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7. 'Inside Installations I', Kröller-Müller Museum (2006)
creator(s) Kröller-Müller Museum, Otterlo
contributor(s) Bonnefantenmuseum
publisher Kröller-Müller Museum, Otterlo
From October 25, 2006 to January 7, 2007 the Kröller-Müller Museum organized 'Inside Installations I', the first part of the exhibition as part of the 3-year research project ‘Inside Installations: Preservation and Presentation of Installation Art’, initiated and coordinated by the Netherlands Institute of Cultural Heritage. The aim of the exhibition was to show the public what the problems are that the museum faces managing installation art and how the museum deals with the aspects of preservation, presentation and conservation of installation art. ’Glass (one and three)’ was one of the case studies. During the first part of the exhibition the installation was shown the way the museum had done this in the past, using the ’original’ photograph of the glass plate, made at Visser’s in 1977. It was the first time however that the title ’Glass (one and three)’ was used, according to the title on the certificate that belongs to the work. Before, the work was always referred to as ’One and three glass’ analogue to Kosuth’s other ’object definitions’ like for instance 'One and three chair'. In the Luzern catalogue from 1973 however the title 'Glass (one and three)' is used for the English version of the work. It is notable that this is the only one in deviation of the rest of the object definitions in this catalogue. Documentation like this was also part of the exhibition, together with other documents that had been studied during the research, such as the certificate, installation photographs of similar work, quotations by the artist and so on. Also, the photograph made for the installation in the Stedelijk Museum was displayed, but separate from the installation. This was done to indicate the installation procedure that was followed when the work had been on loan for the first time. This procedure had never been dealt with before in the Kröller-Müller Museum, because this was not indicated on the certificate. During the exhibition a photographer was commissioned to make a new photograph of the glass plate on the site where the work was installed. The public could witness this procedure during the exhibition.
PHOTO: Sanneke Stigter / KMM
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