NAN HOOVER LIGHT COMPOSITION: DOCUMENTA 8 (1987) | © FOTO ELISABETH JAPPE, 2012
NAN HOOVER LIGHT COMPOSITION: DOCUMENTA 8 (1987)
© FOTO ELISABETH JAPPE, 2012i

The Presence of the Ephemeral

Media Art in the Field of Tension between Conservation and Interpretation

When conserving media art and presenting it in museums, curators and restorers now often have to weigh historical materiality versus the artist’s intention for the work. Restores face the challenge of preserving the original material substance of spacious art installations that are often site-specific and were created in complex contexts with various media.

When such works of art are transferred to new exhibition contexts, questions arise, especially with regard to their spatial structure. Curators develop new approaches to the contemporary presentation of performative and event-based works that as a rule can be experienced through documentation in videos and photographs and surviving written materials and rudiments. Preserving and making visible technology-based forms of art depends on how up-to-date their storage media and data formats are and how they have been affected by accelerated technological development. The goal pursued in that process is to define and preserve the authenticity of the work, which can exist in different manifestations or presentations

The conference being announced will present several examples of cases and then discuss associated concepts such as reconstruction, reproduction, and remake as well as today’s exhibition and conversation practices based on them, especially in the fields of ephemeral art. What paths doe museums and exhibition venues take to show performative and sound-and moving-image-based works? Has categorizing into original and copy become obsolete today? To what extent can an interpretation be oriented around the history of a work’s exhibition and what are the limits? Can the performative or even conceptual character of works be so distinct that new presentations represent distinctive yet authentic solutions?

Program
  Time Lectures

 

09:30 a.m.

Akkreditierung

 

10:00 a.m.

Begrüßung

Hans-Georg Lohe

Kulturdezernent der Landeshauptstadt Düsseldorf

 

10:15 a.m.

Begrüßung / Einführung

durch Dr. Renate Buschmann und Darija Šimunović, M.A.

Direktorin des imai / imai-Sammlung & Vertrieb

Moderation

Darija Šimunović, M.A.

 

 

10:45 a.m.

Keynote: Zwischen variabler Stabilität und variabler Fragilität.
Präsentation und Dokumentation von Medienkunst

Prof. Dr. Claudia Giannetti

Leiterin des Edith-Russ-Hauses für Medienkunst, Oldenburg

11:45 a.m.

Light Composition: Documenta 8 von Nan Hoover – Eine aktuelle Bestandsaufnahme
Fenna Yola Tykwer, Diplom-Konservatorin, -Restauratorin

Dr. Renate Buschmann, imai

12:30 p.m.

Expanded Cinema. Überlegungen zur Wiederaufführung und Dokumentation
Katrin Mundt

freie Kuratorin und Autorin

 

01.15 p.m.

Mittagspause

Moderation

Dr. Renate Buschmann

 

 

 

02.15 p.m.

Rolf Julius – Klanginstallationen als Aufführungskunst
Maija Julius, M.A.

Kunsthistorikerin und Nachlassverwalterin estate rolf julius

03.00 p.m.

Machbarkeitsfantasien / für die Ewigkeit
Prof. Ute Hörner

Künstlerin und Professorin für Medienkunst / Transmediale Räume

Kunsthochschule für Medien Köln

 

03.45 p.m.

Kaffeepause

Moderation

Dr. Renate Buschmann

04.00 p.m.

Authentizität im Zeitalter der technischen Obsoleszenz
Dr. Bernhard Serexhe

Hauptkurator und Kustos des Medienmuseums im ZKM Karlsruhe

04.45 – 05.30 p.m.

Abschlussdiskussion

 

Concept /Organization: Dr. Renate Buschmann und Darija Šimunović, M.A.

Participation is free

Abstracts der Referent*innen

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