This open access book investigates whether and how theoretical findings and insights in contemporary art conservation can be translated into the daily work practices of conservators or, vice versa, whether and how the problems and dilemmas encountered in conservation practice can inform broader research questions and projects. For several decades now, the conservation of contemporary art has been a dynamic field of research and reflection. Because of contemporary art’s variable constitution, its care and management calls for a fundamental rethinking of the overall research landscape of museums, heritage institutions, private-sector organizations and universities. At first, this research was primarily pursued by conservation professionals working in or with museums and other heritage organizations, but increasingly academic researchers and universities became involved, for instance through collaborative projects. This book is the result of such collaboration. It sets out to bridge the “gap” between theory and practice by investigating conservation practices as a form of reflection and reflection as a form of practice.van de Vall, Renée, van Saaze, Vivian, 10.1007/978-3-031-42357-4 Cham 2024
In my opinion, research into the grey zone in which a work of art uctuates between its classication and paradigms is still pending. In the case of Doppelgarage I put forward the following aspects as further criteria for classication: the (good) state of preservation, the (lack of) need to make (spatial) changes and the availability of sufcient
id: 7e9acf67200948d7db6155273bfc70cd - page: 199
19 The extended role of the conservator, e.g., as interpreter, mediator, co-producer (Van Saaze 2013, p. 115) or performer (Macedo et al. 2012) was widely discussed. Whether and to what extent these activities might also be relevant within the traditional conservation model needs to be investigated. 199 200 documentation. I am sure that regarding other works of art an even wider list of criteria could be elaborated. As I hope to have shown, the theoretical discussion of conservation issues is important and helpful for the practitioner to sort out decisions made or situations that have arisen in practice and to learn from perceived gaps. At the same time, it is necessary to test the theoretical concepts in practice. In mutual conversation, gaps between theory and practice can be bridged.
id: da563a5430adf1220b51e62bf33c23e3 - page: 199
I would like to suggest that the achievement of new frameworks should not be seen as a paradigm shift, but rather as a paradigm diversication, where all models traditional and neware on an equal footing, in the knowledge that perhaps each will be applied at a particular time. Herewith I see the best possibility to preserve works of art in their change and in the course of time.20 Here are my ndings in brief: (cid:129) Talk about your tasks. They can deviate from the usual role allocation in your professional structure. (cid:129) Discern between knowing that and knowing how. Make sure that neither is missing. (cid:129) Classify the artwork you are working on. This will be the starting point for
id: 0eedabbc655e0f3d80e3ded4801439bf - page: 200
(cid:129) All paradigms matter. The principles of scientic conservation can and should be applied to installation artif and as long as this is possible. (cid:129) And nally: listen to your feelings and welcome them as potential whistleblowers on a professional basis. They can help to point out structural inconsistencies and thus lead to more clarity. I am curious about the next reinstallation of Doppelgarage.
id: e8b4239c39ae65a4bc86cd92d0c91b30 - page: 200