Case Study 3: Bill Seaman, Exchange Fields
as part of the exhibition vision.ruhr at the Zeche Zollern II/IV (Dortmund 2000)
The interactive installation Exchange Fields consists of three screens onto which video sequences are projected. Installed up in front of them in the installation space are thirteen furniture-like sculptures that function as user interfaces. Whereas the video projections on the side screens are independent of interactions with the visitors, the central projection is influenced by their physical actions. Each sculpture invites the visitors to explore it haptically with a specific part of the body and by doing so trigger the playback of dance sequences from a choreography by the Dutch dancer Regina van Berkel. If several visitors touch different sculptures at the same time, the various images of the dance overlap on the central canvas. The video sequences have an acoustic background. The audio components consist of a poetic text by Seaman from a techno-ambient soundtrack, which is partially spoken and partially sung, and of sounds controlled by interaction.
Among the essential steps of restoration are the reprogramming and content migration of existing video and computer technology and the replacement of now obsolete playback and presentation technology with modern devices suited to constant use. The goal is sustainable and—in light of frequent use by visitors—durable renovation of complex technology. This is intended to achieve as authentic a presentation as possible from art historical and conservational perspectives. The final documentation will not only recode the individual restoration measures but also serve as instructions for installing future presentations of this installation.
From 20 August to 5 September 2010, the restored installation Exchange Fields was exhibited as part of ISEA2010 RUHR at the Dortmunder U.
The results of the case study were presented on 24 August 2010, on the ISEA panel Still Accessible? Rethinking the Preservation of Media Art by Tiziana Caianiello (art historian, research fellow at IMAI) and Julia Giebeler (restorer, Fachhochschule Köln, Institut für Restaurierungs- und Konservierungswissenschaften).
Case Study 6: Lutz Mommartz, Zweileinwandkino, 1968
In this case study the IMAI worked the first time on conserving and restoring a work of art that employs film stock and film projectors.
Case Study 5: Nan Hoover, Light Composition
The IMAI has conducted a feasibility study on the recnstruction of this work and in the process grappled with the problem of restoring time-based works of art.
Case Study 4: Katharina Sieverding, Testcuts I
The installation Testcuts I by Katharina Sieverding was conceived and realized by the artist at the IMAI for the exhibition Projected Data Images: Testcuts as part of Quadriennale 2010.
Case Study 2: Gary Hill, In Situ, 1986
The mixed-media installation In Situ (1986) was restored in cooperation with the artist Gary Hill and then exhibited in the solo exhibition "Strange Trajectories". The last time the installation had been shown previously was in 1990.
Case Study 1: Studio Azzurro, Il nuotatore (va troppo spesso ad Heidelberg), 1984
"Il nuotatore" (1984) is the first media-art installation that the IMAI restored and restaged as part of the IMAI restoration project in cooperation with restorers, art historians, technicians, and the artists.