Archives par mot-clé : contemporary art

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