15.12.2010: Workshop

Collect, exhibit and preserve video art.

A workshop with restorer Agathe Jarczyk, studio for video conservation (Bern)
and restorer Joanna Phillips, Solomon R. Guggenheim Museum (New York)

WEDNESDAY 15 DECEMBER 2010, 10 am - 5 pm
imai - inter media art institute, c/o NRW-Forum, Ehrenhof 2, 40479 Düsseldorf

Video art works are highly complex systems integrating aesthetics and concepts which due to their nature are subject to change and may alter their condition. In order to ensure a long life and sustainable integrity of the collected objects, an active and continuous support by collectors, restorers, and curators is necessary.

Using numerous examples from museums and the applied video conservation the speakers elaborate the basic criteria for the competent purchase, documentation and acceptance into the collection and the definition of a preservation strategy for video art works. Furthermore a number of approaches for handling technological obsoleteness and variability of video installations are discussed together with the resulting presentations. At the end of the day "school of seeing" training is given to enable participants to sharpen their perceptions of video media to selectively examine video sequences with regard to picture structure, various types of damage and background information on types of compression. 

The workshop with Joanna Phillips and Agathe Jarczyk who have many years of experience working with the conservation and restoration of video art is especially designed for curators, restorers and museum employees whose duties include the handling of video art collections.

Language: German
BINDING registration: until 10 December 2010 | by email to Anna Virgin: This e-mail address is being protected from spam bots, you need JavaScript enabled to view it
 Max. 50 participants.

Participation: without charge

>> info in pdf file

PROGRAM

10.00 - 10.10  DR. RENATE BUSCHMANN, DIRECTOR DES IMAI | WELCOMING ADDRESS

10.10 - 11.00  JOANNA PHILLIPS | COLLECTING VIDEO ART
What does a video art work consist of? Which components have to be purchased? How can one check the condition of a video art work and what technical equipment is necessary for this? What information is required by artists to develop a long-term preservation strategy?

11.00 - 11.30  AGATHE JARCZYK | DOCUMENTING VIDEO ART
How to view the videos correctly? How can one document the condition of the video?
Step-by-step instructions. 

11.30 - 11.45  BREAK

11.45 - 12.45  JOANNA PHILLIPS | EXHIBITING VIDEO ART
How is it possible to determine the variability of a video art work? What approaches are there to deal with technological obsoleteness? What effects do these different strategies have on the presentation and reception of the video art work?

12.45 - 2.15  LUNCH BREAK
2.15 - 3.15  AGATHE JARCZYK | PRESERVATION OF VIDEO ART
What are the differences between analogue and  digital video? Why is the digitalisation unavoidable for the preservation of video art? What parameters are decisive for a successful digitalisation?

3.15-3.30  BREAK

3.30-5.00  AGATHE JARCZYK UND JOANNA PHILLIPS | SCHOOL OF SEEING Numerous video sequences enable the comparison between intact and damaged picture structures and various types of compression and codecs. Analogue and digital damage are compared to damage and intended by the artist.


funded by: