Preservation and Presentation of Installation Art

Lectures at Inside Installations seminars and workshop

- Case studies by Spanish participants
- Copyright and Installation art
- E-learning packages developed by Tate Digital Programmes
- Media Matters

Madrid

- Audio Documentation of Sounding Objects
- Documentary Film: Fact or Fiction?
- Documentation Analysis
- Measurement of Installation Art
- Presentation of the Case Study Fabrizio Plessi Liquid Time II
- Recording Movement – Between Material and Ephemeral
- Survival of the Fittest - Notes on the Documentation of Contemporary Art

- Artist's lecture, Suchan Kinoshita
- Authenticity, change and loss in the conservation of time-based media works of art
- Experience & Conceptualisation of Installation Art
- Forms of installation registration: video registration
- Locating the Intermittent Work of Art
- Panel Discussion 'Installation Art in the Museum Context'
- The DOCAM project: Issues and challenges

1. Introduction on artist participation
2. Suchan Kinoshita's 'Voorstelling'
3. After Words, by Brian Winkenweder
4. After The death of the author. On re-installing Anna Oppermann's processual and open ensembles
5. Methodology for qualitative research within the conservation of contemporary art
6. The conservation of a work that never stop starting
7. An artist as initiator and collaborator
8. The issue of authenticity in 'Grass Just Grass' by K. Bednarski
- Abstracts and biographies

Tate seminar

Suchan Kinoshita 1.mp4
Suchan Kinoshita 2.mp4
Suchan Kinoshita 3.mp4

Artist's lecture, Suchan Kinoshita (11 May 2006)
creator(s) Suchan Kinoshita (artist)

Biography:
Suchan Kinoshita (1960) was born in Japan and lives and works in Maastricht. She studied at the Musikhochschule in Keulen (1981-85) and went on to study at the Jan van Eyck Akademie in Maastricht. She uses a variety of materials in her works which are exhibited often, all over the world.

Suchan Kinoshita’s work has been featured in international exhibitions since 1986, including 46th Venice Biennale and 4th Istanbul Biennale (1995); Manifesta 1, Rotterdam (1996); and Truce: Echoes of Art in an Age of Endless Conclusions, SITE Santa Fe, New Mexico, and Trade Routes: History and Geography. 2nd Johannesburg Biennale (1997). Her work has also been presented in such group exhibitions as Inklusion: Exklusion, Reininghaus and Künstlerhaus, Graz, Under Capricorn, Stedelijk Museum, Amsterdam, and Doppelbindung. Linke Maschen, Kunstverein, Munich (1996). Kinoshita has had solo exhibitions at De Fabrick, Eindhoven (1991); White Cube, London (1996); Stedelijk Van Abbemuseum, Eindhoven (1997); and Chisenhale Gallery, London (1998). She was the winner of the Prix de Rome in 1992.

In the past Suchan was very active in the theatre (Theater am Marienplatz / Krefeld) as an actor, director as well as builder of decors. This background has influenced her work and her oeuvre is clearly interdisciplinary. Kinoshita’s work invites viewers to bridge art and theatre, architecture and music in participatory experiences that emphasize movement, space, and time.

Abstract of lecture:
Suchan will discuss her work with particular reference to the ’Untitled’, 2000 (originally installed in a Japanese Gallery). This installation is bought by the Bonnefanten Museum and will be in exhibition. She describes her intent or the meaning of several elements of the installation and illustrates her story by showing many slides of different parts. Photographs of both the Japanese and the Maastricht situation are shown. She describes the process of re-locating as well as the necessity of making alterations. These decisions are related to the new location, a part of which is the different culture and public. This is one of the case studies within the Inside Installations project.

Click download for video (QuickTime).