Archives de catégorie : ACTUALITES

Journée d’étude, Conservation et restauration de l’art contemporain – Nîmes, Carré d’art, 23 novembre 2017

Journée d’étude, Conservation et restauration de l’art contemporain – Nîmes, Carré d’art, jeudi 23 novembre 2017

A l’occasion de l’exposition dossier sur les restaurations d’œuvres de la collection, Carré d’Art-Musée organise une journée d’étude sur la « Conservation et restauration de l’art contemporain ». Plusieurs conservateurs-restaurateurs agréés par l’Etat, interviendront sur les problématiques que posent les œuvres d’art contemporain en matière de conservation préventive et de restauration dans différentes spécialités : textiles, papiers, matériaux modernes et plastiques, supports numériques …

9h30  – introduction et présentation des intervenants


9h45 –  Le métier de Conservateur-restaurateur spécialisé « peintures »
Par Solenne Gout, Conservatrice-restauratrice du patrimoine, spécialisé en peinture


10h45 – Conservateur-restaurateur : présentation d’un poste pluridisciplinaire en institution muséale. 

Par Zoé Renaudie, Conservatrice-restauratrice des biens culturels, responsable de la conservation à la Collection Lambert en Avignon.


 11h45 – « La conservation-restauration à l‘épreuve de l’art contemporain : reconceptions et méthodologie »

Par Marc Maire, conservateur – restaurateur du patrimoine,coordinateur de l’Unité de Recherche Interdisciplinaire (URI-CR) Ecole Supérieure d’Art d’Avignon (ESAA) et Gaspard Salatko, enseignant en anthropologie et ethnologie (ESAA)


12h45 PAUSE DEJEUNER


14h15 – La conservation-restauration des œuvres photographiques
Par Estelle Rebourt,
conservateur-restaurateur du patrimoine spécialité « Photographies »


15h15 –  Gérer et conserver un Fonds d’art vidéo, Frac Occitanie Montpellier
Par Laetitia Thevenot-Piris,
consultante indépendante en matière de gestion et conservation d’œuvre d’art vidéo ; chargée de production, collections et expositions au Frac Occitanie Montpellier.


16h15 – Conserver restaurer à l’ère de l’obsolescence technologique
Par Cécile Dazord, conservatrice du patrimoine, responsable du groupe Recherche – Art contemporain au C2RMF (Centre de Recherche et de Restauration des Musées de France), spécialisée dans la problématique de l’obsolescence dans la conservation de l’art contemporain.


17h15-18h00 : suite et fin des questions

Salle de conférences. Niveau -1. Entrée libre dans la mesure des places disponibles

Place de la Maison Carrée – 30000 Nîmes
T – 04 66 76 35 70

Material Futures : Matter, Memory and Loss in Contemporary Art Production and Preservation 28th – 30th June 2017, Centre for Contemporary Arts, Glasgow, UK

 

Material Futures : Matter, Memory and Loss in Contemporary Art Production and Preservation

Centre for Contemporary Arts, Glasgow, UK, 28th – 30th June 2017

Resume :

Contemporary artistic practices have prompted a reconsideration of boundaries between the roles of artists and institutional staff, and between processes of art production, exhibition, and preservation. This two-day conference will provide a forum for professionals, researchers, and students working across different disciplines to discuss urgent questions regarding artwork identity, permanence and impermanence, reproducibility and replication, and the role of the artist and the institution in constructing and maintaining memory. It will explore these questions and other areas where artistic practice, curatorial practice, and conservation decision-making intersect through themes of materiality, memory and loss.

Registration :

Numbers for the conference are limited and early registration is advised. Register as soon as possible to avoid disappointment. Online booking is available at https://ccaglasgow.ticketsolve.com/shows/873574036

Conference fee: 150 £  ; Concessions : 50 £

Administration: Dr. Leila Riszko (leila.riszko@glasgow.ac.uk)

The conference is supported by the Innovative Training Network New Approaches in the Conservation of Contemporary Art (NACCA), which receives funding from the European Unions Horizon 2020 research and innovation programme under the Marie Skodowska-Curie grant agreement no. 642892.

Keynote speakers :

Karla Black (artist) ; Tiziana Caianiello (Zero Foundation) ; Anne Fletcher (van Abbemuseum)

List of Papers :

Lucy Askew (NGS) with contributions from collections management staff at NGS and Glasgow Museums: Steven Campbell (1953-2007), On Form and Fiction, 1989-90

Simon Fleury (Birmingham School of Art & Design): Encountering the MuseumObject

Nim Goede (University of Amsterdam): Robert Morris’s Material Metaphor for Memory: Lead as a model for the Brain

Hans-J?rgen Hafner (critic and curator): Always Trouble with Flynt. Tracing Conceptual Art

Claire M. Holdsworth (Kingston School of Art): Vocal and Material Mourning: Stuart Marshall, Mouth Works (1975/76)

Ulrich Lang (Die Restauratoren): The Fortune of the Presence

Louise Lawson & Acatia Finbow (Tate): Reflections on Tate’s Documentation of Performance Artworks: Creating the Institutional Memory of an Artwork

Laura Leuzzi, Elaine Shemilt & Stephen Partridge (EWVA, DJCAD): Methodologies, Strategies and Practice Based Research Methods to uncover and narrate early European Women’s Video Art

Adam Lockhart (DJCAD): Machine Vision

Helia Marçal (Faculdade de Ciencias e Tecnologia da Universidade Nova de Lisboa): Beyond Temporality: Performance Art Conservation as a Remembrance of Place

Jo Ana Morfin (Independent Scholar): Restored Behaviour: Performing Materiality

Ariane Noel de Tilly (Emily Carr University of Art & Design): What Remains of ATSA’s State of Emergency

Alison Norton (Moderna Museet): Migrating Facsimiles: Copies and Conservation Control

Denise Petzold (Ludwig Forum für Internationale Kunst): (Im)Materiality in the Museum: Shaping Joseph Beuys?s Information Action through Curating Documentation

Gwynne Ryan (Hirshhorn Museum & Sculpture Garden): Refabricating, Re-Making, and Re-Thinking: A Continuation of the Artist’s Process

Anna Schäffler (Free University Berlin): Memory Process in Practice. On the Ensemble Art of Anna Oppermann and Contemporary Art Preservation

Martha C. Singer & Kate Wight Tyler (Owner/Director, Material Whisperer; Brooklyn Museum): Boob Jobs: Treatments of Duchamp and Donati’s Latex Foam Breasts

Sanneke Stigter (University of Amsterdam): Picturing Peter Struycken’s Blue Waves: Collecting Memories as a Form of Conservation

Yukiko Watari (HIGURE 17- 15 cas): The Expanding Role of Art Installers: Distributed Model for Documentation Practice

 

 

 

 

Art & Law, International Summerschool, Veneria Reale, Turin / Venice, july 3rd-9th 2017

Identity and Conservation of Contemporary Artworks: Duties and Responsibility

Location : La Venaria Reale, Turin; Venice
Timing : July 3rd-9th, 2017
Language : English
Audience : conservators, curators, restorers,
gallery owners, professionals and staff working in
institutions and museums of contemporary art.
Doctoral researchers in the legal, philosophical,
historical and artistic fields.
Duration : 1 week (seven days, from Monday to Sunday) Structure: morning : lectures, afternoon : case studies, round tables                 Monday-friday : 4 study days in Turin                                                    Saturday-sunday : Venice, La Biennale : open workshop, meetings and round tables

Participants : the Course is open to all conservators, curators, restorers, gallery owners, professionals and staff working in institutions and museums of contemporary art.
Doctoral researchers in the legal, philosophical, historical and artistic fields, art insurance agents, lawyers, auction houses.

Fee and Payment : tuition fee is 950,00 euro and includes all the lessons attendance, the educational material, classrooms and access to some areas of the Center, planned transfers (Venaria Reale – Turin ; Turin -Venice), accomodation in Venice, facilities.

Registration deadline : 28th of April 2017

More informations :  www.contemporartlaw.com

Scientific Direction
Sara Abram, Centro Conservazione e Restauro “La Venaria Reale”
Gianmaria Ajani, Università degli Studi di Torino
Tiziana Andina, Università degli Studi di Torino
Oscar Chiantore, Università degli Studi di Torino
Alessandra Donati, Università di Milano-Bicocca
Iolanda Ratti, Museo del Novecento di Milano
Antonio Rava, Restorer, vice-president of IGIIC

 

PRESENTATION

The works of Joseph Beuys, made with the use of organic material, degrade in time ; Pier Paolo Calzolari instead uses stabilized natural materials. The works of Anselm and Wolfgang Laib require daily maintenance ; the complex installations by Dieter Roth can only be reactivated by his son to whom he hands the work with instructions to install it. Works of this type open up important questions. Which and how many variations can a work of art bear while still being the same? What are the margins of the owner’s intervention in terms of exhibition and conservation of the work? What role does the restorer play today? Contemporary works of art imply a number of challenges both on the side of philosophy, for problems that concern their identity, and on the legal side, as regards their protection. There are many contemporary materials, in addition to the more traditional ones : lights, smells, sounds, food, consumables and waste, to name just a few. All of them ask important questions in terms of preventive conservation and restoration.
The summer school will examine the theoretical and practical issues raised by the contemporary arts in the context of law, philosophy and restoration. The examination of theoretical issues will take place by exploring the many case studies produced by the arts, and will unfold in dialogue with the artists and the industry. The theoretical work also provides a basis for the consideration of the structural characteristics and dynamics that characterize
the contemporary art world.

PROGRAMME

Monday 3
Preventive conservation and collections care

Morning
Chair: Gianmaria Ajani
9.00 – 10.00 Welcome and presentation of the Summer School
10.00 – 10.45 Antonio Rava, Restorer, vice-president of IGIIC.
10.45 Break
11.15 – 12.00 Tiziana Andina, Associate Professor of Philosophy, University of Turin
12.00 – 12.45 Alessandra Donati, Professor of Comparative Law, University of Milano-
Bicocca
12.45 – 13.00 Discussion

Afternoon
Chair: A. Rava
14.00 Introduction to the topics of the afternoon session
14.15 – 15.00 Antonio Presti, President, Fiumara d’Arte Foundation
15.00 – 15.45 Maria Vittoria Marini Clarelli, Art Historian, Ministero dei beni e della attività culturali e del turismo
15.45 Break
16.15 – 17.00 Annie Fletcher, Chief Curator, Van Abbemuseum, Eindhoven
17.00 – 17.45 Virgina Rutledge, Creative Commons
18.00 – 19.00 Guided visit to restoration laboratories: case studies in conservation of contemporary artworks (S. Abram, M. Cardinali, O. Chiantore, A. Rava)

Tuesday 4
Preventive conservation and authenticity

Morning
Chair : Oscar Chiantore
9.00 Introduction to the topics of the morning session
9.15 – 10.45 Martha Buskirk, Professor of art history and criticism, Montserrat College of
Art, Beverly, Massachusetts
10.45 Break
11.00 – 12.30 Massimo Sterpi, Lawyer, Senior partner of Jacobacci & Associati
12.30 Discussion

Afternoon
Chair : Antonio Rava
Topic : The participation of the artist in the conservation process : interviews
14.00 Introduction
14.15 – 15.00 Stefano Arienti, Artist
15.00 – 15.45 Silvia Fabro, Luciano and Carla Fabro Archive
15.45 Break
16.15 – 17.00 Giorgio Griffa, Artist
17.00 – 17.45 Alessandra Barbuto, Art Historian, Fondazione MAXXI
17.45 – 18.30 Mattia Patti, Assistant Professor of Modern and Contemporary Art,
University of Pisa
18.30 Discussion

Wednesday 5
The complexities of contemporary art : ontology

Morning
Chair : Alessandra Donati
9.00 Introduction to the topics of the morning session
9.15 – 10. 45 Nathalie Heinich, Sociologist
10.45 Break
11.00 – 12.30 Carol Stringari, Director and Chief conservator, Guggenheim Foundation

Afternoon
Chair : Iolanda Ratti
Topic : A new ontology for contemporary art – time based media case
14.00 Introduction
14.15 – 15.45 New media expert, under definition
15.45 Break
16.15 – 17.00 Wang Chengbing, Professor of Philosophy, Beijing Normal University
17.00 – 17.45 Pip Laurenson, Head of Collection Care Research, Tate, London
17.45 – 18.30 Artist, under definition
18.30 Discussion

Friday 7
The restoration as knowledge and its documentation

Morning

Chair : Sara Abram
9.00 Introduction to the topics of the morning session
9.15 – 10.45 Carolyn Christov Bakargiev, Director, Castello di Rivoli
10.45 Break
11.00 – 12.30 David Carrier, Philosopher and art historian

Afternoon
Chair : Alessandra Donati
Topic: Preserving art – archives and documents
14.00 Introduction
14.15 – 15.00 Marilena Pasquali, Critic and art historian, Founder Museo Morandi, Bologna
15.00 – 15.45 Cecilia Fontanelli, Director assistant, Galleria Continua
17.00 Transfer to Venice

Saturday 8 – Venice
Artwork, object ready made

Morning
Chair : Barbara Pasa
9.00 – 12.30 Round table in collaboration with IUAV

Afternoon
14.00 Visit to the Biennale Pavillons and meetings with curator Paola Nicolin and artists

Sunday 9 – Venice
Identity and Conservation of Contemporary Artworks: Duties and Responsibility

Morning
Chair : Gianmaria Ajani
9.00 – 12.30 Round table in collaboration with La Biennale
Marina Pugliese, Debora Rossi and others under definition

END

Downlaod programm : summerschool_program

More informations : www.contemporartlaw.com

« Linking Past and Future », ICOM-CC 18th Triennial Conference, Copenhagen september 2017

ICOM-CC 18th Triennial Conference in Copenhagen
4 – 8 SEPTEMBER 2017

« Linking Past and Future  »

The 18th Triennial Conference of the International Council of Museums Committee for Conservation (ICOM-CC) will present 150 peer-reviewed papers and 100 posters in 21 working groups and international keynote speakers.
The conference will offer visits to conservation workshops and invite to receptions and social events during the week for networking. We hope to see more than 800 delegates, including conservators, scientists, historians and art historians, curators, librarians, archivists, students, collection managers and directors from the world’s leading cultural institutions and the private sector.
Her Majesty the Queen of Denmark has accepted the patronage of the 18th ICOM-CC Triennial Conference.
ICOM-CC will celebrate its 50th Anniversary at the 18th ICOM-CC Triennial Conference in Copenhagen.

For more information visit our website: www.icom-cc2017.org. Detailed program will be announced in late April and make sure to sign up to the conference at the best price before May 15, 2017.
Jesper Stub Johnsen
Chair of the National Organizing Committee and
Deputy Director of the National Museum of Denmark, Conservation and Natural Sciences

Icom_2017_mail_flyer_1303

Call for papers : FUTURE TALKS 017, Munich, october 2017

FUTURE TALKS 017 , The silver edition
VISIONS. INNOVATION IN TECHNOLOGY AND CONSERVATION OF THE MODERN

Duration: October 11 to 13, 2017 

Organiser: Die Neue Sammlung – The Design Museum 

Location: Ernst von Siemens-Auditorium, Pinakothek der Moderne, Munich, Germany 

Cal for papers, deadline : aprils 30th

 

With the international renowned biennal conference FUTURE TALKS we succeeded in establishing a groundbreaking platform to discuss and exchange experiences in the conservation of modern materials. The quality of FUTURE TALKS is and should always be related to a deeper understanding of technologies and materials used and to the pragmatism of finding appropriate conservation strategies to prolong the life span of design objects.
will be back in 2017

After an overwhelming response to our last four FUTURE TALKS conferences (2009 – 2015) with almost 900 participants from 25 nations we are eagerly looking forward to our 5th anniversary: The Silver Edition – the FUTURE TALKS 017 conference!

FUTURE TALKS 017 will be yet another extensive three day congress on international research projects and case studies both on active conservation treatments of modern materials in design and modern art and on related material and technology science.

TOPIC 

In 2016 our museum has bought the FUTURO house, designed 1968 by the Finnish architect Matti Suuroonen. From May 2017 on, this UFO-like mobile home will be presented at the outdoor area of the Pinakothek der Moderne for one year. An accompanying programme highlights different perspectives dealing with visions in design.

Given the highly visionary potential of the FUTURO house, a broad range of exciting and interesting topics opens up for FUTURE TALKS 017!

Accordingly FUTURE TALKS 017 is focussing on the evolution and role of new technologies and conservation practices, the visions and innovations both in the fields of investigation and research and its practical application.

Recent advancement in this field regarding technology, design and production processes of modern materials, new and innovative treatment methods for degrading plastics as well as current research and ongoing projects will be presented. During the three day conference experts from all over the world will share their experiences and knowledge in this field.

Knowing very well that the conservation of modern materials is not only limited to design objects, a part of the programme is dedicated to conservation projects on modern and contemporary works of art.

Social events and opportunities to visit local conservation studios, research labs, plastic producers and design studios will accompany the conference programme.

The conference and the associated publication will be in English language.

The detailed conference programme and further information on fees and registration will be posted by mid-May 2017.

ORGANISER 

Conservation Department I Die Neue Sammlung – The Design Museum (http://dnstdm.de/en/forschung-lehre/)

Die Neue Sammlung houses the world’s largest and most important collection of industrial design. The large number of objects reflects the technologies and materials developed in the course of the 20th and 21st century, attesting in particular to the use of plastics. However, unlike most traditional materials these are subject to a dynamic ageing process and after only a short time often already bear irreversible traces of their age. Corresponding types of damage can hardly be reconciled with the respective designer’s original intentions and are often problematic in terms of conservation. Since its founding in 2002, the Conservation Department has become an important hub for the conservation and maintenance of modern design objects, through research into the deterioration and preservation of the collections, the development of new conservation processes and the knowledge of its original technology. It also plays an active role in networking and information sharing and takes part in national and international research projects in the conservation of design.

Beyond the participation at international conferences with numerous lectures on the conservation of plastics we hold lectureships at the University College of London (UCL) in Doha, Qatar and the Technische Universität in Munich (TUM).

Both knowledge and network expanded to FUTURE TALKS – an international platform initiating an intensive and profound discourse on practical conservation treatments of modern materials.

The Conservation Department of Die Neue Sammlung – The Design Museum (www.die-neue-sammlung.de)

CONTACT 

Tim Bechthold [Dipl.Rest.Univ.]

Head of Conservation bechthold@die-neue-sammlung.de

Die Neue Sammlung – The Design Museum

14th Masterclass – Tracing Paper Conservation, Porto, july 2017

14th Masterclass Tracing Paper Conservation, with Hildegard Homburger, 6th and 7th July
Science Faculty, Porto University
Porto, Portugal

20|21 Conservação e Restauro, a Portuguese contemporary art conservationstudio, has invited Hildegard Homburger to teach a two day workshop aimed at paper conservators.

Overview
This two-day workshop offers an intensive and
personalized introduction to the historic manufacturing
processes for tracing papers and hands-on practice with
mending tears and losses, flattening, tape removal, dyeing,
mending paper and lining techniques. Participants will
understand the material properties of tracing paper and
how these affect conservation decisions and treatments.
Topics will include:
| An introduction to the history of tracing paper
manufacturing processes.
| Introduction to various treatment techniques – tape
removal, tears, losses, mending and flattening.
| Practice of the following treatments – mending paper
dyeing, tear mending, lining and paper pulp application.
| Discussion of different case studies.

Workshop
The two days will blend theory with practice, allowing participants to
apply what they learn to the problems each one faces in their
conservation practice. Participants are encouraged to bring their own
case studies for group discussion.

Practical Information
Duration: Two days, 6th and 7th of July 2017
Location: Science Faculty, Porto University
Language of instruction: English
Number of participants: Workshop 8 maximum
Registration fee: Workshop – €615 – VAT included
Deadline for application: 31st of May
Social Event: Workshop participants will be invited for dinner on the 6th

How to apply?
Please contact the organization via e-mail 2021@2021.pt or phone +351 960
080 607 or +351 222 085 498 with the following information:
| Name an contact
| Area of specialization and experience
| If a | professional, please give job and institution
| Student, please give program, institution and year of graduation
| Bank account holder’s name
Alternatively, you may send your CV or portfolio.
Do not hesitate in contacting for any information regarding the masterclass or travelling and accomodation in Porto.

How to pay?
Bank account details:
| Account holder_ 20|21 Conservação e Restauro de Arte Contemporânea
| NIB: 0010 0000 41021020001 83
| IBAN: PT50 0010 0000 4102102000018 3
| BIC/SWIFT: BBPIPTPL (Banco BPI)
Please do not pay until your registration is confirmed

Hildegard Homburger has been a paper conservator since 1986, in
private practice in Berlin, Germany, concentrating on art on paper, architectural drawings and photo-reproductions. She has been a guest lecturer at the Department of Art Studies at the Technical University in Berlin since 2005.
Hildegard has been teaching professional development seminars for 16 years. These include the “Conservation of Tracing Paper”, “Identification of Prints” and “Water and Paper: Conservation Principles” all over the world. Since 1996 she has also been a guest lecturer at the Staatliche Akademie der Bildenden Künste in Stuttgart. She was a paper conservator at the Städtische Museen Konstanz and Stadtarchiv Konstanz from 1983-1985. Hildegard completed a Getty funded post-graduate internship at Williamstown Art Conservation Center in Williamstown, MA in 1987-88.

14th Masterclass_2021_POSTER

Colloque de l’ARSET, collections ethnographiques – ESBA Tours, 21 avril 2017

5ème colloque de l’ARSET
Les collections ethnographiques : traitement et exposition d’objets composites
Vendredi 21 avril 2017 8h30 – 18h30

École supérieure des beaux-arts TALM – Tours

40 rue du Docteur Chaumier, 37000 Tours

PROGRAMME PRÉVISIONNEL

Modérateur : Manuel VALENTIN Anthropologue et historien des arts d’Afrique, UMR

208 « Patrimoines locaux », IRD/MNHN – Paris 

  • Les problématiques spécifiques de la conservation-restauration des objets ethnographiques sacrés : étude de cas d’une collection de masques Yup’ik d’Alaska conservée au Musée Canadien des Civilisations, Gatineau, Canada

Alice FLOT Conservatrice-Restauratrice d’objets ethnographiques musée du quai Branly – Jacques Chirac

  • Les vicissitudes de la collection de tapa du museum d’histoire naturelle de Rouen. De la collecte à la restauration

Julia FERLONI Conservatrice – MuCEM, pôle « Commerce, Artisanat et Industrie »

Anne-Claire de POULPIQUET Conservatrice-Restauratrice d’arts graphiques

  • Conservation, restauration et exposition d’une collection de parures de plumes amazoniennes du Musée d’ethnographie de Genève

Camille BENECCHI Conservatrice-Restauratrice indépendante (ne peut arriver avant 10h00)

Lucie MONOD Conservatrice-restauratrice d’objets ethnographique, musée d’ethnographie de Genève

  • Latex et textile, décor fragile à effet théâtral, solutions de consolidation en binôme

Susanne BOURET Conservatrice-Restauratrice de textile

Laure MANCHILINE Conservatrice-restauratrice d’objets et d’œuvres composites, spécialisées en matériaux organiques et contemporains

  • La conservation des gants de foot du gardien Dino Zoff du Musée National du sport – À la limite de la restauration des objets du xxème siècle, la conservation des mousses polyuréthane

François DUBOISSET Restaurateur du patrimoine, spécialité bois plastique caoutchouc

  • La restauration des éléments du café L’Ami Butte pour l’exposition Café In au MuCEM ( octobre 2016-janvier 2017)

Mireille JACOTIN Conservatrice – MuCEM, pôle « Vie public »

Laure MANCHILINE Conservatrice-restauratrice d’objets et d’œuvres composites, spécialisées en matériaux organiques et contemporains

  • Le Carrosse de Paul Arzens (Musée des Arts et Métiers) : conservation et restauration d’une œuvre entre patrimoine technique et industriel, design et « sculpture roulante »

Michaela FLORESCU Conservatrice-Restauratrice du patrimoine métallique

  • Conservation of cAns in collectioNS

Laura BRAMBILLA Docteur en chimie et chercheuse en conservation-restauration à la Haute Ecole Arc – Neuchâtel

N.B. : Des visites des ateliers de restauration de la formation Conservation -restauration d’oeuvres sculptées seront possibles durant la pause déjeuner ou à la fin de la journée si le temps imparti le permet.

Contactcolloque.arset@yahoo.fr

Autour de Nicolas Schöffer : conserver, restaurer des œuvres à caractère technologique – Paris, 3 novembre 2016 & 2 février 2017

Journées d’étude organisées par l’Université de Liège (UR AAP) et l’ESA Saint-Luc de Liège, en collaboration avec l’Association Internationale des Amis de Nicolas Schöffer (A.N.S.I XXI) présidée par Mme Eléonore de Lavandeyra‑Schöffer ;

avec le soutien du C2RMF, d’INCCA-f et de CeROArt.

nicolas-schoffer-affiche-18-10

Nicolas Schöffer (1912, Kalocsa – Hongrie – 1992, Paris) est un artiste français emblématique de l’art « lumino-cinétique », programmé et « cybernétique ».  A ce titre, il fait figure de pionnier en ce qui concerne l’intégration de nouvelles technologies dans des œuvres d’art. L’atelier, situé à Paris dans le 18ème arrondissement, abrite une part importante de la collection de l’artiste (œuvres et archives), gérée par sa veuve Eléonore Lavandeyra‑Schöffer. Plusieurs œuvres ont nécessité des interventions, réparations ou restaurations.
La ville de Liège possède une oeuvre monumentale de Nicolas Schöffer : la Tour spatio‑dynamique et cybernétique, installée dans l’espace public et classée au patrimoine exceptionnel de la Wallonie. Cette œuvre, unique en son genre, dotée d’un système d’interaction en temps réel avec capteurs et d’un dispositif de projection de sons et de lumières, modulés par un programme spécifique, ne fonctionnait plus depuis les années 1970. La Tour spatio‑dynamique a récemment fait l’objet d’une campagne de restauration.

L’œuvre de Nicolas Schöffer est l’occasion de s’interroger sur les composantes technologiques des œuvres contemporaines et, plus particulièrement, sur les problématiques liées à l’intégration des technologies numériques dans l’art d’aujourd’hui.

La 1ère journée confronte, à partir de cas pratiques, les expériences d’artistes, de techniciens, de responsables de collection et de conservateurs-restaurateurs autour des questions d’authenticité, de substitution et d’obsolescence technologique (3 novembre 2016).

La 2ème journée aborde plus largement les questions liées à la collection, la conservation et la restauration d’oeuvres à caractère technologique en envisageant notamment la documentation et le devenir des oeuvres (2 février 2017).

Informations pratiques :
3 Novembre 2016, (Villa des Arts, Paris 75018): 15 €
Date limite d’inscription : 31 octobre 2016
2 février 2017 (C2RMF, Paris 75001): 25 € (incluant le repas)
Date limite d’inscription : 15 janvier 2017

Le nombre de places étant limité, l’inscription
préalable est obligatoire via l’adresse mail :
ceroart@mac.com

Programme et modalités d’inscrpition : journees-nicolas-schoffer-nov2016-fev2017

 

Obsolescence programmée : Textes, théorie, technologie Université de Liège (Belgique), les 8 et 9 décembre 2016

Appel à contributions
Obsolescence programmée : Textes, théorie, technologie
Université de Liège (Belgique), les 8 et 9 décembre 2016

Le colloque “Planned Obsolescence” ne se propose pas d’évoquer directement les aspects économiques, sociaux et environnementaux de l’obsolescence programmée. Ceux-ci se trouvent assez largement débattus dans la recherche de ces domaines, qui est déjà riche et
dont l’ampleur grandit continuellement. Il souhaite plutôt étudier ce concept sous l’angle encore peu exploré de ses implications dans les domaines artistique, littéraire et théorique…

Les propositions de communication (250-300 mots, en français ou en anglais) accompagnées d’une brève note biographique, sont à envoyer avant le 15 juin 2016 à l’adresse : planned.obsolescence.conf@gmail.com

Continuer la lecture de Obsolescence programmée : Textes, théorie, technologie Université de Liège (Belgique), les 8 et 9 décembre 2016

Hommage à Marie-Hélène Breuil, samedi 25 juin 2016, Père-Lachaise

Décédée le 1er avril dernier, Marie-Hélène Breuil a été incinérée au cimetière du Père‑Lachaise le 9 avril dernier.
Une cérémonie de recueil devant la case dans laquelle seront placées ses cendres aura lieu samedi 25 juin à 15h.
Colombarium, galerie C de la 87ème division, case numéro 11129.
MHB Portrait @ David Kidman
MHB Portrait @ David Kidman

Le portrait filmé réalisé par David Kidman est accessible un via l’image ci-dessus qui fait office de QR code ou en activant le lien http://www.davidkidman.com/ether/etherloop

Obsolescence, materials and authenticity, Cécile Dazord and Marie-Hélène Breuil interviewed by Rosario Llamas Pacheco, feb 2014, revue Archè n. 8-10

Obsolescence, materials and authenticity. The opinion of Cécile Dazord and Marie-Hélène Breui.

Rosario Llamas Pacheco, Universidad Politécnica de Valencia,  rllamas@crbc.upv.es

portada_8

Arché, publicación del instituto universitario de restauración del patrimonio de la Universidad Politécnica de Valencia – núms. 8, 9 y 10 – 2013, 2014 y 2015

Se reporter au site de la revue →

Télécharger l’entretien au format PDF →

Abstract:
The French group INCCA met in Marseilles in February 2014. Through this meeting we had the opportunity to talk with Cecile Dazord and Marie-Hélène Breuil, organizers of the event. Both researchers are involved in the conservation of contemporary art for years. Thanks to its extensive experience we could think deeply about some of the most debated issues concerning the conservation of contemporary art.
Keywords:
obsolescence, authenticity, essence, contemporary art, restoration

Continuer la lecture de Obsolescence, materials and authenticity, Cécile Dazord and Marie-Hélène Breuil interviewed by Rosario Llamas Pacheco, feb 2014, revue Archè n. 8-10

IIC / INCCA Congress, Saving the now – cross boundaries to conserve contemporary works, Los Angeles,12-16 septembre 2016

Saving the Now : Crossing Boundaries to Conserve Contemporary Works
IIC (International institute for conservation of historic and artistic works) & INCCA (International network for the conservaiton of contemporary art)
Los Angeles, 12–16 September 2016, Millennium Biltmore Hotel

 

Chris Burden Urban Light, 2008 (Two-hundred and two) restored cast iron antique street lamps 320 1/2 x 686 1/2 x 704 1/2 in. (814.07 x 1743.71 x 1789.43 cm) Los Angeles County Museum of Art, The Gordon Family Foundation’s gift to « Transformation: The LACMA Campaign » (M.2007.147.1-.202) © Chris Burden
In collaboration with the International Network for the Conservation of Contemporary Art (INCCA)

Join IIC and INCCA members from around the world as we collaborate to explore the conservation of contemporary culture. Conservation of contemporary works of art presents a range of practical, theoretical and, indeed, philosophical challenges – it’s always new, always different, always stimulating. Those working in the conservation profession must approach these artworks in a different way, perhaps from the point of view of mechanical engineers or anthropologists or manufacturers of plastics, or …

Register here.

Continuer la lecture de IIC / INCCA Congress, Saving the now – cross boundaries to conserve contemporary works, Los Angeles,12-16 septembre 2016

ICOM-CC, INCCA, GCI, Museo ‘900, Keep it moving ? Conserving kinetic art, Milan 30 juin – 2 juillet 2016

Two-day conference on kinetic art and its preservation
Davide Boriani, Ambiente Stroboscopico, nº 4, 1967, Photo : Luca Carrà (2005)
Davide Boriani, Ambiente Stroboscopico, nº 4, 1967, Photo : Luca Carrà (2005

The Getty Conservation Institute, the Museo del Novecento and the Modern Materials and Contemporary Art (MMCA) working group of ICOM-CC, in partnership with INCCA are pleased to announce the conference Keep it Moving? Conserving kinetic art. Hosted at the Palazzo Reale by Museo Del Novecento, Milan, Italy.

This two-day conference will look back at the history of kinetic art and its preservation, take into consideration the artists’ point of view, and discuss the ethical dilemma and practical challenges of conserving and documenting kinetic works. It will include invited keynotes and paper submissions. The conference will serve as the interim meeting of MMCA and is also organized in partnership with the Museo del Novecento, the Getty Conservation Institute, and INCCA. It will take place at the Palazzo Reale in conjunction with the general ICOM CC meeting. A visit of the rich collection of kinetic works in the Museo del Novecento will be included; other cultural tours will also be offered. Continuer la lecture de ICOM-CC, INCCA, GCI, Museo ‘900, Keep it moving ? Conserving kinetic art, Milan 30 juin – 2 juillet 2016

Enlèvement des graffitti, Stage INP, 22-23 juin 2016

Nouvelles méthodes pour la protection des biens en extérieur et l’enlèvement des tags.

Ce stage présentera un nouveau vernis aqueux, à base d’Aquazol, mis au point par Richard Wolbers qui permet de protéger les biens culturels situés à l’extérieur : bâtiments, sculptures en pierre, plâtre et objets ou peintures polychromes. Ce vernis a la particularité d’être aqueux, donc de ne pas poser de problème de toxicité lors de la pose pour le restaurateur mais aussi pour les passants et de pouvoir être enlevé avec des techniques aqueuses tout en résistant aux intempéries, notamment à la pluie.

Continuer la lecture de Enlèvement des graffitti, Stage INP, 22-23 juin 2016

Conservation, restauration et art contemporain