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

 

 

 

 

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

Submission of abstracts deadline for the FUTURE TALKS 017 conference has been prolonged to May 31, 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 

Call for papers, deadline : may 31st
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

Conservation, restauration et art contemporain