Transformation Digital Art 2020

Published on February 21st, 2020


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In performance and digital art, documentation has become the focus of conservation and presentation strategies. These artistic practices also challenge existing forms of documentation, resulting in new ways of thinking about documentation. What can be learned from other practices within and outside of the scope of the museum? Transformation Digital Art 2020 aims to show and discuss excising and new strategies for the documentation, transmission, and preservation of digital art for and by artists, curators and conservators.

Transformation Digital Art 2020
19 and 20 March 2020
LIMA Amsterdam

In performance and digital art, documentation has become the focus of conservation and presentation strategies. These artistic practices also challenge existing forms of documentation, resulting in new ways of thinking about documentation. What can be learned from other practices within and outside of the scope of the museum? Transformation Digital Art 2020 aims to show and discuss excising and new strategies for the documentation, transmission, and preservation of digital art for and by artists, curators and conservators.

Documentation — a work’s physical remnant or trace —is created and used in different ways, depending on its use, perspective and timing. First and foremost, from the moment the work is conceived, its documentation serves the artists and their collaborators. As its development progresses, the documentation targets an increasingly wide audience, playing an important role in the mediation, dissemination, contextualization and history of the artwork. Next, the documentation is used and expanded upon through a variety of actions and activities, such as the work’s installation, preservation and restoration. Also audiences are documenting and circulating images of these artworks and so documentation becomes part of identity construction. And ultimately, it is likely that documentation will survive the work, becoming its historical witness and sometimes supplementing any remaining fragments or relics.

CONTRIBUTORS

Vivian van Saaze (Associate Professor Literature & Art, Faculty of Arts and Social Sciences, University of Maastricht), Gabriella Giannachi (Assistant Professor Media Studies: Archival and Information Studies, University of Amsterdam), Natalie Kane (Curator of Digital Design, Victoria and Albert Museum London), Steve Benford (Professor Collaborative Computing, University of Nottingham), Annet Dekker (Assistant Professor Media Studies: Archival and Information Studies, University of Amsterdam), Michelle Kasprzak (Artist/Curator/Writer), Marisa Olson (Artist/Writer/Media Theorist/Curator), Martijn van Boven (Artist/Tutor), Rachel Somers Miles (Project Manager and Researcher, LIMA) & Stefan Glowacki (Research Intern, LIMA), Wiel Seuskens (Technical Manager, LIMA), Lilli Elias (Research Intern, LIMA), Eoin O’Donohoe (Digital Preservation Analyst, The Netherlands Institute for Sound and Vision), Marcel Ras (Program Manager, Dutch Digital Heritage Network (NDE)), Sanneke Huisman (Programme and Writing, LIMA), Sandra Fauconnier (Art Historian / Wikimedia), Aymeric Mansoux (Artist/Researcher), Julie Boschat Thorez (Artist/Researcher) and Dušan Barok (Artist/Researcher), Gerald van der Kaap (Artist) and Gaby Wijers (Director, LIMA).
Case studies by SFMOMA, Centre Georges Pompidou, Stedelijk Museum Amsterdam, LIMA, ZKM and Van Abbemuseum and others.

PROGRAMME
CONCEPT PROGRAMME (PDF) (please note that the concept programme is subject to change)
DAY 1: Thursday, March 19, 10:00 – 17.30
DAY 2: Friday, March 20, 10:00 –  17.30
Workshop 1: Wikipedia: Writing Artist Biographies for Mediakunst.net.
Workshop 2: Collaborative Experimental Publishing as an Art Preservation Strategy: Documenting Naked on Pluto on Monoskop wiki.
**For your DAY 2 ticket, you will have a choice between the two options in the tickets section

 

Abstract Curating Documentation

Documentation is created and used in numerous ways, and functions differently yet complementary in the various departments of museums. Annet Dekker explores these various perspectives and shows how they open new ways of thinking about what documentation means and how it moved from an inferior subjective derivative to being part of, or substituting, an artwork. At the core of these changes in documentation is the question how these expanded practices of documentation influence the value and experience of the “original” artwork; and in turn: in what way do they affect the traditional authority of the museum as creator of documentation used for future reference, historical relevance or cultural memory?

Annet Dekker presents some of the outcomes of the research project Curating Documentation into documentation practices of art institutions, which was made possible by KIEM Creative Industry of the Netherlands Organisation for Scientific Research (NWO).


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