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FRAMING ET AL. (EDS.) NOORDEGRAAF JULIA NOORDEGRAAF, COSETTA G. SABA, FILM BARBARA LE MAÎTRE, VINZENZ HEDIGER (EDS.) PRESERVING AND EXHIBITING MEDIA ART PRESERVING AND EXHIBITING MEDIA ART Challenges and Perspectives This important and fi rst-of-its-kind collection addresses the Julia Noordegraaf is AND EXHIBITING MEDIA ART PRESERVING emerging challenges in the fi eld of media art preservation and Professor of Heritage and exhibition, providing an outline for the training of professionals in Digital Culture at the Univer- this fi eld. Since the emergence of time-based media such as fi lm, sity of Amsterdam. video and digital technology, artists have used them to experiment Cosetta G. Saba is Associate with their potential. The resulting artworks, with their basis in Professor of Film Analysis rapidly developing technologies that cross over into other domains and Audiovisual Practices in such as broadcasting and social media, have challenged the tradi- Media Art at the University tional infrastructures for the collection, preservation and exhibition of Udine. of art. Addressing these challenges, the authors provide a historical Barbara Le Maître is and theoretical survey of the fi eld, and introduce students to the Associate Professor of challenges and di culties of preserving and exhibiting media art Theory and Aesthetics of through a series of fi rst-hand case studies. Situated at the threshold Static and Time-based Images at the Université Sorbonne between archival practices and fi lm and media theory, it also makes nouvelle – Paris 3. a strong contribution to the growing literature on archive theory Vinzenz Hediger is and archival practices. Professor of Film Studies at the Goethe-Universität Frankfurt am Main. ISBN AMSTERDAM UNIVERSITY PRESS ISBN 9789089642912 WWW.AUP.NL FRAMING FILM AMSTERDAM UNIVERSITY PRESS 9789089642912 EYE FILM INSTITUTE NETHERLANDS Noordegraaf omslag DEF-2.indd 1 09-01-13 14:18 PRESERVING AND EXHIBITING MEDIA ART Noordegraaf DEF.indd 1 08-01-13 14:33 FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices, in line with the existing archive of EYE Film Institute. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. Please see www.aup.nl for more information. Noordegraaf DEF.indd 2 08-01-13 14:33 JULIA NOORDEGRAAF, COSETTA G. SABA, BARBARA LE MAÎTRE, AND VINZENz Hediger (eds.) PRESERVING AND EXHIBITING MEDIA ART Challenges and Perspectives AMSTERDAM UNIVERSITY PRESS Noordegraaf DEF.indd 3 08-01-13 14:33 This project has been funded with support from the European Commission. This publication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. 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 collaborative initiative to develop and implement a sustainable Open Access publication model for academic books in the Human- ities 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: Section of the exhibition Andy Warhol. Other Voices, Other Rooms, Stedelijk Museum CS Amsterdam, 12 October 2007 - 14 January 2008. Photo: Gert Jan van Rooij. © The Andy Warhol Foundation for the Visual Arts, Inc. c/o Pictoright Amsterdam 2012 Cover design and lay-out: Magenta Ontwerpers, Bussum ISBN 978 90 8964 291 2 e-ISBN 978 90 4851 383 3 NUR 670 © J. Noordegraaf, C.G. Saba, B. Le Maître, V. Hediger / 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 (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Noordegraaf DEF.indd 4 08-01-13 14:33 TABLE OF CONTENTS Acknowledgements 8 | 5 Introduction 11 JULIA NOORDEGRAAF PART I HISTORY, ARCHAEOLOGY, AESTHETICS, ARCHIVE: THEORETICAL PATHS Introduction 23 VINZENZ HEDIGER 1 Between Art History and Media History: A Brief Introduction to Media Art 25 CHRIS WAHL 2 Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet 59 WANDA STRAUVEN 3 Media Aesthetics 81 DARIO MARCHIORI 4 Media Art and the Digital Archive 101 COSETTA G. SABA Noordegraaf DEF.indd 5 08-01-13 14:33 PART II ANALYSIS, DOCUMENTATION, ARCHIVING Introduction 123 JULIA NOORDEGRAAF 5 The Analysis of the Artwork 127 DARIO MARCHIORI 6 Methodologies of Multimedial Documentation and Archiving 149 6.1 Enjoying the Gap: Comparing Contemporary Documentation Strategies 149 ANNET DEKKER 6.2 Case Study: No Ghost Just a Shell by Pierre Huyghe, Philippe 6 | Parreno, and Many Others 170 VIVIAN VAN SAAZE 6.3 The Artist’s Interview as a Tool for Documenting and Recreating a Complex Installation: The Example of Mbube, an Audio- Installation by Roberto Cuoghi in the Museo Del Novecento, Milan 176 IOLANDA RATTI 6.4 MAXXI Pilot Tests Regarding the Documentation of Installation Art 181 ALESSANDRA BARBUTO AND LAURA BARRECA PART III TECHNOLOGICAL PLATFORMS, PRESERVATION, AND RESTORATION Introduction 197 COSETTA G. SABA 7 Technological Platforms 201 Introduction 201 SIMONE VENTURINI 7.1 The History and Technological Characteristics of Cinematographic Production and Reception Devices 203 SIMONE VENTURINI AND MIRCO SANTI 7.2 The History and Technological Characteristics of Video Production and Reception Devices 217 ALESSANDRO BORDINA PRESERVING AND EXHIBITING MEDIA ART Noordegraaf DEF.indd 6 08-01-13 14:33 7.3 Computers and Digital Reception Devices: History and Technological Characteristics 227 TABEA LURK AND JÜRGEN ENGE 7.4 Obsolete Equipment: Ethics and Practices of Media Art Conservation 235 GABY WIJERS 8 Theories, Techniques, Decision-making Models: The European Context 253 8.1 Operational Practices for a Film and Video Preservation and Restoration Protocol 253 ALESSANDRO BORDINA AND SIMONE VENTURINI 8.2 Operational Practices for a Digital Preservation and Restoration Protocol 270 JÜRGEN ENGE AND TABEA LURK 8.3 Case Study: The Conservation of Media Art at Tate 282 | 7 AN INTERVIEW WITH PIP LAURENSON (HEAD OF TIME-BASED MEDIA CONSERVATION AT TATE) BY JULIA NOORDEGRAAF PART IV ACCESS, REUSE, AND EXHIBITION Introduction 305 BARBARA LE MAÎTRE 9 Exhibition Strategies 309 Introduction 309 BARBARA LE MAÎTRE AND SENTA SIEWERT 9.1 From Cinema to the Museum: A State of Affairs 311 9.1.1 A “Cinema Effect” in Contemporary Art 311 PHILIPPE DUBOIS 9.2 Exhibiting Images in Movement 326 9.2.1 Exhibiting/Editing: Dominique Païni and Programming at the Cinémathèque française at the Turn of the Centenary 326 STÉPHANIE-EMMANUELLE LOUIS 9.2.2 The Expanded Archive: The MindFrames exhibition 331 CLAUDIA D’ALONZO 9.2.3 Exhibiting Film and Reinventing the Painting 335 BARBARA LE MAÎTRE 9.3 The Image Traveling across Territories: Cinema, Video, TV, Museum, the Web, and beyond 342 9.3.1 On Passages Between Art and Cinema 342 ARIANE NOËL DE TILLY tabLE OF COntents Noordegraaf DEF.indd 7 08-01-13 14:33 9.3.2 Across the Territories: Exhibiting Music Video 346 SENTA SIEWERT 9.3.3 Developing, Presenting, and Documenting Unstable Media at V2_ 352 ARIE ALTENA 9.4 New Dispositifs, New Modes of Reception 362 9.4.1 Video Installations as Experiences in Montage 362 TÉRÉSA FAUCON 9.4.2 From the Film to the Map: Patrick Keiller and The City of the Future 366 TERESA CASTRO 9.4.3 Site-specific Exhibition and Reexhibition Strategies: Max Neuhaus’s Times Square 370 ELENA BISERNA 8 | 9.4.4 From Archival Model to Exhibition Platform? Video Art As a Web Resource and the imai Online Catalogue 376 RENATE BUSCHMANN 10 On Curating New Media Art 379 SARAH COOK Epilogue 407 JULIA NOORDEGRAAF AND ARIANE NOËL DE TILLY List of contributors 415 Index 419 PRESERVING AND EXHIBITING MEDIA ART Noordegraaf DEF.indd 8 08-01-13 14:33 AcKNOWLEDGEMENTS This book has its origins in a three-year collaboration (2007-2010) between the | 9 Università degli studi di Udine, the University of Amsterdam, the Université Sorbonne Nouvelle-Paris 3, and the Ruhr-Universität Bochum that was spon- sored by a grant from the Erasmus Lifelong Learning program. With its 36 contributions by 30 authors from 6 European countries, the book provides a truly international perspective on the challenges of preserving and exhibiting time-based media art. For the sake of clarity, the contributions by different authors on the same topic are grouped in single chapters, with the endnotes and references at the end of each chapter. Because of its exceptional length, chapter 9 has been divided into four thematically grouped subsections, with endnotes and refer- ences at the end of each section. Chapter 9.1.1, written by Philippe Dubois, was published previously in French in the Fall 2006 edition of Cinema & Cie. International Film Studies Journal. We are grateful to the publisher for allowing us to reprint the English translation of his text in the present book. Catherine Davis translated chapters 1, 7.3, 8.2, and 9.4.4 from the Ger- man. Franck LeGac translated chapters 9.1.1., 9.2.1, 9.2.3, 9.4.1, and 9.4.2 from the French, as well as sections of chapter 5 and the introductions to part IV and chapter 9. Paul Gummerson translated chapters 4, 7.1, 7.2, 8.1, and the introduction to part III from the Italian.
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