Performing Documentation in the Conservation of Contemporary Art – Part 1: Renée van de Vall

A talk by Renée van de Vall on NeCCAR

Renée van de Vall is Professor of Arts and Media at the Faculty of Arts and Sciences at Maastricht University as well as project leader of NeCCAR

Performing Documentation in the Conservation of Contemporary Art – Part 2: Gabriella Giannachi

A keynote talk by Gabriella Giannachi: ‘Documenting the user experience: from Blast Theory’s Rider Spoke to RAMM’s Moor Studies and Tate’s Art Maps’

Gabriella Giannachi is Professor in Performance and New Media at University of Exeter

Performing Documentation in the Conservation of Contemporary Art – Part 3: Liliana Coutinho

A talk by Liliana Coutinho: ‘The role of artistic documentation in conserving and convey social relationships’

Performing Documentation in the Conservation of Contemporary Art – Part 4: Rebecca Gordon

A talk by Rebecca Gordon: ‘Documenting performance and performing documentation: on the interplay of documentation and authenticity’

Rebecca Gordon is a Research Assistant in the School of Culture and Creative Arts at Glasgow University

Performing Documentation in the Conservation of Contemporary Art – Part 5: Irene Müller

A talk by Irene Müller: ‘Performing art, its documentation, its archives – On the need of memories, the quality of blind spots and new approaches to transmitting performance art’

Irene Müller is a Lecturer at the Lucerne University of Applied Sciences and Arts and at the F+F School of Art and Media Design in Zurich  

Performing Documentation in the Conservation of Contemporary Art – Part 6: Ana Dinger

A poster presentation by Ana Dinger: ‘Constructing continuity: considerations on the perpetuation of performance-based artworks’

Ana Dinger is a PhD candidate at the Faculty of Human Sciences at the Catholic University of Portugal.  

Performing Documentation in the Conservation of Contemporary Art – Part 7: Allessandra Barbuto

A poster presentation by Allesandra Barbuto: ‘The museum role. Preserving, documenting and acquiring performance’

Allessandra Barbuto is Head of Collections, Conservation and Registrar at MAXXI Arte

Performing Documentation in the Conservation of Contemporary Art – Part 8: Kinga Olesiejuk

A poster presentation by Kinga Olesiejuk: ‘The modality of documentations as conjunction of contemporary conservation and artistic practices’

Kinga Olesiejuk is an Arts Conservator and PhD candidate at the Academy of Fine Arts Krakow

Performing Documentation in the Conservation of Contemporary Art – Part 9: Vivian van Saaze

A keynote talk by Vivian van Saaze: ’ In the absence of documentation: refelections on the practice of remembrance’

Vivian van Saaze holds a post doctoral research position at the Faculty of Arts and Social Sciences, Maastricht University and is also Co-coordinator of NeCCAR

Performing Documentation in the Conservation of Contemporary Art – Part 10: Jo Ana Morfin

A talk by Jo Ana Morfin: ‘Reactivation strategies for unstable events’

Jo Ana Morfin is an independent Art Conservator and PhD candidate at Bristol University Drama Department.

Performing Documentation in the Conservation of Contemporary Art – Part 11: Rita Macedo and Lúcia Almeida Matos

A talk by Rita Macedo and Lúcia Aleida Matos: ‘Documentation of contemporary art project presentation’  

Rita Macedo is Assistant Professor of Contemporary Art History at the Department of Conservation and Restoration, Universidade Nova de Lisboa, Faculdade de Ciências e Tecnologia. Lúcia Almeida Matos is Assistant Professor of Art Studies and Director of the Graduate Program in Museum Studies and Curatorship at the Faculty of Fine Arts, University of Porto. Rita Macedo and Lúcia Almeida Matos are both members of the research project Documentation of Contemporary Art (DCA), funded by FCT (Foundation for Science and Technology)

Performing Documentation in the Conservation of Contemporary Art – Part 12: Andreia Nogueira and Hélia Marçal

A talk by Andreia Nogueira and Hélia Marçal: ‘Performativity in conservation: The challenges of documenting Francisco Tropa’s oeuvre’

Performing Documentation in the Conservation of Contemporary Art – Part 13: Christina Barros Oliveira

A talk by Christina Barros Oliveira: ‘Suddenly butterflies! Documenting life through Marta de Menezez Nature?’

Christina Barros Oliveira is a PhD candidate in Art History at Universidade Nova de Lisboa

Performing Documentation in the Conservation of Contemporary Art – Part 14: Renée van de Vall

A talk by Renée van de Vall: ‘Documenting dilemmas. On the relevance of ethically ambiguous cases’

Renée van de Vall is Professor of Arts and Media at the Faculty of Arts and Sciences at Maastricht University as well as project leader of NeCCAR

Performing Documentation in the Conservation of Contemporary Art – Part 15: Jan Marontate

A talk by Jan Marontate: ‘Analysing incommensurable values in contemporary art documentation: Insights from cultural sociology’

Jan Marontate is a researcher at the School of Communication at Simon Fraser University, USA

Performing Documentation in the Conservation of Contemporary Art – Part 16: Sanneke Stigter

A talk by Sanneke Stigter: ‘Co-producing conceptual art – A conservator’s testimony on working with Jan Dibbets’  

Sanneke is Coordinator and Lecturer for Contemporary Art Conservation and also a PhD Candidate, Department of Conservation and Restoration of Cultural Heritage Faculty of Humanities, University of Amsterdam, Netherlands

Performing Documentation in the Conservation of Contemporary Art – Part 17: Ursula Haller, Erich Gantzert-Castrillo and Ivo Mohrmann

A talk by Ursula Haller: ‘artemak®. From a compilation of questionnaires… to a wiki-based online platform… to an interdisciplinary documentation and research project’

Ursula Haller is Professor of Conservation of Painting and Mobile Supports at the Academy of Fine Arts in Dresden.

Performing Documentation in the Conservation of Contemporary Art – Part 18: Katrien Blanchaert

A poster presentation by Katrien Blanchaert: ‘Documenting evolving artworks: a case study’

Katrien Blanchaert is a researcher for the collection of S.M.A.K, Museum of contemporary art in Gant, Belgium

Performing Documentation in the Conservation of Contemporary Art – Part 19: Paolo Gili, Antonio Rava & Maria Teresa Roberto

A poster presentation by Paolo Gili and Antonio Rava: ‘Pinot Gallizio’s large-format canvases: Paintings without stretching device and the importance of documentation for the respect of the anomaly of modernist paintings’

Paolo Gili and Antonio Rava are freelance conservators

Performing Documentation in the Conservation of Contemporary Art – Part 20: Claudio Marchese, Federica Pace & Rita Salis

A poster presentation by Claudio Marchese: ‘Documenting La Mararana Arteambientale’s works of art: cataloguing conservation and interviews’

Claudio Marchese is an art historian teaching at University of Pisa

Performing Documentation in the Conservation of Contemporary Art – Part 21: Siska Genbrugge

A poster presentation by Siska Genbrugge: ‘Lost line: A case study documenting contemporary art at LACMA

Siska Genbrugge is an Objects Conservator at LACMA

Performing Documentation in the Conservation of Contemporary Art – Part 22: Julia Noordegraaf

A keynote talk by Julia Noordegraaf: ‘Documenting the analogue past in Marijke van Warmerdam’s film installations’

Julia Noordegraaf is Director of Studies of the MA Preservation and Presentation of the Moving Image at the Faculty of Humanities, University of Amsterdam

Performing Documentation in the Conservation of Contemporary Art – Part 23: Annet Dekker

A talk by Annet Dekker: ‘The quest for the survival of net art, or a speculative approach to documentation’

Annet Dekker is an independent curator and researcher

Performing Documentation in the Conservation of Contemporary Art – Part 24: Andreia Magalhães

A talk by Andreia Magalhães: ‘Films in art museums: in a troubled position between the archive and the collection’

Andreia Magalhães is a PhD candidate at the Faculdade de Belas Artes, University of Porto

Performing Documentation in the Conservation of Contemporary Art – Part 25: Teresa Azevedo

A talk by Teresa Azevedo: ‘In-between places: Ângela Ferreira’s Double-Sided, 1996–2012’

Teresa Azevedo is a PhD research fellow at Instituto de História da Arte, at Universidade Nova de Lisboa  

Performing Documentation in the Conservation of Contemporary Art – Part 26: Glenn Wharton

A keynote talk by Glenn Wharton: ‘Public access in the age of documented art’

Glenn Wharton is Clinical Associate Professor of Museum Studies at New York University and a Time-Based Media Conservator at the Museum of Modern Art (MoMA), New York

About the conference  

Contemporary art conservation requires a re-assessment of the distinction between the work and its re-configuration in documentation.

Although documentation is crucial for the survival of many contemporary works of art, it is never neutral: all approaches, formats, media and systems have their own inherent affordances and blind spots and always transform what they document. Furthermore, in process-centered, technology-based or performative artworks in particular, we often can no longer make a sharp distinction between an original work and its subsequent documentation or replication: documentation is part of the work’s very core.

On the other hand, even the most meticulously documented works will need to be re-installed or re-performed regularly in order to survive, because otherwise important tacit know-how will get lost.

The role of the artist in this process is central, but contested: what if s/he changes her mind, loses interest or is no longer available? And what if the authorship of the work is distributed over several actors? Also, the role of the conservator has taken new dimensions: conservation responsibilities and tasks are now distributed over a diversity of agents.

Performing Documentation in the Conservation of Contemporary Art is jointly organized by the research project Documentation of Contemporary Art and the Network for Conservation of Contemporary Art Research (NeCCAR).