filipovic, Elena, //The Apparently Marginal Activities of Marcel Duchamp//, Cambridge, MA: MIT Press, 2016.)] As a result, it is difficult to have a clear definition of art documentation that could be useful in determining the status of an object. As Aga Wielocha points out, when Fluxus expanded the field of art to include happenings, actions and events, "the distinction between artwork and documentation began to blur."[(Wielocha 2021, p. 109.)]
-Each action and performance leaves material traces in the form of documentation, as well as tangible artifacts, and inanimate actors in the performance, which are archived and displayed during exhibitions. Those objects are crucial in the preservation of performative art since they are unused and inactive but are kept for their aesthetic and sculptural value.[(Hölling 2015, p. 79.)] When the artist modifies the display equipment to the point that it becomes a sculptural piece, as stated by Laurenson, ‘its significance conforms more readily to that of a traditional museum object.’[(Laurenson 2005, p. 4.)]
+Actions and performances leave behind material traces in the form of documentation, as well as material artifacts and inanimate actors that are archived and displayed in exhibitions. These objects are crucial to the preservation of performance art because they are unused and inactive, but are preserved for their aesthetic and sculptural value."[(Hölling 2015, p. 79.)] When an artist modifies a display device to the point where it becomes a sculptural work, as Laurenson notes, "its significance conforms more readily to that of a traditional museum object."[(Laurenson 2005, p. 4.)].
-In an interview on dead artworks in the Tate collection, Patricia Falcao describes such things as 'dedicated equipment', and points out that the conservation path would be different in that case, carried out by the sculpture conservation department.[(Author's personal interview with Patricia Falcão, 7 January 2022.)] As a result, such 'archived objects' are preserved and monitored in a controlled environment alongside the rest of the collection, similar to //Felt Suit// storage, where the excavated archeological relic retains the essence of its '//raison d'être//, but no longer functions as such.'[(Barker and Bracker 2005, p. 1012.)]
+In an interview about dead artworks in the Tate collection, Patricia Falcão describes such things as 'dedicated equipment' and notes that the conservation path would be different in such a case, led by the sculpture conservation department.[(Author's personal interview with Patricia Falcão, January 7, 2022.)] As a result, such "archived objects" are stored and monitored in a controlled environment alongside the rest of the collection, similar to the storage of //Felt Suit//, where an excavated archaeological relic retains the essence of its //raison d'être//, but no longer functions as such."[(Barker and Bracker 2005, p. 1012.)]
-Wielocha proposes that artifacts, or actual components of artworks, can be regarded as documentation of artistic practice.[(Wielocha 2021, p. 106.)] The ‘archival turn’ was already postulated by Hölling, analyzing media art, she suggested that a work of art could become an archive of itself.[(Hölling 2015, p. 75.)] If we accept all physical changes to material works, every trace of time will be subject to future inquiry, therefore instead of showcasing the patina, we should do the opposite, Rinehart recommended[(R. Rinehart, J. Ippolito, op. cit., p. 213.)]. However, the preservation of each element is difficult due to storage limitations and environmental sustainability.
+Wielocha proposes that artifacts, i.e., the actual components of works of art, can be considered as documentation of artistic practice.[(Wielocha 2021, p. 106.)] The 'archival turn' was already postulated by Hölling, when analyzing media art, she suggested that an artwork could become an archive of itself.[(Hölling 2015, p. 75.)] If we accept all physical changes in material works, every trace of time will be the subject of future inquiry, so instead of exposing the patina, we should do the opposite, Rinehart recommended.[(Rinehart and Ippolito 2014, p. 213.)] However, preserving each piece is difficult due to storage limitations and environmental sustainability.
-In the case of media art, which usually contains electronic, partially replaceable pieces this method can be challenging. Hoth has similar reservations, and she questions the purpose of keeping relics, arguing that if an artificial relic market isn't working against the artist?[(J. Hoth, op. cit., p. 151.)]. One of the arguments for preserving such a collection is that it is actively used. Annet Dekker defines digital archive as its ‘re-use instead of storage, circulation rather than centrally organized memory’[(Dekker, Annet, "Between Light and Dark Archiving", in //Digital Art through the Looking Glass//, eds. O. Grau, J. Hoth, E. Wandl-Vogt, 2019, p. 133.)], and uses ‘artifacts’ to describe both items and documentation. She adds in the essay that the archive allows for fresh interpretations of art[(Dekker 2019, p. 140.)], therefore preserving the memory and the life of the artwork.
+In the case of media art, which typically contains electronic, partially replaceable elements, this method can be a challenge. Similar objections are raised by Hoth, who questions the desirability of preserving relics, asking whether an artificial market for relics does not work against the artist.[(Hoth 2019 p. 151.)] One of the arguments for preserving such a collection is that it is actively used. Annet Dekker defines a digital archive as its "reuse instead of storage, circulation rather than centrally organized memory," and uses "artifacts" to describe both objects and documentation.[(Dekker, Annet, "Between Light and Dark Archiving," in //Digital Art through the Looking Glass//, eds. O. Grau, J. Hoth, E. Wandl-Vogt, 2019, p. 133.)] She adds in the essay that the archive allows for fresh interpretations of art, thus preserving the memory and life of the artwork.[(Dekker 2019, p. 140.)]
 ==== Conclusion ====
-Artworks have been constantly reinterpreted and transformed throughout history. This variability is especially prevalent in media art artifacts, and it has an impact on the alternative modes of conservation discussed in the paper and observable at the examined exhibition. Broken artworks on pedestals were taken, among other things, from private archives and institutional warehouses. Thus, //Reincarnation of Media Art// curated by Kubicka-Dzieduszycka and the WRO Art Center team, was an example of active, generative archive management, as described by Dekker.[(Dekker 2019, p. 140.)]
+Works of art have been constantly reinterpreted and transformed throughout history. This variability is particularly evident in media artifacts and has implications for the alternative modes of conservation discussed in the article and observed in the exhibition under study. The broken artworks on pedestals were retrieved from private archives and institutional warehouses, among others. Thus, //Reincarnation of Media Art// curated by Kubicka-Dzieduszycka and the WRO Art Center team, exemplified the active, generative management of the archive described by Dekker.[(Dekker 2019, p. 140.)]
-Art objects used as new methods of documentation can create a ‘different process of knowledge cognition.’[(Hoth 2019, p. 150.)] Barker and Bracker emphasize the need of demonstrating the possibility that inanimate items continue to resonate in museums or collections after their death.[(Barker and Bracker 2005, p. 1009.)] Returning to the idea stated in the paper's title, //Reincarnation of Media Art// example illustrated that using dead artwork as narrators of the history of media art extends the life of the art and supports its preservation.
+Art objects used as new methods of documentation can create "a different process of knowing knowledge."[(Hoth 2019, p. 150.)] Barker and Bracker emphasize the need to demonstrate the possibility that inanimate objects continue to resonate in museums or collections after their death.[(Barker and Bracker 2005, p. 1009.)] Returning to the idea in the article's title, the //Reincarnation of Media Art// example illustrates that the use of dead artworks as narrators of media art history extends the life of art and supports its preservation.
 ~~REFNOTES~~
+~~NOTOC~~