Archives par mot-clé : contemporary art

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