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Installation Art and the Museum Will This Book Is a Significant and V Become Essential Reading for Scholars Innovative Contribution to the Ian Installation Art omslag.indd | Sander Pinkse Boekproductie | 21-02-13 / 16:31 | Pag. 1 Vi Installation Art and the Museum will This book is a significant and V become essential reading for scholars innovative contribution to the ian and professionals who work in the art literature. At present there is a lack V world, along with anyone with serious of such a publication addressing in an an Saaze Installation Art interest in contemporary art and its accessible manner the emergence of display. contemporary artists’ installations It is an engaging account of what within a museum context and the goes on behind museum doors as practice of those responsible for Art and the Museum Installation staff struggles to maintain a sense the display and conservation. This and the Museum of authenticity with variable art. publication provides a valuable read Van Saaze reveals the tensions between for both those new to the subject and artists, curators, and conservators the more experienced reader. It is an Presentation and Conservation of Changing Artworks who re-create and alter these works important and timely piece of research for public display. Video requires which I believe will be both influential reformatting and new exhibition and widely read. ViVian Van Saaze equipment as technologies go – Pip Laurenson, Head of Collection Care obsolescent. Installation works change Research, Tate, London when re-designed for new gallery spaces. Artists challenge the notion Vivian van Saaze is postdoctoral of single authorship by transferring researcher at the Faculty of Arts decision-making to museum staff and Social Sciences of Maastricht or by distributing their role through University. collaborative practice. The art examined in this book is inherently www.aup.nl unstable, and its care provides a rich context for understanding what AmsterdAm University Press happens when agreed-upon social practice in museums is disrupted by external change. Interdisciplinary scholarship at its best. – Glenn Wharton, Time-Based Media amSterdam UniVerSity PreSS Conservator at the Museum of Modern Art (MoMA) and Research Scholar in Museum Studies, New York University Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 1 InstallatIon art and the MuseuM Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 2 Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 3 Installation Art and the Museum Presentation and Conservation of Changing Artworks VIVIan Van saaze Amsterdam University Press Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 4 This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collabora- tive initiative to develop and implement a sustainable Open Access publi- cation model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Cover illustration: ensemble autour de MUR (1998) by Joëlle Tuerlinckx. Collection Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent, Bel- gium. Installation view 2003 at S.M.A.K. Photo by Dirk Pauwels. Courtesy photographer and S.M.A.K. © Joëlle Tuerlinckx Cover design and lay-out: Sander Pinkse Boekproductie, Amsterdam ISBN 978 90 8964 459 6 e-ISBN 978 90 4851 751 0 (pdf ) e-ISBN 978 90 4851 752 7 (ePub) NUR 751 © V. van Saaze / Amsterdam University Press, Amsterdam 2013 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (elec- tronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 5 For Kaat Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 6 Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 7 Contents Acknowledgments 9 Introduction: Challenges of Installation Art 11 On Changes and Challenges 13 Installation Art and the Museum 17 Decisions and Discussions 21 Doing Artworks 27 Outline of the Book 32 1 Key Concepts and Developments in Conservation Theory and Practice 35 1.1 Introduction 36 1.2 The Emergence of Conservation as a Profession 37 1.3 Authenticity and Artist’s Intent: Key Concepts and Stumbling Blocks 48 1.4 Conclusion 57 2 From Singularity to Multiplicity: Authenticity in Practice 61 2.1 Introduction 63 2.2 More than One One Candle? 73 2.3 Authenticity as a Matter of Perspective 74 2.4 From Perspectives to Practices 80 2.5 One Candle as Singular 83 2.6 Disruptions and Dispersion 88 2.7 External Multiple One Candles 95 2.8 One Candle: More than One, Less than Many 103 3 From Intention to Interaction: Artist’s Intention Reconsidered 109 3.1 Introduction 111 3.2 Problems of Reinstallation: Artist’s Intent in Practice 115 3.3 By Means of Measuring: A Stretch Museum Scale 1:1 122 Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 8 3.4 Never Stop Starting: ensemble autour de MUR 131 3.5 Conclusion: Multiple Practices 139 4 F rom Object to Collective, from Artists to Actants: Ownership Reframed 143 4.1 Introduction 144 4.2 The Emergence of No Ghost Just a Shell 151 4.3 Searching for New Concepts 156 4.4 Acquiring No Ghost Just a Shell: From Artists to Museum 159 4.5 A New Artwork: Travelling Pod 161 4.6 The Museum System 165 4.7 ‘What Exactly Have We Acquired?’ 168 4.8 Another No Ghost Just a Shell 172 4.9 By Way of Conclusion 178 Conclusion: Challenges and Potentialities of Installation Art 181 On Challenges and Potentialities 182 Foregrounding Practices 183 New Vistas 185 List of Illustrations 189 References 193 Interviews 213 Index 217 Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 9 Acknowledgments For giving me the opportunity to write this book, I thank the Faculty of Arts and Social Sciences (FASOS) at Maastricht University and the Neth- erlands Institute for Cultural Heritage (ICN) (now part of the Cultural Heritage Agency of the Netherlands (RCE)). Many colleagues at FASOS and RCE contributed to this research. I warmly thank you all for the many insights and constructive feedback. I am especially grateful to Renée van de Vall, Rob Zwijnenberg, and IJsbrand Hummelen, who have been inval- uable during the process of research and writing. I thank you for your trust, encouragements and sharp minds. Special thanks also to Tatja Scholte, Pip Laurenson, Glenn Wharton and Sherri Irvin for comment- ing on earlier versions of the manuscript. I am indebted to Maaike Groot and Chantal Nicolaes for their guidance and support throughout the pro- duction phase of this book. Furthermore, I want to express my sincere gratitude to all those involved in the Inside Installations research project for allowing me to integrate into their work and who took time out of their busy schedules to give interviews. In particular, I would like to acknowledge the museum staff of MMK in Frankfurt am Main, Bonnefantenmuseum in Maastricht, S.M.A.K. in Ghent and Van Abbemuseum in Eindhoven. It was a great pleasure to be part of your worlds and I shall be looking forward to fol- low future developments in the field. I am grateful to be able to continue this line of research and thank my colleagues of the research project New Strategies in the Conservation of Contemporary Art — Renée van de Vall, Deborah Cherry, Tatja Scholte, IJsbrand Hummelen, Hanna Hölling, Sanneke Stigter, Angela Matyssek, Annet Dekker, Panda de Haan and Paolo Martore — for the many fruitful conversations far beyond the edges of this book. This book started out as a PhD project and parts of the case study research have been published in: J. Noordegraaf, C. Saba, B. Le Maître & V. Hediger 9 Installation art def.indd | Sander Pinkse Boekproductie | 02-04-13 / 11:54 | Pag. 10 (eds), Preserving and Exhibiting Media Art (Amsterdam University Press, 2013); The Electronic Media Review (American Institute for Conservation of Historic and Artistic Works, Vol. 1, 2012); E. Hermens & T. Fiske (eds), Art, Conservation, and Authenticities/Material, Concept, Context (Archetype Publications, 2009); Revista de História da Arte (no. 8, 2011) and Krisis: Journal for Contemporary Philosophy (no. 1, 2009). This book would have been far less colourful without the dedication and persistence of Kitija Vasiljeva, who helped in collecting illustrations and preparing this publication. For assistance with illustrations, I would also like to thank: Barbera Brakel; Agnes Brokerhof; Miguel-Ángel Cárdenas; Peter Cox; Evelyne Snijders; Joëlle Tuerlinckx and Corinne Giandou; Jochen Saueracker; Joe Scanlan; Carlos Ascurra at De la Cruz Collection, Miami, Florida; Christiane Berndes and Margo van de Wiel at Van Abbe- museum, Eindhoven, the Netherlands; Carole Billy at Marian Goodman, Paris, France; Ashley Brown at Casey Kaplan Gallery, New York; Géral- dine Convert at Air de Paris, Paris, France; Caroline Dumalin at Galerie Micheline Szwajcer, Antwerp, Belgium; Tony Izaaks at Esther Schipper, Berlin, Germany; Dirk Pauwels at S.M.A.K., Ghent, Belgium; Bart Rutten and Hetty Wessels at Stedelijk Museum, Amsterdam, the Netherlands; Thomas Schröder at MMK, Frankfurt am Main, Germany, and Gaby Wijers at NIMk, Amsterdam, the Netherlands. The research and publication of this book has been made possible through collaboration between the Cultural Heritage Agency of the Netherlands (RCE) and the Faculty of Arts and Social Sciences, Maastricht Universi- ty.
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