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--- milewska [23.09.2022 12:23] – dusan
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 ==== Reincarnation of Media Art ====
+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).
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 ''Fig. 2. Reincarnation of Media Art exhibition in Wro Art Center in Wrocław. Photo: Zbigniew Kupisz. Courtesy of WRO Art Center.''
-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).
+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.
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 ''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 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.
 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).
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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.)].
-The Polish iteration of the project recorded video interviews with the exhibiting artists, which were screened at the WRO Art Center and on its online platforms. Among the videos 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 should be added that media artists, by observing new, rapidly changing technologies, are among the most tech-conscious creators. In conclusion, the project //Reincarnation of Media Art// not only presented various preservation approaches, but also artists' attitudes and raised conservation awareness, 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))]
 ==== Dead artworks ====
-The subject of this article was to assess the value of the objects on display at the exhibition //Reincarnation of Media Art//. The most common noun used to describe the displayed objects was "dead artworks," as the founders of the mausoleum used the concept of death. In an examination of the Wrocław slow, 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 phrase "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.)].
+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.)].
 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 greatest challenge comes from the readymade and Fluxus movement, in which a document or its copy becomes a work of art, as Filipovic describes with 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, with Fluxus expanding the field of art to include 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.)]
-Every action and performance leaves behind material traces in the form of documentation, as well as material artifacts and inanimate actors, which 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 display equipment to the point where it becomes a sculptural work, as Laurenson states, "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 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.)]