Digital Art Works. The Challenges of Conservation

On October 28th, "Digital Art Works. The Challanges of Conservation" will start at ZKM. An exhibition of 10 case studies of conserving ZKM's collection and an accompanying series of symposia will address different approaches in archiving and preserving digital media art.

case studies:
http://www.digitalartconservation.org/index.php/en/case-studies.html

symposia including Alain Depocas, Antoni Muntadas, Herbert Franke, Siegfried Zielinski et al
http://www.digitalartconservation.org/index.php/en/symposium-i.html

taxonomedia project

A Taxonomedia (Consuelo Rozo and Vanina Hofman) interview by Raquel Herrera posted at the new media fix website can be found here.

We, in Taxonomedia, regard documentation as a privileged tool to explain an important artistic production which hardly could be conserved through other kinds of strategies. On the one hand, because of the essentially economic questions we have previously mentioned. The conservation projects that suggest solutions such as emulators and migrations are beyond the scope of most museums and media spaces, and probably their efforts in that direction are not sustainable in the medium or long run. On the other hand, there are expressions within art based on technologies that don’t “allow for their conservation”, and if presented with this situation, the artist’s intention must be respected. Finally, also, through their documentation and subsequent availability, the work might be able to survive as a concept and be recreated in other works. Projects like Variable Media delve into the conservation of the integrity of the work regardless of its medium, clearly considering media art within the field of conceptual art, emphasizing a perspective which many would find inadmissible, but is interesting to us.
(...)

To be able to access this material as it was in this day represents a huge time investment, a specific budget, provided also that the artist wants to work on that again. In some cases this might mean counting on programmers and developers to generate platforms that allow the piece to work seamlessly in current environments. We have translated a paradigmatic case undertaken for the exhibition Seeing Double (Guggenheim Museum) about the work The Erl King by Roberta Friedman and Grahame Weinbren. Examples like these are feasible if there’s an institution like a museum, a specialized archive or a project that might take charge. It is also possible, if the artist was willing to undertake it herself, as could be in the example you mentioned. She might add some ideas to the piece she didn’t include in the past and the technology she might have to use might also alter the particularities of the work. So we can imagine The Intruder might be different if manipulated, although we leave this aspect at the hands of the artist.

Reinterpretation and documentation are ways of contact with many of the previous works, but unfortunately the experience is hardly repeatable.

Symposium: The Digital Oblivion - Substance and Ethics in the Conservation of Computer-Based Art

4. – 5. 11. 2010
10.00–18.00

ZKM | Zentrum für Kunst
und Medientechnologie
Karlsruhe, Germany

As part of the broader research project digital art conservation, this international symposium aims to investigate the future of our digital cultural memory, focusing in particular on the preservation of computer-based art. For a couple of decades now, digitalisation has allowed the content of cultural memory to be more easily processed and circulated. However, the preservation of digital contents is fundamentally conditioned by the need to conform to an ever more rapid sequence of new technical systems. This functional obsolescence presents a systemic threat to digital cultural memory. Again and again, the threat of obsolescence leads previous criteria of cultural memory – longevity and authenticity – ad absurdum. The practice and theory of art collecting and preservation has also seen a paradigm shift, presenting curators, collectors, scholars and conservators with a new set of as yet unsolved problems. Whereas traditional media and tools remained in the possession of artists and curators, new digital media have definitely reduced the autonomy of these cultural actors.
Parallel to day-to-day collecting and exhibition practice – necessarily pragmatic – conservation theory has recently seen a normative debate on the ethics of preservation, a discussion comparable to developments elsewhere in the humanities and natural sciences, as well as in bioethics and environmental ethics. The conference’s discussion of the ethics of conservation aims to overcome the current uncertainty surrounding the preservation of digital media art as part of our cultural heritage. This set of interconnected themes forms the context for the questions posed by the first international symposium of digital art conservation, a threeyear research project funded by the European Union: What consequences will the ongoing systemic change of cultural memory have for our consciousness of time and of history, and for our image of ourselves and the world? Are traditional criteria for conservation – a work of art’s originality, longevity and inherent economic value – at all applicable to new media art? Should standards of best practice be developed for the conservation and collection of digital media art?

Speakers:
Prof. Dr. Hans Belting
Professor emeritus for the science of art and media theory,
Staatliche Hochschule für Gestaltung Karlsruhe
Prof. Dr. Edmond Couchot
Professor emeritus Université de Paris VIII
Alain Depocas
Director of the Centre for Research and Documentation,
Daniel Langlois Foundation, Montréal
Herbert W. Franke
Artist, scientist and writer, Egling
Rosina Gómez-Baeza Tinturé
Director, LABoral Centre for Art and Creative Industries, Gijon
Prof. Dr. Hans Dieter Huber
Head of degree programme conservation of new media and digital
information, Staatliche Akademie der Bildenden Künste, Stuttgart
Antoni Muntadas
Artist, New York
Daria Parkhomenko
Director, LABORATORIA Art & Science Space, Moscow
Dr. Ingrid Scheurmann
Deutsche Stiftung Denkmalschutz, professorship
architectural heritage and applied historical
building research, Technische Universität Dresden
Prof. Dr. Bernhard Serexhe
Head curator, ZKM | Medienmuseum, Karlsruhe
Prof. Dr. h.c. Peter Weibel
CEO, ZKM | Karlsruhe
Dr. Klaus Weschenfelder
President ICOM Germany
Prof. Dr. Siegfried Zielinski
Professor for media theory, Universität der Künste, Berlin

Entrance free, no booking required

Languages /Sprachen/ langues: EN, DE, FR
ZKM_Medientheater
Lorenzstraße 19
76135 Karlsruhe

Arte electrónico: ¿qué preservar y cómo preservarlo?

Conservación del Arte electrónico ¿Qué preservar y cómo preservarlo?
Apuntes [Media art conservation: what aspects should be preserved and how
can we address it?] compiles the proceedings of the homonymous
seminar that took place jointly at the “Espacio Fundación Telefónica” and
the “Centro Cultural de España”, in Buenos Aires.The publication is distributed
under Creative Commons license in Spanish http://taxonomedia.net