“What is the role of the conservator”

THE MEDIA ART PRESERVATION SYMPOSIUM
March 23-24, 2017

Presenting and learning about research results, as well as practical and technological information concerning collection care and conservation of contemporary artworks. The main goal is to further broaden the educational activities in the field of contemporary art preservation.

To involve Ludwig Museums worldwide and other international institutions and to start projects with artist and professionals are essential in uncovering the meaning and the context of contemporary arts.

A changing environment requires different preservation strategies for long-term sustainability, as opposed to traditional painting, statue, and object prevention processes.

The lifetime of media artworks—such as photo, video, film, digital art, internet-based and other digital contents—is significantly shorter than that of artworks made with traditional techniques (paintings, statues, monuments, etc.). Compared to artworks preserved in museums, the obsolescence of technical devices is considerably faster. Hungarian conservators have to accept that contemporary art belongs to our cultural heritage and it plays a role equal to that of historic artworks.

FILLING IN THE GAP

Continuous learning, the acquirement of new experiences, and the understanding of new media conservation procedures are essential for the development of the museum collection care strategy.
At present, in Hungary there is no education on the preservation of contemporary art for conservators.
The appropriate mapping of this diversified field would ideally involve Ludwig Museums worldwide, international professionals and would also facilitate an exchange and sharing of relevant professional experiences and skills.

“Save As...”
What will remain of new media art?

February 24 – March 26, 2017.

Tibor Hajas: The Jewels of the Night, 1978
video, Ludwig Museum – Museum of Contemporary Art, Budapest
Péter Rónai: Selfmutations, 1991 – 1997
digital print on molino on board, plexiglass, wooden frame, video on DVD, LCD display, Ludwig Museum – Museum of Contemporary Art, Budapest
Tamás St.Auby: Bloody Film, 1968 – 2010
film reel, blood, film canister, duct tape, paper, Ludwig Museum – Museum of Contemporary Art, Budapest
Endre Tót: TÓTalJOYS, 1975–1976
video, Ludwig Múzeum – Kortárs Művészeti Múzeum, Budapest

The conference-related exhibition presents media art in Hungary from its beginnings to our present days, also, the lifework of artists who apply perpetually renewing technologies in creating their works. Focus will be on particular artworks from Ludwig Museum’s collection which provide a comprehensive view of main tendencies in media art, meanwhile illustrate special Eastern European features of this genre. Not only the artworks will be shown to the public, but also the process of their making will be rendered visible. In addition, curator’s unconcealed intention is to explore problematic issues related to the conservation and exhibition of technology-based artworks and to draw attention to the fact that amortisation of media based artworks is inescapable unless institutions start to develop an adequate conservation plan.

The associate partner of Ludwig Museum is C³ Center for Culture & Communication.

Exhibiting artists:

Keynote Adresses

Panel Session and General speech

SCHEDULE OF MAPS 2017 SYMPOSIUM*

You can reserve a ticket and apply for the MAPS symposium online. Please click the button below to register and fill in an application form. maps@ludwigmuseum.hu

Please click the button below to register and fill in an application form. Select, how many tickets want to buy in each category.

Buy a Pass

Thursday, March 23, 2017
Registration: Ludwig Museum – Museum of Contemporary Art

8.30 REGISTRATION, MORNING COFFEE

9.30 WELCOME SPEECH: dr FABÉNYI Julia, director
Ludwig Museum Of Contemporary Art
Budapest, Hungary

10.00 – After us the deluge? Introductory remarks on system change in the preservation of Art.
The systemic shift from analog to digital culture is shaped to a large extent by art as a catalyst of new technologies … more information
Bernhard SEREXHE Art Historian, Curator, Author,
ZHM, Center for Art and Media
Karlsruhe, Germany

10.35 – An Artistic Approach to Media Art Archiving
Now that more than 40 years of electronic art history have passed, it is generally agreed that museums and art institutions are facing a serious problem in respect to the preservation of works of media art… more information
Christa SOMMERER Professor for Interface Cultures,
Media Artist, University of Art and Industrial Design
Linz, Austria

11.10 – Decision-making framework
Museums, galleries, and other art institutions have sought advice and examples from libraries and archives when dealing with media art… more information
Gema GRUESO OTALO New Media Conservator,
Museo Nacional Centro de Arte Reina, Sofía (MNCARS)
Madrid, Spain

11.40 – DEBATE, MODERATED BY Ramon REICHERT Professor of New Media,
Institute for Theater, Film-Media Studies, University of Vienna
Vienna, Austria

12.00 – LUNCH

12.50 – Operative Media Art Preservation
With electro-technical media art works, certain criteria of restoring and preserving in archival terminology have become obsolete; contemporary digital media have induced a further shock for art conservation… more information
Wolfgang ERNST Professor for Media Theories,
Humboldtd Universität ( HU )
Berlin, Germany

13.25 – Knowledge of the Virtual – Possible Usage of Three-Dimensional Models of Exhibition Spaces in Documentation and Archiving
Visualization and digital simulation with three-dimensional models of spaces has been mostly used to imagine not yet existent, planned architectural spaces… more information
NOLASCO-RÓZSÁS Lívia Curator,
ZKM, Centre for Art and Media
Karlsruhe, Germany

14.00 – The Role of the Media Art Conservator Between Theory and Practice
During the last decade, I have worked in different institutions as a collections curator and as a conservator. … more information
Iolanda RATTI Conservator, Pirelli HangarBicocca
Milano, Italy

14.30 – DEBATE, MODERATED BY Kate LEWIS Chief Conservator,
The Museum of Modern Art (MOMA)
New York, United States of America

15.00 – COFFEE BREAK

15.20 – Crowd Art. Processing Image, Algorithmic Programming and Web as Context
The crowd art of collective production of meaning has recently gained momentum in the social web… more information
Ramon REICHERT Professor of New Media,
Institute for Theater, Film-Media Studies, University of Vienna
Vienna, Austria

15.55 – Artists began to work with video when the first mass-produced consumer systems became affordable in the 1960s… more information
Dorcas MÜLLER Head of Laboratory for Antiquated Video Systems
ZKM, Center for Art and Media
Karlsruhe, Germany

16.30 : Software is “stuff unlike any other
Software is “stuff unlike any other” (David Gelerntner), making it difficult to understand how to conserve it right… more information
Dragan ESPENSCHIED Preservation Director,
Rhizome, New Museum
New York, United States of America

17.00 – DEBATE, MODERATED BY Bernhard SEREXHE Art Historian, Curator, Author,
ZHM, Center for Art and Media
Karlsruhe, Germany

17.30 – GUIDED TOUR
“Save As…” – What Will Remain of New Media Art?
The exhibition presents media art in Hungary from its beginnings to our present days, introducing the lifework of artists who were responding to constantly changing technologies in creating their works. Focus will be on artworks from Ludwig Museum’s collection, which provide a comprehensive overview of main tendencies in media art, meanwhile illustrate special Eastern European features of this genre. … more information

17.30 – WORKSHOP 1
Complexity, Variation and Conservation. How to proceed as Contemporary art Conservators?
From the moment a work is included in a collection, there are usually several conservation aspects to be investigated… more information
Frederika HUYS Conservator,
Protocol Room
Antwerpen, Belgium

18.30 – WORKSHOP 2
Software is “stuff unlike any other” … more information
Dragan ESPENSCHIED Preservation Director,
Rhizome, New Museum
New York, USA

Friday, March 24, 2017

8.30 – MORNING COFFEE

9.30 – WELCOME SPEECH

10.00 – How Can a Digital Artwork Be Sustained, Operated, and Presented?
Collecting, presenting, and preserving media art brings with it new questions and challenges… more information
Gaby WIJERS Director,
LIMA
Amsterdam, Nederland

10.35 – Transparency of archival processes
Transparency of archival processes and protecting the integrity of collected objects by documenting all conservation and restoration treatments, is a well-established standard in the field of conservation, but at the same time it is a difficult duty to fulfill, and with many contemporary artworks it feels like an unattainable goal … more information
Elżbieta WYSOCKA Head Of Digital Repository, Filmoteka Narodowa (FN)
Warsaw, Poland

11.10 – What Goes Where? Decisions and Challenges of a Digital Repository
Tate received the first digital elements for time-based media artworks at the end of the Millennium… more information
Patricia FALCAO Time- based Media Conservator,
Tate
London, United Kingdom

11.45 – DEBATE, MODERATED BY Glenn WHARTON professor,
New York University
New York, USA

12.20 – LUNCH

13.10 – Beyond the Interview: Working with Artists in Ttime-Based Media Conservation.
Communicating with artists and their assistants is an almost daily part of my practice as a time-based media conservator… more information
Kate LEWIS Chief Conservator,
The Museum of Modern Art (MOMA)
New York, United States of America

13.45 : The Artist Interview in Conservation Research
Interviewing has become an important research tool in the conservation of contemporary art… more information
Sanneke STIGTER Professor,
University of Amsterdam (UvA)
Amsterdam, Nederlands

14.20 – Lessons in Obsolescence – new media conservation at the University of Amsterdam
Ever since they came into existence, new media such as film, video and digital technology have been used experimentally by artists… more information
Ellen JANSEN Art Historian, Conservator,
University of Amsterdam (UvA)
Amsterdam, Nederlands

14.50 – DEBATE, MODERATED BY NOLASCO-RÓZSÁS Lívia Curator,
ZKM, Centre for Art and Media
Karlsruhe, Germany

15.10
COFFEE BREAK

15.30 – Collection Care in Progress
Compared to artworks preserved in museums, the obsolescence of technical devices is considerably faster, however, media artworks belong to our cultural heritage as well… more information
KÓNYA Béla Tamás Project Manager for MAPS2017, Head of Collection Care and Conservation Department,
Ludwig Museum Of Contemporary Art
Budapest, Hungary

16.05 – Documentation and Preservation Strategies for a Contemporary Installation
This case study about Lynn Hershman Leesons’ “Infinity Engine” poses most of the difficult questions conservators are confronted with in the documentation of contemporary installation and shows the enormous workload of a multidisciplinary team… more information
Nahid Matin POUR Head of Conservation,
ZKM, Center of Media
Karlsruhe, Germany

16.35 – DEBATE, MODERATATED BY Frederika HUYS Conservator,
Protocol Room
Antwerpen, Belgium

17.00 – WORKSHOP 3.
Contracting. How Can a Digital Artwork Be Sustained, Operated and Presented?
Collecting, presenting, and preserving media art brings with it new questions and challenges…
more information
Gaby WIJERS Director,
LIMA
Amsterdam, Nederland

17.30 – GUIDED TOUR
Non-Aligned Art – Marinko Sudac Collection
A comprehensive array of avant-garde art from the former Yugoslav states and some neighbouring countries, focusing on the Cold War era… more information

18.30 – WORKSHOP 4.
Media Conservation Documentation: Emerging Trends and Public Access
Media conservators create a wide range of documentation from their research and interventions… more information
Glenn WHARTON professor,
New York University
New York, USA

19.30 – FAREWELL RECEPTION

20.00 – Mïus X Attaray Visual: The digital tale of geometric shapesRelax. This is a journey to a timeless audiovisual microcosmos……when you see your own light in totally darkness, it’s a single value carries only intensity level. In that world the audiovisual journey begin which drives you across shattered shapes with black frames and white circles among triangle mountains to the digital fields where there is full moon in grey and your breath begins to slow down; you hear the gong sounds and see the resonances in the air. This is the abstract universe: 40 minutes of audiovisual experimentation.

*The programs are subject to change. We provide interpretation (English–Hungarian / Hungarian–English) during the presentations of the symposium.

Purchase Your MAPS 2017
Conference Programs

Conference Pass: 45 €

You can purchase a ticket and apply for the MAPS 2017 symposium online. You will pay in the local currency (HUF). The displayed amount (in €) is indicative and based on the exchange rate at the time of booking.
Please note that registration is limited to 100 participants. We provide interpretation (English–Hungarian / Hungarian–English) during the presentations of the symposium.

Please click the button below to register and fill in an application form. Select, how many tickets want to buy in each category.

Buy a Pass

WHAT IS INCLUDED IN THE CONFERENCE PASS?

Two-day access to MAPS 2017 symposium (23-24 March 2017)
Snack during the lunch break
Access to all keynote presentations
Printed version of the presentations abstract
Free access to the exhibitions of Ludwig Museum Budapest
Free access to Mïus X Attaray Visual event

WORKSHOP

Tailor your conference pass by purchasing workshop pass that’s right for you. As you browse the MAPS 2017 tracks, select workshop to add to your cart. Please note the workshops are access with conference pass and workshop pass only.

Workshop	Conference Pass: 45 €	WORKSHOP
MAPS Workshop 1. / 23 MAR 2017 THURSDAY, 5:00PM Frederika HUYS: Complexity, Variation, and Conservation How to Proceed as Contemporary Art Conservators?		+ 5 €
MAPS Workshop 2. / 23 MAR 2017 THURSDAY, 6:30PM Dragan ESPENSCHIED: Practical ways of using the tools Webrecorder and Emulation as a Service		+ 5 €
MAPS Workshop 3. / 24 MAR 2017 FRIDAY, 5:00PM Gaby WIJERS: How Can a Digital Artwork Be Sustained, Operated, and Presented?		+ 5 €
MAPS Workshop 4. / 24 MAR 2017 FRIDAY, 6:30PM Glenn WHARTON: Media Conservation Documentation: Emerging Trends and Public Access		+ 5 €

You will pay in the local currency (HUF). The displayed amount (in €) is indicative and based on the exchange rate at the time of booking.

VENUE

LUDWIG MUSEUM - MUSEUM OF CONTEMPORARY ART, BUDAPEST

LUDWIG MUSEUM – MUSEUM OF CONTEMPORARY ART, BUDAPEST

Ludwig Museum, Budapest is the most significant institution of contemporary art in Hungary that collects and exhibits the newest trends and the most outstanding artists of the local and international art scene to the public. Its collection, which is pre-eminent not only in Hungary, but in a regional context, too, comprises about 600 pieces including masterly works by artists such as Pablo Picasso, Andy Warhol, Keith Haring or Yoko Ono. With its exhibitions and exciting programmes and events, the museum makes every effort to render contemporary art available and accessible to the widest possible public embracing the youngest generations as well as the elder ones, and also to deepen and to help understand the exciting visual culture of today. The museum is a major cultural attraction in Budapest and with its activities it takes a leading role in shaping the city’s 21st century image.

COLLECTION AT THE LUDWIG MUSEUM

Contemporary photographs, prints and time based media (approximately 30% of the museum’s collection) form the most delicate part of the museum’s collection which focuses on Eastern and Central European art from the 1960s to recent days. These unique objects need permanent and regular care. In the collection, we work with a wide range of contemporary artworks of which 75 pieces are video based.

ADDRESS

LUDWIG MUSEUM
MUSEUM OF CONTEMPORARY ART
Palace of Arts
H-1095 Budapest
Komor Marcell 1.

Country: HUNGARY

“What is the role of the conservator”

FILLING IN THE GAP

TARGET GROUP

SPECIFIC QUESTIONS

“Save As...”What will remain of new media art?