Conference 2017

Material Futures: Matter, Memory and Loss in Contemporary Art Production and Preservation
29th – 30th June 2017
Centre for Contemporary Arts, Glasgow, UK

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In the staging of existing works, commissioning of new works, and in planning for their futures, cooperation between contemporary artists and collecting institutions has become key. Contemporary artistic practices have prompted a reconsideration of boundaries between the roles of artists and institutional staff, and between processes of art production, exhibition, and preservation. Organised by the University of Glasgow and the Marie Skłodowska-Curie Innovative Training Network ‘New Approaches in the Conservation of Contemporary Art’ (NACCA), this two-day conference hosted at the Centre for Contemporary Arts in Glasgow will provide a forum for professionals and students working across different disciplines to discuss urgent questions regarding artwork identity, permanence and impermanence, reproducibility and replication, and the role of the artist and the institution in constructing and maintaining memory. It will explore these questions and other areas where artistic practice, curatorial practice, and conservation decision-making intersect through themes of materiality, memory and loss.


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Keynote Speakers

Karla Black (Artist)
Tiziana Caianiello (Zero Foundation)
Annie Fletcher (van Abbemuseum)

List of Papers

Lucy Askew (NGS) with contributions from collections management staff at NGS and Glasgow Museums.
“Steven Campbell (1953-2007), On Form and Fiction, 1989-90”

Simon Fleury (Birmingham School of Art & Design)
“Encountering the Museum Object”

Nim Goede (University of Amsterdam)
“Robert Morris’s Material Metaphor for Memory: Lead as a model for the Brain”

Hans-Jürgen Hafner
“Always Trouble with Flynt. Tracing Conceptual Art”

Claire M. Holdsworth (Kingston School of Art)
“Vocal and Material Mourning: Stuart Marshall, Mouth Works (1975/76)”

Ulrich Lang (Die Restauratoren)
“The Fortune of the Presence”

Louise Lawson & Acatia Finbow (Tate)
“Reflections on Tate’s Documentation of Performance Artworks: Creating the Institutional Memory of an Artwork”

Laura Leuzzi, Elaine Shemilt & Stephen Partridge (EWVA, DJCAD)
“Methodologies, Strategies and Practice Based Research Methods to uncover and narrate early European Women’s Video Art”

Adam Lockhart (DJCAD)
“Machine Vision”

Hélia Marçal (Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa)
“Beyond Temporality: Performance Art Conservation as a Remembrance of Place”

Jo Ana Morfin (Independent Scholar)
“Restored Behaviour: Performing Materiality”

Ariane Noël de Tilly (Emily Carr University of Art & Design)
“What Remains of ATSA’s State of Emergency”

Alison Norton (Moderna Museet)
“Migrating Facsimiles: Copies and Conservation Control”

Denise Petzold (Ludwig Forum für Internationale Kunst)
“(Im)Materiality in the Museum: Shaping Joseph Beuys’s Information Action through Curating Documentation”

Gwynne Ryan (Hirshhorn Museum & Sculpture Garden)
“Refabricating, Re-Making, and Re-Thinking: A Continuation of the Artist’s Process”

Anna Schäffler (Free University Berlin)
“Memory Process in Practice. On the Ensemble Art of Anna Oppermann and Contemporary Art Preservation”

Martha C. Singer & Kate Wight Tyler (Owner/Director, Material Whisperer; Brooklyn Museum) “Boob Jobs: Treatments of Duchamp and Donati’s Latex Foam Breasts”

Sanneke Stigter (University of Amsterdam)
“Picturing Peter Struycken’s Blue Waves: Collecting Memories as a Form of Conservation”

Yukiko Watari (HIGURE 17-15 cas)
“The Expanding Role of Art Installers: Distributed Model for Documentation Practice”


The conference is supported by the Innovative Training Network ‘New Approaches in the Conservation of Contemporary Art’ (NACCA), which receives funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement no. 642892.

Planning Committee: Dr. Dominic Paterson (University of Glasgow), Dr. Erma Hermens (Rijksmuseum), Brian Castriota (University of Glasgow), Nina Quabeck (University of Glasgow).


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