Restoration theory applied to installation art
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Restoration Theory applied to Installation Art. Cornelia Weyer Restaurierungszentrum Düsseldorf Maastricht 11.05.2006. Origin and type of four central rules of restoration theory Characteristic features of installation art

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Restoration Theory applied to Installation Art

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Restoration theory applied to installation art

Restoration Theory applied to Installation Art

Cornelia Weyer

Restaurierungszentrum Düsseldorf

Maastricht 11.05.2006


Restoration theory applied to installation art

  • Origin and type of four central rules of restoration theory

  • Characteristic features of installation art

  • Confrontation of restoration theory and installation art: the conflict potential

  • Conclusion


Origin and type of four central rules of restoration theory

Origin and type of four central rules of restoration theory

  • Durability

  • Authenticity

  • Minimal intervention

  • Reversibility


Origin and type of four central rules of restoration theory1

Origin and type of four central rules of restoration theory

  • Durability: the restorer must use highly stable media to ensure that after the treatment the work of art stays unchanged for a long time - Scientific origin


Origin and type of four central rules of restoration theory2

Origin and type of four central rules of restoration theory

  • Authenticity: The objective is the unfalsified preservation of an object, usually understood to be a work of art, but in more recent texts also to be an object of cultural heritage - philological origin


Origin and type of four central rules of restoration theory3

Origin and type of four central rules of restoration theory

  • Minimal intervention: restricting intervention to what is absolutely necessary - museum context as opposed to monument conservation


Origin and type of four central rules of restoration theory4

Origin and type of four central rules of restoration theory

  • Reversibility /retreatability: selection of materials and methods of a restorational intervention so as to leave room for later interventions


Characteristic features of installation art

Characteristic features of installation art

  • The significance of the relation between the parts and between the parts and the whole, including the setting

Thomas Hirschhorn, Doppelgarage, (2002),

Bayerische Staatsgemäldesammlungen,

Doerner Institut, München


Characteristic features of installation art1

Characteristic features of installation art

  • Processuality - crossing the divide between pictorial and performance arts

Nam June Paik, One Candle (1991, 1996)

Museum für Moderne Kunst, Frankfurt/M.


Characteristic features of installation art2

Characteristic features of installation art

  • Optical phenomena and the extension of sense perception to include the senses of audio,smell, taste and feeling

Fabrizio Plessi, Liquid Time (1993),

Sammlung ZKM, Karlsruhe


Characteristic features of installation art3

Characteristic features of installation art

  • The observer as constitutive element

Ross Sinclair, Journey to the Edge of the World -

The New Republic of St. Kilda (1966),

Hamburger Kunsthalle


Characteristic features of installation art4

Characteristic features of installation art

  • Art also about art

Ulrike Rosenbach,

Glauben Sie nicht, daß ich eine Amazone bin (1975),

museum kunst palast, Restaurierungszentrum Düsseldorf


Confrontation of restoration theory and installation art the conflict potential

Confrontation of restoration theory and installation art: the conflict potential

  • Conservation of installation art by means of durable material? - object / significance

Dennis Oppenheim, Aging, Reina Sofia, Madrid


Confrontation of restoration theory and installation art the conflict potential1

Confrontation of restoration theory and installation art: the conflict potential

  • Authenticity of material and workmanship / aiming at „giving the observer as authentic an aesthetic experience as possible“ (Bishop)

Thomas Hirschhorn, Doppelgarage (2002),

Bayerische Staatsgemäldesammlungen,

Doerner Institut, München


Confrontation of restoration theory and installation art the conflict potential2

Confrontation of restoration theory and installation art: the conflict potential

  • Minimal intervention / installation art has to fulfil a function going beyond display in a museum - similar to monumental heritage

Thomas Hirschhorn, Doppelgarage (2002),

Bayerische Staatsgemäldesammlungen,

Doerner Institut, München


Confrontation of restoration theory and installation art the conflict potential3

Confrontation of restoration theory and installation art: the conflict potential

  • Reversibility if re-installation is not necessarily the appropriate way of treatment? ephemeral character of some installation artworks

Ross Sinclair, Journey to the Edge of the World -

The New Republic of St. Kilda (1966),

Hamburger Kunsthalle


Conclusion

Conclusion

  • Loss of the material object as being a conservation‘s main reference

  • Change of roles from conservator-restorer to artist‘s assistent

  • „social use“ - contemporary installation art - the intangible


Consequences

Consequences

  • Taking a step back from the conservator-restorer‘s usual attachment to material and technique

  • assess the effect of the work

  • aesthetic appreciation

  • readiness to engage with a work‘s idiosyncrasies


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