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Reina Sofía (Museo Nacional Centro de Arte Reina Sofía) PowerPoint Presentation
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Reina Sofía (Museo Nacional Centro de Arte Reina Sofía)

Reina Sofía (Museo Nacional Centro de Arte Reina Sofía)

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Reina Sofía (Museo Nacional Centro de Arte Reina Sofía)

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  1. Installation Art Case Studies by the SpanishParticipantsCoordinator: Museo Nacional Centro de arte Reina SofiaPartners: MACBA, Caixa, IVAM, Guggenheim Bilbao Museum, CAAC. Collaborator: ARTIUM Preservation and Re-installation of Installation Art Culture 2000

  2. Reina Sofía (Museo Nacional Centro de Arte Reina Sofía) Dennis Oppenheim ‘Circle Puppets’ Circle puppets shows a very important problem with the TV sets and the videotape. The natural aging of electronic and magnetic components produces a loss of legibility of the video recorded image and, with no doubt, a loss of significance. What options can be considered in this situation? This process is unstoppable; sooner or later there will be important damages on the artwork. Substitution of these elements (TV sets and video tape) is a very controversial option. Either the TV sets or the video recorded image should be substituted with all guaranties of authenticity. The same thing happens with the plastic cord and methacrylate elements, its aging indicates a loss of visual and mechanical properties that change the whole meaning of the artwork Preservation and Re-installation of Installation Art Culture 2000

  3. Reina Sofía (Museo Nacional Centro de Arte Reina Sofía) Dennis Oppenheim Aging’ In Aging the problem is a different one. The wax puppets are supposed to melt down with the heat of the infrared lamps. This means there will be, some day, no wax to melt: the artwork consumes itself as a natural consequence of its being. At this point the Intellectual property (of the artist) and the material property (of the museum) are in conflict. Dennis Oppenheim created the piece with this very purpose and the museum bought this artwork, either knowing its auto destructive nature. The museum’s main aim is to collect and preserve art pieces, but how to conserve a piece like this? Does the museum have to let the artwork melt down, completing its natural process and losing one of the pieces of its own collection, or it is possible to find a solution? Preservation and Re-installation of Installation Art Culture 2000

  4. Reina Sofía (Museo Nacional Centro de Arte Reina Sofía) From left to right: Craig Gordon: IT Management Mikel Rotaeche: Conservator-Restorer Arianne Vanrell: Conservator-Restorer Coordinator Jorge Garcia: Conservator-Restorer Head of Restoration Department Preservation and Re-installation of Installation Art Culture 2000

  5. MACBA (Fundació Museu d’Art Contemporani de Barcelona) Hans Haacke ‘Eisbildung’ In ‘Eisbildung’ the its auto destructive nature. The museum’s main aim is to collect and preserve art pieces, but how to conserve a piece like this? Does the museum have to let the artwork melt down, completing its natural process and losing one of the pieces of its own collection, or it is possible to find a solution? Preservation and Re-installation of Installation Art Culture 2000

  6. MACBA (Fundació Museu d’Art Contemporani de Barcelona) Hélio Oiticica ‘CC3- Marylin Quasi Cinema (Block-Experiments in Cosmococa-Program in Progress)’ In ‘Eisbildung’ the its auto destructive nature. The museum’s main aim is to collect and preserve art pieces, but how to conserve a piece like this? Does the museum have to let the artwork melt down, completing its natural process and losing one of the pieces of its own collection, or it is possible to find a solution? Preservation and Re-installation of Installation Art Culture 2000

  7. MACBA (Fundació Museu d’Art Contemporani de Barcelona) James Coleman ‘La Tache Aveugle’ Preservation and Re-installation of Installation Art Culture 2000

  8. IVAM (Instituto Valenciana Arte Moderna) Gilberto Zorio ‘Los Zorios’ Preservation and Re-installation of Installation Art Culture 2000

  9. IVAM (Instituto Valenciana Arte Moderna) The Instituto Valenciano de Arte Modeno has an important contemporary works collection, representative of the valencian artists, specially from Julio Gonzalez. Maite Martinez Head of Restoration Department Marta Arroyo Cristina Mulinas Ramón Escriba Preservation and Re-installation of Installation Art Culture 2000

  10. Fundación La Caixa Barcelona Judith Barry Imagination, Dead Imagine Objectives of this case study The main structure of the work is made out of wood. After having been installed so many times, the wooden frames are starting to get deteriorated. The structure and components of the work were originally made in such a way that makes very complicated and time consuming the installation of the work. The electronic equipment of this work has become obsolete. Objectives of this case study Upgrading the recording support and electronic equipment accordingly with the advance of the technology, under the supervision of the artist - Conversion of the wooden structure onto a metal one (durability) and make it easier for installation, under the supervision of the artist - Good practice in installing the converted structure *We have done the interview with the artist and the she agrees with these objectives Preservation and Re-installation of Installation Art Culture 2000

  11. Fundación La Caixa Barcelona Rodney Graham ‘Rheinmetall / Victoria 8’ Problems related with this work: A film technician is required for the installation of the work and for consultation for the maintenance and preservation of the work. The projector and loop are considered part of the work -the loop has been manipulated by the artist-The film can not be projected by any other projector (maintenance and durability of the projector). Durability of the film (acetate) Safety in installing and in exhibition Objectives of this case study Studying the possibilities for preservation of the projector and loop system, Good practice in installing, Good maintenance during exhibition Preservation and Re-installation of Installation Art Culture 2000

  12. Fundación La Caixa Barcelona Eulàlia Valldosera ‘Flying’ Problems related with this work Great amount of diferent pieces for the projection of the diapositives Handmade pieces (long-term preservation) Objectives of this case study Artist interview Good practice in installing Good maintenance during exhibition Preservation methods / suggestions for the handmade elements Preservation and Re-installation of Installation Art Culture 2000

  13. Fundación La Caixa Barcelona) Cildo Meireles ‘Volátil (Volatile)’ Problems related with this work huge dimensions safety in installing and desinstallingin, and during exhibition adquisition of special materials storage of the materials Objectives of this case study good practice in installaling, good maintanance during exhibition artist interview storage of the materials Preservation and Re-installation of Installation Art Culture 2000

  14. Fundación La Caixa Barcelona Rivane Neuenschwander ‘Palabras Cruzadas’ Problems related with this work organic materials, high fraglity, long-term storage vandalism hand made pieces, exotic materials ( Brazilian specimen), difficult to replace in Europe Objectives of this case study good practice in installaling, good maintanace during exhibition artist interview long-term strategy for conservation Preservation and Re-installation of Installation Art Culture 2000

  15. Fundación La Caixa Barcelona Cecilia Illa Restorer of Fundación La Caixa Barcelona Fundación La Caixa Barcelona has a very interesting collection of contemporary art Preservation and Re-installation of Installation Art Culture 2000

  16. Guggenheim Bilbao Museum(Foundation Guggenheim) Jenny Holzer ‘Title’ Problems related with this work Maintenance (ageing of the materials, obsolete systems, scarce brightness of the LED, mistakes with the connection and computerized components) Computer-programming Reappearance of mistakes after last intervention. Replacement of original elements and systems Objectives of this case study Recopilation of information about the artist, her context and her work. Interviews. Creation of documentation (records and digital photographs, technical reports, computer-programming, e-mail’s, etc.) Record and archive of original and replaceable electronic systems and computerized elements. Record of the computer-programming Improvement of the finished (walls and roofs, stable, constant and homogeneous brightness of the LED, presentation of the coordinated and permanent text). Creation of procedures for mantenaince and cleaning Developtment of an specific and modern technology which replaces the current one, and guarantees the future of the work Regular checks in a spirit of continuous improvement. Preservation and Re-installation of Installation Art Culture 2000

  17. Guggenheim Bilbao Museum(Foundation Guggenheim) Staff for this project: Contact at the GMB: Silvia Lindner, Conservation Department Tel: + 34 94 435 9069 Fax: + 34 94 4359061 E-mail: slindner@guggenheim-bilbao.es Preservation and Re-installation of Installation Art Culture 2000

  18. CAAC (Centro Andaluz de Arte Contemporaneo) Juan Carlos Robles ‘Las Vegas Problems related with this work This site specific installation represents the aim, and the problems, of the CAAC to find the best exhibition model for its colecction, composed by a large number of artworks like this. The first problem they find is how to reinstall the piece inside their museum and how the public behave Objectives of this case study Find the way to install site specific artworks inside museum galleries without changing the whole meaning of the piece and making an easy approach for the whole public. Preservation and Re-installation of Installation Art Culture 2000

  19. CAAC (Centro Andaluz de Arte Contemporaneo) Ángela de la Cruz ‘Larger than life’ Problems related with this work Oil and acrilic on canvas, site specific paainting, which transform and adapt to the space where it has to be. Objectives of this case study Find the way to install site specific artworks inside museum galleries without changing the whole meaning of the piece. Preservation and Re-installation of Installation Art Culture 2000

  20. CAAC (Centro Andaluz de Arte Contemporaneo) Coordinator : Jose Carlos Roldán Saborido. Curator-restorer 003495503708064 0034677905902 josec.roldan@juntadeandalucia.es The Building Old Cartujo Monastry (XV century ) founded by Sant Bruno de Hatenfaust. Trough the centuries it has had a colourful history. Its last function was like ceramic and biscuit fabric ”Cerámica de La cartuja” In 1992 the whole building was restored for the International Exhibition and from 1997 it become the CAAC. The CAAC has a wide contemporary colecction, with temporaru exhibitions and cultural and artistic activities. www.caac.es Preservation and Re-installation of Installation Art Culture 2000

  21. ARTIUM(Museo de Arte Contemporaneo de Vitoria) Javier Perez Un pedazo de cielo cristalizado Problems related with this work Glass and metal sculpture Very fragile elements Objectives of this case study Find the way to install site specific artworks inside museum galleries without changing the whole meaning of the piece. Preservation and Re-installation of Installation Art Culture 2000

  22. ARTIUM(Museo de Arte Contemporaneo de Vitoria) One of the newest museums of spanish contemporary art. Its collection is one of the largest on vasque artists From left to rigth: Laura Fernández Orgaz Art area subdirector Emilio Ruiz de Arkaute. Chief of the Restoration service DFA Olga Alfageme Alejos. Restorer Completing the team: Daniel Castillejo Alonso, Curator of the ARTIUM collection Enrique Martínez Goikoetxea Coordinator of the permannetnt collection Preservation and Re-installation of Installation Art Culture 2000