NACCA 2018 Symposium and Summer School at CICS–TH

NACCA Cologne 2018NACCA Cologne 2018NACCA Cologne 2018NACCA Cologne 2018NACCA Cologne 2018NACCA Cologne 2018

NACCA Cologne 2018
All photos: Aga Wielocha
NACCA Cologne 2018
Photo: Dušan Barok

From 25-29 June 2018, Cologne Institute of Conservation Sciences, TH Köln, hosted the third and final Summer School for the Marie Sklodowska-Curie Innovative Training Network ‘New Approaches in the Conservation of Contemporary Art’ (NACCA).

The week involved a two day symposium on the conservation of contemporary art From different perspectives to common grounds in contemporary art conservation, and three days of internal activities for the NACCA Early Stage Researchers (ESRs) and supervisors.

The two initial days of the week, 25th and 26th, were dedicated to the NACCA 2018 Symposium which gathered nearly two hundred members from different fields interested in the conservation of contemporary art. During these two days, five clusters were presented as central themes of the symposium sessions. Each cluster comprised five speakers, opening with two keynote speakers presentations, followed by three NACCA ESR papers, and closing with 20 minutes discussion panels.

The sessions comprised Intent, authorship, authentication with Marina Pugliese, Antonio Rava, Nina Quabeck, Maria Theodoraki, and Tomas Markevicius, and chaired by Erma Hermens; Production and reproduction with Ursula Schädler-Saub, Ulrich Lang, Sophie Lei, Marta García Celma, and Panda de Haan, chaired by Glenn E. Wharton; Challenging institutional conventions with Renate Buschmann, Johannes Gfeller, Artemis Rüstau, Claudia Röck, and Iona Goldie-Scot, chaired by Pip Laurenson; Musealisation with Salvador Muñoz Viñas, Hanna Hölling, Brian Castriota, Joanna Kiliszek, and Aga Wielocha, chaired by Renée van de Vall; and finally, Cross-disciplinary networks with Renata Peters, Caitlin Spangler-Bickell, Dušan Barok and Zoë Miller. The symposium was concluded with a tribute to Heinz Althöfer, a pioneer in the theory of contemporary art conservation, presented by Carlota Santabárbara Morera.

During the remaining three days of the Cologne summer school, researchers and supervisors collaborated in various sessions specially prepared to fit the needs of the ESRs, carefully taking in consideration and applying feedback collected from past NACCA Schools. The programme curated by Prof. Dr. Gunnar Heydenreich, introduced high quality sessions as well as space for developing and strengthen networks and relationships among all NACCA members.

The summer school program included feedback sessions, where the fifteen ESRs engaged in a peer review of draft chapters of their theses. These peer review sessions were undertaken in small groups of two or three supervisors together with three ESRs. The reseachers also received a session on didactics, in order to prepare them for a possible future in academia or education. Finally, Friday was dedicated to revising the Decision-Making Model for Contemporary Art Conservation, with a session developed by Gunnar Heydenreich, Julia Giebeler and Andrea Sartorius. This last session took the form of a group workshop, and involved an even larger network of specialists in contemporary art, including some of the curators, conservators, and art historians involved in the initial development of the Decision Making Model for Conservation in 1999, as well as other specialist and theorists in contemporary art conservation. This session re-evaluated the model and its efficiency when treating 21st Century artworks and provided a much-needed opportunity for discussing key terms used in the conservation of contemporary art.

In addition to the valuable theoretical and professional development sessions, the week also included cultural visits and activities which enhanced personal relationships between the group members. Among them, a visit to Cologne cathedral – Dom, a trip to Thomas Schütte Stiftung and Hombroich Museum, and few dinners in Cologne Südstadt.

This exciting week was successfully organised and executed thanks to the support of Diana Blumenroth, and concluded as the last NACCA School for ESRs and supervisors. The NACCA group will next be brought together for the program’s final conference, organised in conjunction with the Annual MACCH conference in Maastricht in 2019, where they can reflect on the results of a magnificent three years.

Marta Garcia Celma

Call for papers for upcoming NACCA conference in Glasgow

NACCA is excited to announce a call for papers for our upcoming conference Material Futures: Matter, Memory and Loss in Contemporary Art Production and Preservation. The conference will be held 29th-30th of June, 2017 at the Centre for Contemporary Arts in Glasgow, Scotland. Over two days we will explore the intersections of contemporary artistic practice, curatorial practice, and conservation decision-making through the themes of matter, memory and loss. Please see our call for papers here. Registration information will be forthcoming.

First round of NACCA posters

Photo: Joanna Kiliszek.
On the 16th of January 2017, NACCA researchers presented their ongoing research at a public poster session hosted by Tate Modern in London. Here’s the list of presentations with links to those published online:

The Authentic Instance: Reframing Authenticity in the Conservation of Contemporary Art
Brian Castriota

Values and Valuation of Modern and Contemporary Visual Art: The Role of Reflective Practice – Collection of the Museum of Art in Lodz, 1931-2018
Joanna Kiliszek

Interpreting Artist’s Intent: The Notion of Intent Tested Against Joseph Beuys’ Capri-Battery
Nina Quabeck

Authenticity and Reproducibility: Conservation Strategies for Contemporary Photography
Marta Garcia Celma

Long-term Preservation of Software-based Artworks: From Single Case Studies to Best Practice
Claudia Roeck

Exploring Ethnography in Conservation Research
Caitlin Spangler-Bickell

Tracing Meanings: The Artist Interview as an Interpretative Tool for the Artwork as an Open-Ended Archive
Aga Wielocha

A Participatory Approach to the Conservation of Performance-based Art
Iona Goldie-Scot

Documentation and Digitization Meet Digital Preservation to Make Time-based Art Last for Posterity
Dušan Barok

The Creative Process is Collective
Sophie Lei

What happens when a work like Equivalent VIII (1966) is presented enclosed within protective barriers?
Maria Theodoraki

Low-level Conflict in Contemporary Art Conservation Research
Zoë Miller

Private Collections as Care-takes
Artemis Rüstau

NACCA public event in London

On the afternoon of Monday 16th January 2017, Tate Modern will host a public event starting at 16:00 when the NACCA researchers will each briefly present on a key message, question or challenge that they wish to communicate about their research. NACCA supervisors and management will attend also and it is our pleasure to be able to invite members of the public to join us.

The presentations will be followed by a networking opportunity during a poster session from 17:45 to 18:45.

The event is free to attend however spaces are limited and we must ask those interested in attending to please register with John McNeill, Tate’s Collection Care Research Manager (john.mcneill@tate.org.uk) by the 9th December 2016 4th January 2017 (deadline extended!).