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

VAN MECHELEN Experience & conceptualisaton of Installation Art.pdf (pdf/427kb)
Marga van Mechelen 1.mp4
Marga van Mechelen 2.mp4
Marga van Mechelen 3.mp4

Experience & Conceptualisation of Installation Art (11 May 2006)
creator(s) Marga van Mechelen (senior lecturer)

Marga van Mechelen is a senior lecturer at the University of Amsterdam (dep. Art and Culture). She publishes widely on conceptual, performance, installation and digital new media art since the late seventies and on issues concerning historiography and visual theory in general and visual semiotics and psycho-semiotics in particular.

Van Mechelen presented this paper during the 4th Inside Installation seminar on ’Theory and Semantics’, May 11, 2006 at the Bonnefantenmuseum, Maastricht.

Abstract
Contemporary installation art has a history and many predecessors in Dada, Constructivism, Arte Povera, Happenings and the art of the seventies. Everyone agrees about that. More disputable is the beginning of what we now call installation art, having the installations of the nineties in mind. Jeffrey Shaw and Tjebbe van Tijen’s Revolution (one of the project’s cases) is a work of the nineties, but should be considered as imbedded in the history of intermedia or multimedia art that goes back to the sixties and seventies. In my talk I will discuss some historical facts, considerations and definitions that form the background of our contemporary understanding of the installation, paying special attention to the role played by De Appel Foundation that has been mentioned as the first venue for installation art. I will argue that most of the installations at that time were still performance related and that this heritage is still relevant for the approach and consequently the preservation of Revolution. I will plead for a methodology that starts with the implied experience of the installation.

Click download for video (QuickTime) and the paper (PDF).