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
OpenEdition vous propose de citer ce billet de la manière suivante :
Cécile Dazord (26 mai 2017). Material Futures : Matter, Memory and Loss in Contemporary Art Production and Preservation 28th – 30th June 2017, Centre for Contemporary Arts, Glasgow, UK. Techniques mixte (TM). Consulté le 27 avril 2025 à l’adresse https://doi.org/10.58079/uowd