Material Futures: Matter, Memory and Loss in Contemporary Art Production and Preservation
\n28th \u2013 30th June 2017
\nCentre for Contemporary Arts, Glasgow, UK<\/b><\/p>\n
Introduction<\/a> <\/a>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. This conference will provide a forum for professionals, researchers, 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.<\/p>\n <\/a>Programme<\/b><\/p>\n Download programme in PDF<\/a> (updated on 2nd June 2017)<\/p>\n Wednesday 28th June<\/u><\/p>\n 5.00pm \u2013 6.30pm Thursday 29th June<\/u><\/p>\n 9.00am \u2013 9.30am 9.30am \u2013 11.00am Jo Ana Morfin (Independent Scholar) 11.00am \u2013 11.30am 11.30am \u2013 1.00pm Hans-J\u00fcrgen Hafner (Critic & Curator) Denise Petzold (Ludwig Forum f\u00fcr Internationale Kunst) 1.00pm \u2013 2.00pm 2.00pm \u2013 3.30pm Yukiko Watari (HIGURE 17-15 cas) Sanneke Stigter (University of Amsterdam) 3.30pm \u2013 4.00pm 4.00pm \u2013 5.30pm Alison Norton (Moderna Museet) Louise Lawson & Acatia Finbow (Tate) Friday 30th June<\/u><\/p>\n 9.00am \u2013 9.30am 9.30am \u2013 11.00am Ulrich Lang (Die Restauratoren) 11.00am \u2013 11.30am 11.30am \u2013 1.00pm Adam Lockhart (DJCAD) Claire M. Holdsworth (Kingston School of Art) 1.00pm \u2013 2.00pm 2.00pm \u2013 3.30pm Ariane No\u00ebl de Tilly (Emily Carr University of Art & Design) 3.30pm \u2013 4.00pm 4.00pm \u2013 5.30pm Anna Sch\u00e4ffler (Free University Berlin) Nim Goede (University of Amsterdam) <\/a>Credits<\/b><\/p>\n The conference is supported by the Innovative Training Network \u2018New Approaches in the\u00a0Conservation of Contemporary Art\u2019 (NACCA), which receives funding from the European Union\u2019s\u00a0Horizon 2020 research and innovation programme under the Marie Sk\u0142odowska-Curie grant\u00a0agreement no. 642892.<\/p>\n Planning Committee: Dr. Dominic Paterson (University of Glasgow), Dr. Erma Hermens\u00a0(Rijksmuseum), Brian Castriota (University of Glasgow), Nina Quabeck (University of Glasgow).<\/p>\n Links<\/b><\/p>\n <\/a>Book conference tickets<\/a><\/p>\n <\/a>View original conference call<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Material Futures: Matter, Memory and Loss in Contemporary Art Production and Preservation 28th \u2013 30th June 2017 Centre for Contemporary Arts, Glasgow, UK Introduction Programme Credits Book conference tickets View original conference call Contemporary artistic practices have prompted a reconsideration of boundaries between the roles of artists and institutional staff, and between processes of art … Continue reading “Conference 2017”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":2,"comment_status":"open","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages\/282"}],"collection":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/comments?post=282"}],"version-history":[{"count":12,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages\/282\/revisions"}],"predecessor-version":[{"id":339,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages\/282\/revisions\/339"}],"wp:attachment":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/media?parent=282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nProgramme<\/a>
\nCredits<\/a>
\nBook conference tickets<\/a>
\nView original conference call<\/a><\/p>\n
\nKarla Black (artist)
\nKeynote Lecture – Title TBC<\/i><\/p>\n
\nRegistration<\/p>\n
\nTiziana Caianiello (Zero Foundation)
\nKeynote Lecture – (Re)Constructing Memories: Some Thoughts About Preservation<\/i><\/p>\n
\nRestored Behaviour: Performing Materiality<\/i><\/p>\n
\nCoffee break<\/p>\n
\nSimon Fleury (Birmingham School of Art & Design)
\nEncountering the Museum-Object<\/i><\/p>\n
\nAlways Trouble with Flynt. Tracing Conceptual Art<\/i><\/p>\n
\n(Im)Materiality in the Museum: Shaping Joseph Beuys\u2019s Information Action through \t\t\t\tCurating Documentation<\/i><\/p>\n
\nLunch<\/p>\n
\nGwynne Ryan (Hirshhorn Museum & Sculpture Garden)
\nRefabricating, Re-Making, and Re-Thinking: A Continuation of the Artist\u2019s Process<\/i><\/p>\n
\nThe Expanding Role of Art Installers: Distributed Model for Documentation Practice<\/i><\/p>\n
\nPicturing Peter Struycken\u2019s Blue Waves: Collecting Memories as a Form of Conservation<\/i><\/p>\n
\nBreak<\/p>\n
\nMartha C. Singer & Kate Wight Tyler (Owner\/Director, Material Whisperer; Brooklyn \t\t\t\tMuseum)
\nBoob Jobs: Treatments of Duchamp and Donati\u2019s Latex Foam Breasts<\/i><\/p>\n
\nMigrating Facsimiles: Copies and Conservation Control<\/i><\/p>\n
\nReflections on Tate\u2019s Documentation of Performance Artworks: Creating the Institutional Memory of an Artwork<\/i><\/p>\n
\nRegistration<\/p>\n
\nAnnie Fletcher (van Abbemuseum)
\nKeynote Lecture – Title TBC<\/i><\/p>\n
\nThe Fortune of the Presence<\/i><\/p>\n
\nCoffee break<\/p>\n
\nLaura Leuzzi, Elaine Shemilt & Stephen Partridge (EWVA, DJCAD)
\nMethodologies, Strategies and Practice Based Research Methods to uncover and narrate early European Women\u2019s Video Art<\/i><\/p>\n
\nMachine Vision<\/i><\/p>\n
\nVocal and Material Mourning: Stuart Marshall, Mouth Works (1975\/76)<\/i><\/p>\n
\nLunch<\/p>\n
\nLucy Askew (NGS) with contributions from collections management staff at NGS and Glasgow \t\t\tMuseums
\nSteven Campbell (1953-2007), On Form and Fiction, 1989-90<\/i><\/p>\n
\nWhat Remains of ATSA\u2019s State of Emergency<\/i><\/p>\n
\nBreak<\/p>\n
\nH\u00e9lia Mar\u00e7al (Faculdade de Ci\u00eancias e Tecnologia da Universidade Nova de Lisboa)
\nBeyond Temporality: Performance Art Conservation as a Remembrance of Place<\/i><\/p>\n
\nMemory Process in Practice. On the Ensemble Art of Anna Oppermann and Contemporary Art Preservation<\/i><\/p>\n
\nTracing the Engram: Exploring the Neurophysiological Basis of Memory through Lead in Robert Morris\u2019s Process-Type Objects, 1964-1965<\/i><\/p>\n