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Kommende Veranstaltungen

Folgende internetbasierte Lernkurse bietet das Hornemann Institut der HAWK Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen im Wintersemester an (Laufzeit 4. Oktober bis 28. November 2021):

Montag, 04. Oktober 2021 bis Sonntag, 28. November 2021 00:00 - 00:00
Online-Kurse

Fassadenfiguren aus Holz oder Stein, Bildstöcke oder Kreuzwegstationen aber auch Metallzäune, hölzerne Fassadenelemente, Fachwerk, Türen und Fenster – der Erhalt bewitterter Kunstwerke und architektonischer Elemente stellt eine besondere Herausforderung in der Denkmalpflege dar. Am 18. und 19. Oktober 2021 findet eine Online-Tagung zum Thema Fassungen im Außenbereich statt. Ziel der Veranstaltung ist es, die Problematik des Erhalts von gefassten Oberflächen im Außenbereich über Fachdisziplinen hinweg zu beleuchten, Lösungsansätze vorzustellen und zu diskutieren. Anmeldung und Programm: https://www.blfd.bayern.de/meta/aktuelle_meldungen/002417/

Montag, 18. Oktober 2021 bis Dienstag, 19. Oktober 2021 14:00 - 17:00
Online

Our training program's 20th anniversary provides us with a wonderful opportunity to pause and reflect on the evolving roles and practices in contemporary art conservation. We would like to invite you to partake in this process and hope for your manifold contributions to create an engaging event for our community. Please find below a call for papers and an invitation for a symposium organized by the Bern University of the Arts.

Contemporary Art Conservation Revisited: 20 Years Later

In 2001, the first students graduated in a new specialty at the Bern University of the Arts’ conservation training program: Conservation of Modern Materials and Media. As a precursor in the field, the specialty’s launch was a response to changing contemporary artists' practices and a commitment to the preservation of artworks outside traditional disciplines, embodying unconventional technologies and materials. The necessity of a different approach to care for and treat these works of art is reflected in its curriculum, incorporating methodologies and techniques from social sciences, revisiting the importance of documentation, and establishing the significance of artistic concepts within a decision-making process.

Looking back at the last 20 years, we see shifts in the field of contemporary art conservation, which compel us to (re)define its role, questioning existing structures and modes of operating: What is a conservator of contemporary art today? What is their skillset, and has it changed over the years? What are the types of roles contemporary art conservators fulfill? How inclusive is this discipline and who has access to it? Did the discipline’s approach or areas of research shift during the years? Which new research topics have emerged? How can an institution benefit from conservators being part of the team and facilitating processes of acquisition, artist engagement, and research? And what, if we look more closely, hinders these developments in our institutions?

This two-day symposium aims to examine and debate these questions, hoping to inspire dialog between stakeholders.

We're looking for a variety of perspectives and positions to reflect on this topic and invite abstracts from conservators, collection managers, curators, educators, registrars and artists. These may include considerations on roles and values, new tools and skills needed, case studies that have brought upon changes in approach, as well as positions examining new areas of research or shifts in education programs, emphasizing different aspects of training.

The symposium will be held virtually on Nov 25 & 26, 2021. Please mark your calendars and submit your abstracts (500 words) as well as a short biography by July 11, 2021 to mmm[at]hkb.bfh.ch

The organizing committee: Dörte Doering, Martina Haidvogl, Martina Pfenninger Lepage

Donnerstag, 25. November 2021 bis Freitag, 26. November 2021
virtually

Our training program's 20th anniversary provides us with a wonderful opportunity to pause and reflect on the evolving roles and practices in contemporary art conservation. We would like to invite you to partake in this process and hope for your manifold contributions to create an engaging event for our community. Please find below a call for papers and an invitation for a symposium organized by the Bern University of the Arts.

Contemporary Art Conservation Revisited: 20 Years Later

In 2001, the first students graduated in a new specialty at the Bern University of the Arts’ conservation training program: Conservation of Modern Materials and Media. As a precursor in the field, the specialty’s launch was a response to changing contemporary artists' practices and a commitment to the preservation of artworks outside traditional disciplines, embodying unconventional technologies and materials. The necessity of a different approach to care for and treat these works of art is reflected in its curriculum, incorporating methodologies and techniques from social sciences, revisiting the importance of documentation, and establishing the significance of artistic concepts within a decision-making process.

Looking back at the last 20 years, we see shifts in the field of contemporary art conservation, which compel us to (re)define its role, questioning existing structures and modes of operating: What is a conservator of contemporary art today? What is their skillset, and has it changed over the years? What are the types of roles contemporary art conservators fulfill? How inclusive is this discipline and who has access to it? Did the discipline’s approach or areas of research shift during the years? Which new research topics have emerged? How can an institution benefit from conservators being part of the team and facilitating processes of acquisition, artist engagement, and research? And what, if we look more closely, hinders these developments in our institutions?

This two-day symposium aims to examine and debate these questions, hoping to inspire dialog between stakeholders.

We're looking for a variety of perspectives and positions to reflect on this topic and invite abstracts from conservators, collection managers, curators, educators, registrars and artists. These may include considerations on roles and values, new tools and skills needed, case studies that have brought upon changes in approach, as well as positions examining new areas of research or shifts in education programs, emphasizing different aspects of training.

The symposium will be held virtually on Nov 25 & 26, 2021. Please mark your calendars and submit your abstracts (500 words) as well as a short biography by July 11, 2021 to mmm[at]hkb.bfh.ch

The organizing committee: Dörte Doering, Martina Haidvogl, Martina Pfenninger Lepage

Donnerstag, 25. November 2021 bis Freitag, 26. November 2021 14:00 - 17:00
virtually

Call for papers: Conserving performance, performing conservation

90-minute session for the Annual Conference of the College Art Association
Date: March 3-5, 2022 (time and date of the panel TBD)
Location: Online
Deadline to submit: September 16

How can a work of performance – ephemeral, site- and time-sensitive, possibly tied to the body of the artist – be conserved? This question has long been answered by recourse to documentation and performance “relics,” the tangible, exhibitable and, above all, collectible remains of performances. Yet in the past decade, museums have begun to acquire live artworks and restage historical ones, lending urgency to the practical as well as theoretical problems of conserving works of art long considered too ephemeral to be conservable.

As contemporary art has grown more demanding, conservation has also grown as a discipline, developing new discourses and practices that both revise and expand the conservator’s role. No longer confined behind the scenes, conservators are now routinely asked to consult on acquisitions, direct complex installations, or even creatively partake in the reinstantiation of conceptual and performance works. Conservators accordingly have a new consciousness of their influence on the work of art and thus the course of art history.

This panel will examine performance as the object of conservation, seeking contributions from scholars, conservators, archivists, curators, artists, and others who address theoretical and practical questions related to the ongoing life of performance works in institutions and beyond, as well as explorations of the conservator’s role in bringing liveness into the museum.

Chairs: Hanna B. Hölling, University College London/Bern University of the Arts and Julia Pelta Feldman, Bern University of the Arts.

 

 

HOW TO SUBMIT

Please submit proposals to organizers Hanna Hölling and Julia Pelta Feldman at Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein! by September 16.

Proposals must include:

1. Completed CAA proposal form: https://caa.confex.com/caa/f/CAA2022CFPProposalForm
2. A shortened CV (2 pages max).

 

 

CAA Key Dates:

  • By September 16, send proposals directly to session Chairs.
  • By September 23, CAA chairs will finalize their sessions, inform participants via email invitation, and add accepted presenters to their session entry. Upon acceptance, presenters *must join and or keep CAA memberships current through March 5* (you may apply with a non-member ID). Only members can be added to a Session.
Donnerstag, 03. März 2022 bis Samstag, 05. März 2022