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Contents Project Organisation 2 Introduction 4 contents Project organisation 2 Introduction 4 Ignasi Aballí, Finestre 6 Arthur Barrio, Interminàvel 6 Krzysztof M. Bednarski, Grass just Grass 8 Phil Collins, they shoot horses 8 Ángela de la Cruz, Larger than Life 0 Tacita Dean, Disappearance at Sea 0 Olafur Eliasson, Notion Motion 2 Ger van Elk, The wider the flatter 2 Carlos Garaicoa, Letter to the Censors 4 Johan Grimonprez, Inflight 4 Thomas Hirschhorn, Doppelgarage 6 Jenny Holzer, Installation for Bilbao 6 Suchan Kinoshita, Untitled 8 Suchan Kinoshita, Voorstelling 8 Joseph Kosuth, Glass (one and three) 20 Greg Lynn & Fabian Marcaccio, The Predator 20 Gustav Metzger, Liquid Crystal Environment 22 Bruce Nauman, MAPPING THE STUDIO II with color shift, flip, flop & flip/flop (Fat Chance John Cage) 22 No Ghost Just a Shell, initiated by Pierre Huyghe & Philippe Parreno 24 Dennis Oppenheim, Circle Puppets 24 Nam June Paik, One Candle 26 Panamarenko, The Aeromodeller OO-PL 26 Javier Pérez, Un pedazo de cielo cristalizado 28 Fabrizio Plessi, Liquid Time II 28 Ulrike Rosenbach, Don’t think I am an Amazon 30 Tino Sehgal, This is Propaganda 30 Jeffrey Shaw & Tjebbe van Tijen, Revolution (a monument for the television revolution) 32 Ross Sinclair, Journey to the Edge of the World - The New Republic of St. Kilda 32 Bill Spinhoven, Albert’s Ark 34 Joëlle Tuerlinckx, Ensemble autour du MUR 34 Eulàlia Valldosera, Flying #1 New York 36 Franz West, Clamp 36 Gilberto Zorio, Los Zorios 38 research activities The preservation of installations 40 Artist Participation 45 Documentation Model (2IDM) 48 Documentation of installation art 50 The measurement of installation art 5 Documentation of light 52 Documentation of movement and sound 53 Visualisation of installation art 54 3D documentation of installations 55 Video documentation of installations 56 Theory and semantics 58 Knowledge management and information exchange 6 Project organiser Instituut Collectie Nederland, Research (ICN) KAREN TE BRAKE-BALDOCK, IJSBRAND HUMMELEN, VIVIAN VAN SAAZE (ICN/MAASTRICHT UNIVERSITY), TATJA SCHOLTE International co-organisers United Kingdom, Tate research PRESERVATION STRATEGIES case researchers KATE JENNINGS, PIP LAURENSON, TINA WEIDNER Phil Collins, they shoot horses, 2004 Tacita Dean, Disappearance at Sea, 996 Carlos Garaicoa, Letter to the Censors, 2003 Gustav Metzger, Liquid Crystal Environment, 965-66/2005 Bruce Nauman, Mapping the Studio II with color shift, flip, flop & flip/flop (Fat Chance John Cage), 200 Tino Sehgal, This is Propaganda, 2002 Belgium, Stedelijk Museum voor Actuele Kunst (S.M.A.K.) research ARTISTS PARTICIPATION case researchers ANNE DE BUCK, FREDERIKA HUYS, ANN DE NIJS, KATHLEEN WIJNE, FABIANA CANGIA, STIJN VAN DE VIJVER Arthur Barrio, Interminàvel, 2005 Johan Grimonprez, Inflight, 2000 Suchan Kinoshita, Voorstelling, 997 Panamarenko, The Aeromodeller OO-PL, 969-7 Joëlle Tuerlinckx, Ensemble autour du MUR, 998 AFFILIATED PARTNER: Academy of Fine Arts, Warsaw, Poland case researchers MONIKA JADZINSKA, IWONA SZMELTER Krzysztof M. Bednarski, Grass just Grass, 996 (Center for contemporary art, Warsaw) The Netherlands, Foundation for the Conservation of Contemporary Art (SBMK) research THEORY AND SEMANTICS case researchers PAULIen ’t Hoen (SMBK), CHRISTIANE BERNDES (VAN ABBEMUSEUM), ELBRIG DE GROOT, JAAP GULDEMOND (MUSEUM BOIJMANS VAN BEUNINGEN), INEKE KLEIJN (BONNEFANTENMUSEUM), SANNEKE STIGTER (KRÖLLER-MÜLLER MUSEUM), SIMONE VERMAAT (ICN), GABY WIJERS (NETHERLANDS MEDIA ART INSTITUTE/MONTEVIDEO) Museum Boijmans van Beuningen: Olafur Eliasson, Notion Motion, 2005 Kröller-Müller Museum: Ger van Elk, The wider the flatter, 972 Joseph Kosuth, Glass (one and three), 965 Franz West, Clamp, 995 Bonnefantenmuseum: Suchan Kinoshita, Untitled, 2000 Van Abbemuseum: No Ghost Just a Shell, initiated by Pierre Huyghe & Philippe Parreno, Instituut Collectie Nederland, Collections (ICN): Jeffrey Shaw, Revolution (a monument for the television revolution), 990 Netherlands Media Art Institute / Montevideo: Bill Spinhoven, Albert’s Ark, 990 Germany, Restaurierungszentrum der Landeshauptstadt Düsseldorf research DOCUMENTATION AND ARCHIVING STRATEGIES case researchers GUNNAR HEYDENREICH, MARTINA PFENNINGER, CORNELIA WEYER (RESTAURIERUNGSZENTRUM DÜSSELDORF), ULRIKE BAUMGART (FREELANCE, BONN), REINHARD BEK (MUSEUM JEAN TINGUELY), MAIKE GRÜN (DOERNER INSTITUT), ULRICH LANG (MUSEUM FÜR MODERNE KUNST, FRANKFURT), FRANZISKA HERZOG, THOMAS ZIRLEWAGEN (ZKM ZENTRUM FÜR KUNST UND MEDIENTECHNOLOGIE), BARBARA SOMMERMEYER (HAMBURGER KUNSTHALLE) Pinokothek der Moderne, Doerner Institut: Thomas Hirschhorn, Doppelgarage, 2002 Museum für Moderne Kunst Frankfurt (MMK): Greg Lynn & Fabian Marcaccio, The Predator, 999 Nam June Paik, One Candle, 988 ZKM Zentrum für Kunst und Medientechnologie: Fabrizio Plessi, Liquid Time II, 993 museum kunst palast, Restaurierungszentrum Düsseldorf: Ulrike Rosenbach, Don’t think I am an Amazon, 975 Hamburger Kunsthalle: Ross Sinclair, Journey to the Edge of the World - The New Republic of St. Kilda, 999/2002 Spain, Museo Nacional Centro de Arte Reina Sofia (MNCARS) research KNOWLEDGE MANAGEMENT AND INFORMATION EXCHANGE case researchers JORGE GARCIA, CRAIG GORDON, MAYTE ORTEGA, ARIANNE VANRELL, JOSÉ CARLOS ROLDÁN (CENTRO ARTE CONTEMPORÁNEO ANDALUZ), SILVIA LINDNER (GUGGENHEIM MUSEUM, BILBAO), CECILIA ILLA MALVEHY (COLECCIÓN DE ARTE CONTEMPORÁNEO FUNDACIón ‘la CAIXA’, BARCELONA), SILVIA NOGUER (Museu d’ART CONTEMPORANI DE BARCELONA), MAITE MARTINEZ (INSTITUTO VALENCIANO DE ARTE MODERNO), EMILIO RUIZ DE ARCAUT (ARTIUM-DIPUTACIÓN DE ALVA) MNCARS: Dennis Oppenheim, Circle Puppets, 994 Museu d’Art Contemporani de Barcelona: Ignasi Aballí, Finestre, 997-2005 Centro Andaluz de Arte Contemporáneo: Ángela de la Cruz, Larger than Life, 2004 Guggenheim Museum, Bilbao: Jenny Holzer, Installation for Bilbao, 997 Artium-Diputación de Alva: Javier Pérez, Un pedazo de cielo cristalizado, 200 Colección de Arte Contemporáneo Fundación ‘La Caixa’: Eulàlia Valldosera, Flying # 1 New York, 2003 Instituto Valenciano de Arte Moderno: Gilberto Zorio, Los Zorios, 995 4 5 Inside Installations. Preservation and Presentation of Installation Art was co-organised by: Netherlands Institute for Cultural Heritage, Amsterdam (Instituut Collectie Nederland, ICN; project coordinator); Tate, Londen; S.M.A.K., Ghent; Restaurierungszentrum der Landeshauptstadt Düsseldorf, Düsseldorf; Foundation for the Conservation of Contemporary Art (SBMK), The Netherlands and Museo Nacional Centro de Arte Reina Sofía, Madrid. The project Inside Installations. Preservation and Presentation of Installation Art was kindly supported by the European Commission’s programme Culture 2000. 5 introduction During the last three years museums and other institutions in Europe have joined hands in a large-scale collaborative project to investigate the care and administration of installation works of art. The project resulted in 33 case studies of installations that were meticulously researched, re-installed, displayed and documented - in most cases in consul- tation with the artist. In addition, research has been carried out into various directions that together with the case studies provide an insight into the needs and guidance for safeguarding installations for future generations. All project results have been made available via the project’s website www.inside-installations.org which will be maintained for at least another two years. As the prominent and relatively new art form of installations has been and still is acquired by contemporary art museums, numerous challenges regarding their conservation and re-installation are to be faced. Installations are significantly different to traditional objects in many aspects. One of those is the potentially endless choice an artist can make in materials and media used, and especially ephemeral and time-based media ask for different approaches than, for example, ‘traditional’ paintings. Other aspects include the installation’s specific relationships to time, space and context and its potential variability in subsequent re-installations. Furthermore, last but not least, installations, more than other works of art, ask for communication with the artist or the artist’s representatives during the work’s lifespan and are in need of a wide body of expertise, not only from conservators but also from technicians, curators, collection managers, archivists, etc. All such issues have been addressed in the case studies. The diversity of these works, mostly created between 1995 and 2005, meant that the case study results were quite specific. In order to create useful ‘good practice’ or recom- mendations, it was necessary for the project’s organisers to design the research approach appropriately. The solution was to use a matrix research approach, which considered the case studies as Activity A, and designated 5 areas of special research as B Activities. Cross-links between all research activities were sought for as much as possible. The special research activities were: B1 Preservation; B2 Artist participation; B3 Documentation; B4 Theory and semantics; B5 Knowledge management and information exchange. Each co-organiser was responsible for one of the research areas, while many project partners participated in one or more (parts) of the research activities. Following this matrix, the booklet you are reading is subdivided into two main parts. Part one summarises the case studies and part two consists of summaries of the B research activities. However, to get an impression of the richness of the full research carried
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