Workshop Making Things Public


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This is a workshop we gave in Ljubljana on 11 December 2009 for the Access To Contemporary Art Conservation seminar, organised by the Netherlands Institute of Cultural Heritage and the Museo Reina Sofia.

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Workshop Making Things Public

  1. 1. Workshop<br />
  2. 2. Making things public<br />Ideas Worth Spreading<br />Broadcast Yourself<br />Share Your Photos<br />Connecting People<br />Just Do it!<br />
  3. 3. What we use<br />
  4. 4. How we work<br />Pick the project of your choice<br />Decide on what you want to share<br />Use the mix of available media<br />Split up in groups of 4 - 8 people<br />Select one spokes(wo)man<br />Please be back in 30 minutes<br />
  5. 5. Projects<br />
  6. 6. 1.<br />No Ghost Just a Shell (1999-2002) Huyghe, PierreParreno, Philippe<br />dimensions variable collection Van Abbemuseum, Eindhoven<br />In 2002 the Van Abbemuseum made a special purchase in the form of an exhibition of 28 works by 18 different artists as part of the project ‘No Ghost Just a Shell’. Central to this project was a virtual figure made for the multi-million dollar Japanese manga animation industry, in which these kinds of figures and characters are ‘consumed’ in large numbers. In 1999 the French artists Pierre Huyghe and Philippe Parreno bought the rights to this figure. They gave her the name ‘AnnLee’ and allowed her to tell her own life story. She was given a voice, a 3D form, a memory, a history and an identity. Huyghe and Parreno then invited various other artists to use AnnLee in their own work and to fill the empty shell with storylines and ideas – free of copyright. They also conceived of a way of producing relatively cheap 3D animations on video, which several artists made use of.<br />As well as in animation, AnnLee popped up in posters, paintings, objects, an installation, a magazine, a sound work and a book. In all of these she relates her own history – how, following an unremarkable role in a manga comic strip, she was doomed to disappear for good, but was spared the fate by being sold for 46000 yen and given a form, voice and a history. She tells how she gained an identity and experienced adventures. She reads aloud from a book or meets her own image. She is given her own magazine, playthings and soundtrack. Each work forms a chapter from her history. By giving her a coffin, she is also given the possibility to die. In 2002 Huyghe and Parreno concluded the project by transferring the copyrights to AnnLee herself. This means she owns her own identity thus making it impossible to exploit her anymore.<br />
  7. 7. 2.<br />Doppelgarage (2002)<br />Hirschhorn, Thomas<br />collection Pinakothek der Moderne, München, acquired by PIN. Freunde der Pinakothek der Moderne<br />This work negotiates between the fundamental categories of human feeling and action: violence and counter-violence, despair and revenge, guilt and humaneness. For this examination, the artist has chosen a location whose almost secreted seclusion forms the basis for free thoughts where, simultaneously, active work is also possible - a mixture of garage, workshop and hobby room. The Doppelgarage is both a space for practical life as well as a space for the development of ideas. The actual point of departure for Hirschhorn&apos;sDoppelgarage is September 11, 2001. The events of that day are a part of a complex story with numerous, partly overlapping strands of plot; the consequences of which are today still not foreseeable. The piece offers itself for reflection on this historical moment - without any dogmatism, without claims to validity and from a deeply personal perspective. Hirschhorn consciously employs &quot;inferior&quot; materials as an adequate artistic means of expression. Doppelgarage consists of two walk-in units. In the first space, there is a hilly landscape collage made from newspaper clippings and adhesive tape on four tables, upon which model railways tirelessly move in a circle. The connecting second space, behind the first, is dominated by an object wrapped in gold foil, in the form of a cigar and reminiscent of a torpedo. Fragments of texts by the philosopher Marcus Steinweg quote and comment on Friedrich Nietzsche. Word, image and object expose the viewer to a flood of current-events in which collective and individual observations are superimposed. As a direct attempt to deal with history, the Doppelgarage reflects - as hardly any other work of contemporary art does - on the network of hierarchies and dependencies of our society at the beginning of the 21st Century in all of its openness and with all of its questions that arise through the proximity to temporal events.<br />
  8. 8. 3.<br />Notion Motion (2005)<br />Eliasson, Olafur<br />collection Boijmans Van Beuningen, Rotterdam<br />The installation consists of three consecutive situations using water and light (HMI projectors) to visualise the movement of the gallery visitors. Linked by a long, elevated wooden walkway, the situations experiment with vibrations as a phenomenon that defines and reconfigures space.<br />In room one an entire elevated wooden floor transforms the movement of people walking about the space into ripples in a water basin located on the opposite side of a black projection screen. The water is reflected onto the screen, its ripples varying according to the movement of the people. In the second room movement along the ramp activates water in a smaller basin; its waves are projected through a narrow, horizontal slit in a temporary wall onto a larger wall in a vibrating line. In the third room a sponge continuously falls into a large water basin and is slowly elevated again, the splash and water dripping from the sponge causing waves on the surface that are projected onto a white wall.<br />In his large-scale installation Eliasson explores the consequences of visitor movement within a museum space, thus drawing attention to the fact that no space is neutral or stable. Their mere presence in the rooms turns visitors into participants: they are immersed in the installation structure while influencing this very structure through their physical exploration of the space.<br />
  9. 9. 4.<br />Revolution, a monument for the television revolution (1990)<br />Shaw, Jeffrey<br />124,0 x 64,9 x 44,0 cm<br />contributor(s) Tjebbe van Tijen (co-author); Huib Nelissen (constructor); Gideon May (software developer); CharlyJungbauer (hardware developer); Bas Bossinade (hardware developer)<br />collection ICN Collections, Rijswijk; Netherlands Media Art Institute (NIM)/Montevideo<br />In this interactive installation the spectator pushes a protruding handle attached to a steel column with a build in monitor. When turning the column around images are shown on the monitor. Pushing the handle in a forward position, 180 images of revolutions and social riots are being presented, starting with the French Revolution and ending with the Romanian revolt in 1989. By means of collage, colouring, distortion and added drawings the meaning of the original images is strengthened and renewed. Each image can only be viewed for 2 degrees, so if one wants to see them all the movement should be very slow, forcing the spectator to physical effort. A faster turning around would only result in a vague blur of revolutionary images. Pulling the handle backwards, the image appears of a millstone grinding grain to flour. One of the interpretations of the work is its reflection on history as a one way route, it cannot be turned back. The spectator is not a passive observer, but an active participant of history.<br />Click external links for more information on &apos;Revolution, a monument for the television revolution&apos; and other works by Jefrrey Shaw and Tjebbe van Tijen. These links provide access to the artists&apos; websites.<br />
  10. 10. 5.<br />The Aeromodeller 00-PL (1969-1971)<br />Panamarenko<br />collection Stedelijk Museum voorActuele Kunst (S.M.A.K.), Ghent<br />Balloon: length 26.89 m; diameter 6.19 m. <br />Gondola: 2.029 x 6.272 x 3.280 m <br />The Belgian artist Panamarenko (° 1940) is strongly fascinated by the methods, the laws and the poetry of aviation. Since the mid 60s he started creating his own “spaceships”. By studying diverse airship constructions and theories, he developed the idea to make his own zeppelin. A prominent example is his airship The Aeromodeller . It’s a cigar shaped balloon and a gondola - with all facilities to make a comfortable journey.<br />At one occasion Panamarenko actually tried to fly with the zeppelin (1971). Afterwards this airship was presented as an artwork at Documenta V, where the balloon was filled with air (1972). Since then The Aeromodeller is always shown this way.<br />The extra large dimension of the work and the degradation of the modern materials (PVC foil, synthetic glues and painted cane) are problematic.<br />In the beginning of 2004 the conservation department of the museum started with the treatment of the balloon (consolidation and cleaning).<br />
  11. 11. Message and medium<br />Pick the project of your choice<br />Decide on what you want to share<br />Use the mix of available media<br />Split up in groups of 4 - 8 people<br />Select one spokes(wo)man to present<br />Please be back in 30 minutes<br />
  12. 12. Mediamix<br />
  13. 13. Describe or draw attention to your work, using 140 characters or less<br />you<br />5.982<br />421<br />2.479<br />
  14. 14. Describe or draw attention to your work, using 140 characters or less<br />you<br />New! Intensive study dealing with the examination, analysis, metallographic examination and deterioration of plastics.<br />5.982<br />421<br />2.479<br />
  15. 15. Describe or draw attention to your work, using 140 characters or less<br />you<br />Why do museums preserve and present installation art? It’s essential if we want to continue to enjoy these works in the future. <br />5.982<br />421<br />2.479<br />
  16. 16. Describe or draw attention to your work, using 140 characters or less<br />you<br />Protect me from what I want..<br />5.982<br />421<br />2.479<br />
  17. 17. Write a short entry for Wikipedia, explaining and linking your work<br /><br />
  18. 18. Which words <br />do people use <br />to search for <br />or identify (tag)<br /> your work?<br />Rescuing art<br />Fragile<br />
  19. 19. Describe or draw the images that depict or symbolize your work<br />
  20. 20. Describe a 1-minute film that sums up your work and draws attention<br />10 sec<br />30 sec<br />60 sec<br />
  21. 21. Name the people you want send your message to and involve in your work<br />Name:<br />Name:<br />Bill Gates<br />OlafurEliasson<br />Name:<br />Name:<br />Boy next door<br />Name:<br />Name:<br />
  22. 22. Make a design for the cover of the best selling book about your work<br />
  23. 23. Design a serious game that allows other people to experience your work (online) <br />
  24. 24. Write the headlines that will make your profession breaking news (live!) <br />
  25. 25. Let’s get to work!<br />Pick the project of your choice<br />Decide on what you want to share<br />Use the mix of available media<br />Split up in groups of 4 - 8 people<br />Select one spokes(wo)man to present<br />Please be back in 30 minutes..<br />
  26. 26.
  27. 27. Non-fiction<br />Office for Cultural Innovation<br />