Archives par mot-clé : art contemporain

Living Matter / Materia Viva, Mexico DF, 3-4 juin 2019 – Appel à communication

International Symposium – Announcement and Call for Papers and Posters / Simposio internacional – Anuncio y llamada a communicaciones

Living Matter/ La Materia Viva
The Preservation of Biological Materials Used in Contemporary Art

MUAC and ENCRyM, Mexico City 
June 3-4, 2019

Waiting stub lettuce, 2004. Gabriel Kuri. Courtesy of the artist and Franco Noero Gallery, Turin. ©Gabriel Kuri 

Organized by the Getty Conservation Institute, the Museo Universitario Arte Contemporaneo (MUAC) of the Universidad Nacional Autonoma Mexico, and ENCRyM (Escuela Nacional de Conservación, Restauración y Museografía « Manuel del Castillo Negrete ») of the National Institute of Anthropology and History.

Countless artists from Marcel Duchamps, Dieter Roth, Andy Warhol, Piero Manzoni to Ed Ruscha, Anya Gallaccio, Teresa Margolles, Adrian Villar Rojas, Marta Palau and Damien Hirst have used biological materials (food, bodily fluids, plant material, etc.) in their art.

Because these materials are not only prone to rapid decay but often to putrefaction processes leading to complete disappearance, biological materials used in art pose very specific conservation problems.

Solutions to these problems can be of different natures, including: altering drastically the material’s behavior by embedding it in resin or inserting it in modified atmospheres—perhaps at the expense of some of the qualities of the work or periodically replacing parts or the whole of the work—but clear rules for the replacement have then to be established. In some cases, a work is meant to disappear, so the very act of preservation goes against the work’s intended nature. Yet another challenge is the display of these works in a museum environment might also present a preservation risk to other works of art in the same space.

As often is the case, there is no fit-for-all approach.

Symposium
Living Matter/ La Materia Viva
will discuss the broad implications and challenges (conceptual, ethical, and practical) associated with collecting, displaying, and preserving contemporary works that include biological materials. It will explore how the initial intention for the work might conflict with museum policies and the ways this might impact both the nature and lifespan of the work, present a range of possible solutions through case studies, and give an overview of current thinking and practices on this topic.

The two-day event includes invited keynote lectures and paper submissions as well as panel discussions, visits, and an accompanying exhibition. The symposium languages will be English and Spanish.

 

Registration
Detailed program and registration information will be available in January 2019.

Call for Abstract Submissions for Papers and Posters
Abstracts will be accepted in English and Spanish; however the symposium proceedings will be English language.

Papers dealing with philosophical and ethical considerations, historical perspectives, collaborations with artists and across disciplines, case studies, updates on research projects, documentation strategies, as well as papers presenting innovative solutions and approaches are welcomed.

Abstracts should include:

  • author’s name and affiliation
  • full title
  • 350 words summary
  • author contact details

Please submit abstracts to livingmatter@getty.edu. Deadline for submission: November 15, 2018.

For more information please contact: livingmatter@getty.edu

Living Matter / La material viva
Preservación de materiales biológicos usados en arte contemporáneo 
MUAC and ENCRyM, Mexico DF 
Junio 3-4, 2019

 

Mineralización estéril, 1997. Metal, glass and human ashes. Grupo SEMEFO. Colelction Museo Universitario Arte Contemporáneo, Adquisition


Organizado por: The Getty Conservation Institute (GCI), Museo Universitario Arte Contemporáneo (MUAC) de la Universidad Nacional Autónoma de México (UNAM) y la Escuela Nacional de Conservación, Restauración y Museografía “Manuel del Castillo Negrete” (ENCRyM) del Instituto Nacional de Antropología e Historia (INAH), México.
Sedes: MUAC y ENCRyM,
Ciudad de México


Innumerables artistas, como Marcel Duchamp, Andy Warhol, Piero Manzoni hasta Ed Ruscha, Anya Gallaccio, Teresa Margolles, Adrian Villar, Marta Palau y Damien Hirst han usado materiales biológicos (comida, fluidos corporales, material vegeral) en sus obras.
Debido a que estos materiales no solo son propensos a la descomposición rápida, sino también a procesos de putrefacción que pueden llevar a la desaparición completa, los materiales biológicos utilizados en el arte plantean problemas de conservación muy específicos.
Las soluciones a esta problemática pueden ser de naturaleza diferente: alterar drásticamente el comportamiento del material embebiéndolo en resina o insertándolo en atmósferas modificadas, quizás a expensas de algunas de las cualidades de la obra; o reemplazar periódicamente partes o toda la obra es otra posibilidad, pero se deben establecer guías claras para el reemplazo. Como pasa a menudo no hay una solución absoluta para todos los casos. Otro desafío más es que la exhibición de estas obras en un ambiente de museo también podría representar un riesgo para la preservación de otras obras de arte en el mismo espacio.


Simposio internacional
Living Matter / La material viva discutirá algunas implicaciones y desafíos (conceptuales, éticos y prácticos) asociados con la exhibición, colección y preservación de obras contemporáneas que incluyen materiales biológicos. Se explorará cómo la intención inicial de la obra podría entrar en conflicto con las políticas del museo y cómo eso podría afectar tanto la naturaleza como la duración de la obra. Se presentará una gama de posibles soluciones a través de estudios de casos; y dar una visión general de las ideas y prácticas actuales sobre este tema.
Este evento de dos días tiene una convocatoria abierta a recibir propuestas de presentaciones de países de habla hispana y de otros países en general, también incluye ponencias magistrales por invitación, paneles de discusión, visitas guiadas y una exhibición. Los idiomas oficiales para el simposio son Español e Inglés.


Registro
El programa detallado del evento estará disponible en Enero 2019

Convocatoria abierta para presentaciones o pósters
Se recibirán resúmenes o abstracts en idioma Español o Inglés.

Sin embargo las actas o memorias del evento serán en idioma Inglés.
Se invita a escribir trabajos que aborden consideraciones filosóficas y éticas, perspectivas históricas, colaboraciones con artistas y otras disciplinas, casos de estudio, actualizaciones de proyectos de investigación, estrategias de documentación, así como documentos que presenten soluciones y enfoques innovadores.


Resúmenes o abtracts deben incluir:
• Nombre del autor y afiliación
• Título completo
• Resumen o abtract de no más de 350 palabras
• Detalles de contacto del autor

Por favor envíe sus resúmenes o abstracts a: livingmatter@getty.edu
Fecha límite para la convocatoria abierta: 15 de noviembre de 2018.

Para obtener más información, póngase en contacto con: livingmatter@getty.edu

Conservation vs conserverie, journées d’études – 11-12 octobre 2018 (Paris & Estrées-Mons)

Boîtes de conserve © Anne Maigret, C2RMF

Programme et formulaire d’inscription :

INCCAF Boites de conserve programme definitif

INCCAF Boites de conserve inscription

ART CONTEMPORAIN, CONSERVATION ET CONSERVERIE

En 1795 Nicolas Appert met au point un procédé de conservation associant un traitement thermique des aliments sous haute température et leur conditionnement dans un récipient étanche – initialement des bocaux en verre. À partir de 1810, le procédé de la boîte métallique sertie, breveté en Angleterre, connaît un vif succès et son usage tend à supplanter celui des bocaux.

Depuis les années 1970, le champ de ce qui est considéré comme patrimoine ou comme art ne cesse de s’étendre conduisant les institutions oeuvrant à sa protection à lui conférer une acception toujours moins restrictive et plus large. Artefact ordinaire mais objet emblématique du XXè siècle, la boîte de conserve accède ainsi naturellement au rang d’objet patrimonial et figure en bonne place dans les collections des musées ethnographiques ou d’art contemporain.

En septembre 2014, la Haute Ecole Arc Conservation-restauration (HE-Arc CR) située à Neuchâtel en Suisse a initié le projet CANS (Conservation of cans in collections), financé pour une durée de trois ans par le Fonds national suisse pour la recherche scientifique (FNS) avec, pour objectif, de recenser des collections détentrices, d’identifier les principales altérations et processus de dégradation et d’envisager des solutions de traitement. Au terme de la première phase du projet, un workshop a été organisé à Neuchâtel en février 2017.

INCCA-f (International network for the conservation of contemporary art – branche francophone) a souhaité organiser, en collaboration avec l’équipe du projet CANS, des journées d’étude consacrées à la problématique de la conservation-restauration des boîtes de conserve métalliques pleines dans les collections patrimoniales et plus spécifiquement dans le contexte de l’art contemporain. Au centre du propos, l’interaction entre un contenu organique et un contenant métallique supposément hermétique, dans une perspective temporelle non bornée – les collections muséales françaises étant inaliénables.

PROGRAMME

11 OCTOBRE : CONFÉRENCES

Paris, C2RMF (8h45-18h30)

Présentation de la journée par les organisateurs

Cécile Dazord, conservatrice chargée de l’art contemporain au C2RMF / INCCA-f, Laura Brambilla, docteure en chimie, responsable du projet CANS et Michaela Florescu, restauratrice métal et art contemporain / INCCA-f

LA CONSERVE APPERTISÉE EN BOÎTE METALLIQUE : APPROCHE HISTORIQUE

Genèse et histoire de la conserve

Jean-Pierre Williot, professeur d’histoire contemporaine, Sorbonne Université, UMR Sirice

DES BOÎTES DE CONSERVE DANS DES COLLECTIONS D’ART CONTEMPORAIN

Conservé au naturel : conserves alimentaires dans l’art contemporain

Camille Paulhan, docteure en histoire de l’art, enseignante à l’Ecole supérieure d’art Pays Basque

Wharol’s Campbell Soup

Philippe Bettinelli, conservateur, responsable de la collection art public du Centre national des arts plastiques

Bernard Bazile, Boîte ouverte de Piero Manzoni, 1989 (dépôt de Rudy Ricciotti)

Jeanne Rivoire, régisseur administrative et documentaire / collection, Institut d’art contemporain de Villeurbanne

Ben, In the Spirit of Fluxus

Lucille Royan, restauratrice au Centre national d’art et de culture Georges-Pompidou

LE PROJET CANS, BILAN ET PERSPECTIVES

Laura Brambilla

LE CONSERVE APPERTISÉE EN BOÎTE METALLIQUE : ÉVOLUTIONS TECHNIQUES

Les développements récents de la conserve

Philippe GIMENEZ, ancien directeur R&D de Ardagh

Discussion

Atelier : sertissage d’une boîte de conserve

12 OCTOBRE : VISITE D’UNE CONSERVERIE

Estrées-Mons, 10h30-12h30

De la récolte à la mise en boîte

Visite de la conserverie Bonduelle

Départ et retour collectifs en transports en commun depuis Paris Gare du nord (se reporter à la rubrique Informations pratiques pour plus de précisons)

Billet réservé par les organisateurs et déjeuner sur place

INFORMATIONS PRATIQUES

Journées d’étude organisées par l’International Network for the Conservation of Contemporary Art-branche francophone (INCCA-f) avec la Haute Ecole Arc conservation-restauration de Neuchâtel (HE-Arc) et le soutien du Centre de recherche et de restauration des Musées de France (C2RMF) et de l’Union syndicale inter-professionnelle pour la promotion des industries de l’appertisé en boîte métallique (UPPIA)

Dates & lieux

11 octobre : C2RMF à Paris 1er arrondissement (plan d’accès fourni ultérieurement)

12 octobre : Conserverie Bonduelle à Estrées-Mons (Aisne)

Départ prévu de Paris Gare du nord vers 8h le matin, durée du trajet (train & bus) : 1h30 environ, retour vers 15h (horaires et point de rendez-vous précisés ultérieurement)

Participation aux frais : 35 € (25 € pour les étudiants)

Ce tarif inclut la participation aux conférences et un déjeuner au C2RMF le 11 octobre ; le trajet A/R Paris Gare du Nord-Estrées-Mons et la visite de la conserverie suivie d’un déjeuner sur place le 12 octobre.

Inscription en 2 temps

Inscription préalable obligatoire auprès de inccaf.11octobre2018@gmail.com (dans la limite des places disponibles)

Inscription effective après règlement des droits d’inscription à l’UPPIA (modalités de paiement transmises par retour de courrier)

Programme et formulaire d’inscription :

INCCAF Boites de conserve programme definitif

INCCAF Boites de conserve inscription

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

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

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.

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Collecting and Conserving Performance Art, Wolfsburg, 9-11 juin 2016

Thursday, June 9, 2016 – 09:00 to Saturday, June 11, 2016 – 17:00 Kunstmuseum Wolfsburg in Germany

Gerard & Kelly, Timeling, 2014, Performance, Solomon R. Guggenheim Museum, New York, Photo: Courtesy of the artists

The German Association of Conservator-Restorers (VDR) is delighted to announce the major international symposium Collecting and Conserving Performance Art, to be hosted by the Kunstmuseum Wolfsburg in Germany on June 9—11, 2016.

Over the last decade, art collections and museums around the world have seen a rapid increase in the acquisition of historic and contemporary performance art and its relics. This emerging collection practice challenges artists and collection caretakers alike : How can the time- and site-specific experience of an artist’s live performance be expanded and transformed into an artwork with a sustainable collection life? What status do performance props and documentary materials hold within a collection, and how is their status determined? How can the artwork’s identity and integrity be preserved and experienced now and in the future? What information and components should be entering the collection to ensure the authentic reactivation of the work? How are copyright laws, artist’s rights and future interpreter’s rights accounted for in the acquisition contract? What are the vulnerabilities inherent to a performance artwork? And how are preservation risks identified, documented and responded to?

Continuer la lecture de Collecting and Conserving Performance Art, Wolfsburg, 9-11 juin 2016

INCCA-f Atelier 3 : Vidéo et dispositifs techniques, Paris (C2RMF), 16 octobre 2015

Vidéo et dispositifs techniques : instabilité des installations et enjeux de conservation.

Hicham Berrada, Untitled (série Présages) @ Hicham Berrada et galerie kamel mennour
Hicham Berrada, Untitled (série Présages)
@ Hicham Berrada et galerie kamel mennour

Il paraît aujourd’hui difficilement imaginable de traverser un espace dédié à l’art contemporain sans y rencontrer des dispositifs intégrant le médium vidéo sous de multiples formes. Cette multiplicité n’a fait que croître en près de cinquante ans d’ « art vidéo » et d’intégration progressive aux collections d’art contemporain : de cette extrême diversité des modes d’existence et d’utilisation de la vidéo découlent un certain nombre de défis liés à la conservation de ces œuvres particulièrement instables. L’obsolescence technologique à laquelle elles sont soumises impose, en effet, au secteur de collection dont elles dépendent, des procédures sans cesse renouvelées.

L’Atelier 3 se propose d’explorer les différents supports, formats et dispositifs liés à la technique de la vidéo telle qu’utilisée par les artistes, ainsi que de donner la parole aux différents acteurs concernés (création, acquisition, exposition, conservation), afin de dresser un panorama des principales problématiques techniques liées à la vidéo et à ses dérivés. Continuer la lecture de INCCA-f Atelier 3 : Vidéo et dispositifs techniques, Paris (C2RMF), 16 octobre 2015

LES CAHIERS D’INCCA-f, vol. 1 : « Documentation technique, techniques de documentation »

Publication du premier volume des Cahiers d’INCCA-f

cahier inccaf 2

La présente publication fait suite à la deuxième rencontre des adhérents d’INCCA-f organisée le 7 février 2014 à l’auditorium des Archives municipales de Marseille, avec le soutien du Centre interdisciplinaire pour la conservation et la restauration du patrimoine (CICRP, Marseille), sur le thème : Documentation technique, techniques de documentation.

À l’invitation d’INCCA‑f, cinq intervenants d’horizons très divers – deux restauratrices, une archiviste et deux ingénieurs – se sont succédé, exposant et confrontant leurs points de vue sur les notions de document ou de documentation et d’objets ou de dispositifs techniques dans une perspective patrimoniale impliquant, a fortiori, un enjeu de conservation. Continuer la lecture de LES CAHIERS D’INCCA-f, vol. 1 : « Documentation technique, techniques de documentation »

Marie-Hélène Breuil , Replace or remake‪‪  ‪‪? Considérations sur la notion de remake en conservation-restauration, revue Marges n.17

Marie-Hélène Breui, replace or Remake ? Considérations sur la notion de remake en conservation-restauration. Article publié dans le nuémro 17 de la Revue Marges : Remake, Reprise, répétition, sous la direction de Jérôme Glicenstein.
Résumé

Le terme ‪‪remake‪‪ n’est utilisé que depuis très peu de temps dans les débats sur la conservation-restauration des œuvres contemporaines. Le statut de l’œuvre «‪‪ ‪‪refaite‪‪ ‪‪» ne semble pas toujours très clair, oscillant entre la copie d’exposition, la duplication et la reconstitution, et dépend de son auteur et du contexte de re-production. Cet article porte sur l’occurrence de ces termes dans les textes fondamentaux de la discipline et sur une étude de cas – la possibilité d’un ‪‪remake‪‪ d’une œuvre de Richard Long, ‪‪White Rock Line‪‪ – que nous menons au sein du Département conservation-restauration des œuvres sculptées de l’Esba TALM Site de Tours et en partenariat avec le CAPC-Musée d’art contemporain de Bordeaux.‪‪

Lire l’article en ligne →

Consulter le numéro 17 de la revue Marges →

Citer cet article : Marges 2/2013 (n° 17) , p. 115-122
URL : www.cairn.info/revue-marges-2013-2-page-115.htm

Continuer la lecture de Marie-Hélène Breuil , Replace or remake‪‪  ‪‪? Considérations sur la notion de remake en conservation-restauration, revue Marges n.17

Replace or Remake ? compte rendu, Ceroart

par Marie-Hélène Breuil, responsable du projet

 

Introduction

Le projet Replace or remake ? entend questionner la pratique et la déontologie du conservateur-restaurateur confronté à des œuvres d’art contemporain dont la précarité matérielle implique que tout ou partie soit remplacé ou refait en vue de l’exposition de l’œuvre dans le maintien de sa fonction et de sa signification. Il implique diverses parties: , ER[cr]OS Tours , ESA Saint-Luc Liège, C2RMF, Capc Bordeaux, avec la collaboration d’INCCA-F

Continuer la lecture de Replace or Remake ? compte rendu, Ceroart