Going Public: Conservation of Contemporary Artworks. Between Backstage and Frontstage in Contemporary Art Museums

Resumo Em museologia e his ó ia da a e, o que acon ece nos bas ido es dos museus pe mane- ce ela i amen e ocul o e é a amen e discu ido. De uma o ma ge al, nas a es, o que é conside ado como i ele an e (po exemplo, no âmbi o das p á icas) es á delibe ada- men e desligado do que ealmen e con a; eo ia, discu so, con eúdo e signi icado. A é ago a, ac i idades de bas ido es, como p á icas de conse ação são apenas discu idas en e especialis as e écnicos de museus. Apenas os esul ados des as discussões são po ezes, se é que alguma ez, comunicados explici amen e pa a um público maio . Es u- dos nas p á icas da conse ação da a e mos am que es as p á icas ocul as desempe- nham um papel impo an e na manu enção de ob as de a e con empo âneas não- a- dicionais. O que acon ece nos bas ido es em e mos de conse ação em, em á ias medidas, e ei os impo an es na manu enção des as ob as de a e num con ex o mu- seológico. P á icas de conse ação, no meu en ende , de e ão aze pa e da museolo- gia e da his ó ia da a e. Como é que as p á icas de abalho dos conse ado es se po- dem o na mais isí eis e anspa en es pa a uma di e sidade de públicos, incluindo in es igado es? E o que signi ica is o em e mos de me odologia de in es igação? Abs ac In museum s udies and his o y o a , wha happens behind he scenes o museums s ays ela i ely unseen and unspoken abou . In he a s, gene ally speaking, wha is dismissed as i ele an (e.g. he ealm o p ac ices) is delibe a ely de ached om wha is hough o eally ma e ; heo y, discou se, con en and meaning. Up ill ecen ly, backs age ac i i ies such as conse a ion p ac ices a e me ely discussed among spe- cialis s and museum p o essionals. Only he ou comes o hese discussions a e some- imes – i a all – explici ly communica ed o a la ge public. S udies in o he p ac- ices o con empo a y a conse a ion howe e show ha p ac ices behind he scenes play an impo an ole in he pe pe ua ion o hese a wo ks. Wha happens behind he scenes in e ms o conse a ion has, in se e al ways, impo an e ec s on he ongoing li e o hese a wo ks in a museum con ex . Conse a ion p ac ices, I a - gue, should he e o e become a necessa y pa o museum s udies and his o y o a . How can he wo king p ac ices o conse a o s become mo e isible and anspa - en o a di e si y o audiences, including esea che s? And wha does his mean in e ms o esea ch me hodology? • pala as-cha e Ap esen ação e conse ação de a e con empo ânea Ins alações P á icas museológicas F en e da cena / bas ido es key-wo ds P esen a ion and conse a ion o con empo a y a Ins alla ion a wo ks Museum p ac ices F on s age / backs age In oduc ion In his o y o a , museum s udies and he museum galle y, wha happens behind he scenes o museums in e ms o con empo a y a conse a ion p ac ices s ays ela i ely unseen and unspoken abou . Gene ally speaking, only he ou comes o conse a ion discussions a e some imes – i a all – explici ly communica ed o a la ge public. Al hough unde s andable om he pe spec i e o he his o y o museums and con- se a ion – in he ligh o ins alla ion a wo ks and cu en de elopmen s in con em- po a y a conse a ion – a di e en app oach seems app op ia e as p ac ices behind he scenes play an impo an ole in he pe pe ua ion o much con empo a y a . This a icle explo es ecen de elopmen s in he conse a ion o ins alla ion a wo ks and sugges s ha , o a oid a educ i e eading o ins alla ion a wo ks hese backs age ac i i ies need o be acknowledged in a his o ical eadings as well as museum displays. Wha happens behind he scenes in e ms o conse a ion and decision-making has, in se e al ways, impo an consequences o he pe pe ua ion and unde s anding o hese a wo ks in a museum con ex . Th ough he discussion on conse a ion o ins al- la ion a he a icle ies o demons a e how ins alla ion a wo ks de y he museum o open up he spaces and p ac ices behind he scenes o display. GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS BETWEEN BACKSTAGE AND FRONTSTAGE IN CONTEMPORARY ART MUSEUMS VIVIAN VAN SAAZE Pos doc o al esea che Maas ich Uni e si y Facul y o A s and Social Sciences Depa men o Li e a u e and A The nex ime you ma el – admi ingly o no – a some oddi y o con empo a y a in a museum collec ion, know ha i has p obably passed h ough a c oss i e o con e sa ion among a p o essionals unhea d by he public. Kenne h Bake , San F ancisco Ch onicle 235 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 Backs age and F on s age in Museums In museums, like in o he p oduc ion houses such as labo a o ies, daily p ac ices in ol ed wi h ‘ he making o ’ a e mos ly conside ed i ele an o he public’s eye and s ay sub osa . The museum has a long his o y o main aining au ho i y by manu ac- u ing ce ain y, p esen ing i sel as well-s uc u ed, employing a ional me hods while concealing he messie , mo e con es ed pa o behind he scenes p ac ices. In his ligh , he museum can be cha ac e ised as being wo- aced: a con iden ace ha is di ec ed ou wa ds, and a less con iden ace ha is di ec ed inwa ds. The la e ace domina es he p ocess ha e ol es p io o each display bu is ha dly made isible o ou side s. F om his pe spec i e, museum p ac ices o p esen a ion and conse a ion can be unde s ood in e ms o E ing Go man’s dis inc ion be ween ‘ on egion’ (o on s age) and ‘back egion’ (o backs age).1In his seminal The P esen a ion o Sel in E e yday Li e (1973, i s published in 1959), Go man de elops a d ama u gical pe spec i e in which social in e ac ion is analyzed in e ms o hea ical pe o mance. In Go man’s e minology, ‘ on egion’ ac ions a e isible o he audience and a e pa o he pe o mance. ‘Back egion’ is applicable o he ac i i ies and beha io s o people when he e is no audience p esen . Go man: Since he i al sec e s o a show a e isible backs age and since pe o me s beha e ou o cha ac e while he e, i is na u al o expec ha he passage om he on egion o he back egion will be kep closed o audience o ha he en i e back egion will be kep hidden om hem. (Go man 1973: 113) In s udying a s, gene ally speaking, wha is dismissed as mundane and i ele an (e.g. he ealm o backs age p ac ices) is delibe a ely de ached om wha is hough o eally ma e ; heo y, discou se, con en and meaning. F on / back, heo y / p ac ice, ex / con ex , con en / p ac icali ies, meaning /ma e a e ea ed as dicho omies; clea ly sepa a ed om each o he . I can be a gued ha , as a consequence o hese pe sis - en dicho omies, back egion ac i i ies in museums such as conse a ion p ac ices ha e long been delibe a ely concealed om he public eye. Mo eo e , he long his o y o conse a ion con o e sies demons a es ha conse a ion ac i i ies can be conside ed o be high- isk ac i i ies: hey can lead o hea ed public deba es, de alua ion o mon- e a y and el alue o a wo ks, and e en o he expulsion om hei p o ession o peo- ple held esponsible o supposed mis akes. Needless o say, he ea o ha m ul umo s, con o e sies, scandals, loss o epu a ion and lawsui s may also encou age he s and o concealmen and sec ecy in conse a ion and ei e a es he endency o keep such ac i i ies and in o ma ion behind closed doo s. Ano he cla i ica ion o he pe sis en dicho omy be ween on s age (p esen a ion) and backs age (conse a ion and collec ion managemen ) can be ound in he poli ics o he museum and he pe - 1I employ Muñoz Viñas’ (2005: 15) b oad use o he e m conse a ion as he sum o conse a ion ac i i ies including p ese a ion ( he ac i i y ha a oids al e a ions o some hing o e ime) and es o a ion. GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS FIG. 1 – Con empo a y a conse a o E elyne Snijde s a wo k on Papille , pa o he ins alla ion Clamp (1995) by F anz Wes (1947) du ing he exhibi ion ‘Inside Ins alla ions’, K ölle -Mülle Museum. Dimensions: a iable. Collec ion: K ölle -Mülle Museum, O e lo, The Ne he lands. Pho o: Sanneke S ig e /KMM, 2006. 236 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 sis ing s e eo yping o he conse a ion p o ession. T adi ionally, and pe haps as a con- sequence o he dominance o he hands-o dic um, he p o ession has been bu dened wi h a elen less image o he conse a o as a passi e cus odian wea ing whi e glo es and a whi e labo a o y coa , ucked away in a conse a ion s udio somewhe e a he back o he museum. In i s ocus on he ca e o he ma e ial objec , conse a ion, i has been a gued ‘can end up as an expensi e nuisance in he eyes o hose ying o c ea e exhibi ions, un exca a ions, open museums e c.’ (Caple 2000: 183). Howe e , i we ake a look a museum display o adi ional a , we see an inc ease o in e es in behind he scenes ac i i ies o museums in gene al and conse a ion ac i i ies in pa icula .2Especially pain ing es o a ion is inc easingly becoming a opic conside ed wo hwhile o galle y p esen a ions. Wi hou in ending o be com- ple e, i is use ul o b ie ly men ion some o hese exhibi ions. An example is P ince on Uni e si y A Museum’s exhibi ion ‘Beyond he Visible: A Conse a o 's Pe spec i e’ which was de o ed o he conse a ion o nine old mas e pain ings om he museum collec ion.3Ano he , mo e ecen , example is he ex ensi e exhi- bi ion ‘F agmen o Vase: App oaches o Ce amic Res o a ion’ a he Ge y Villa in 2009. In he accompanying b ochu e i eads: ‘ his exhibi ion explo es his o ical and con empo a y app oaches o he es o a ion o classical ases and p o ides a behind- he-scenes look a how agmen a y essels a e econs uc ed a he Ge y Villa o e eal hei o iginal o ms and pain ed designs.’ Fo he conse a o s o he Ge y Villa, i was qui e a no el y o p epa e o an exhibi ion and o ake on ela ed asks which a e usually assigned o he cu a o ial s a .4 In hese examples o conse a ion display, he ac o conse a ion and es o a ion is depic ed as an exhibi ion heme. In such hema ic exhibi s he a objec s on display GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS FIG. 2 - 1984 and beyond (2005-2007) by Ge a d By ne (1969). Video-ins alla ion. Dimensions: a iable. Collec ion: K ölle -Mülle Museum, O e lo, The Ne he lands. Pho o: Ca y Ma ke ink. 237 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 2The s aging o conse a ion ac i i ies can be pla- ced wi hin a mo e gene al end o inc easing a - en ion o ‘behind he scenes iews’ o museums. Popula b oadcas ings a e o ins ance BBC’s do- cumen a ies: ‘The Museum’ behind he scenes a he B i ish Museum, and ‘Museum o Li e’ gi ing he iewe s an inside look a he Na u al His o y Museum in London. ‘Behind he Scenes o he Smi hsonian Ins i u ion's Na ional Museum o Na- u al His o y’ is a Pod-cas se ies o simila as- hion. 3On iew om Sep embe 21, 2002, h ough Ja- nua y 5, 2003. 4The exhibi ion was on iew om Decembe 18, 2008, h ough June 1, 2009. The Ge y websi e p o ides a ho ough documen a ion o he exhibi ion including de ailed in o ma ion on se e al es o a ions. h p://www.ge y.edu/a / exhibi ions/ agmen _ o_ ase/, accessed Ma ch 2010. mainly unc ion as illus a ions o a b oade na a i e on, o example, he p o ession o es o a ion o scien i ic me hodologies. The gene al aim o hese exhibi ions is o aise public awa eness o es o a ion ac i i ies. Ye , i is also no longe uncommon o museums o p o ide some in o ma ion on conse a ion ea men and echnical esea ch, o example on a display nea by he ac ual exhibi o h ough mul imedia ou s. In his ype o p esen a ion, he a objec emains cen al and in o ma ion on i s (conse a ion) his o y and subsequen ea men s a e conside ed o be backg ound educa ional in o ma ion aiming o enhance he museum expe ience. Besides such s aging in ac ual museum con ex s, he opic o a conse a ion is also subjec o o he kinds o (media) a en ion ou side o he museum walls. Especially in e ne is inc easingly ega ded as a compelling si e o communica e abou behind he scenes p ac ices o conse a ion. A ecen ini ia i e, o example, is a public edu- ca ion websi e con aining 100 conse a ion science s o ies ‘ o inc ease knowledge o a conse a ion science among non-specialis s, and imp o e a i udes owa ds he sciences among s uden s and he gene al public.’5 These examples show ha se e al legi ima ing easons a e add essed o making con- se a ion accessible o a la ge public: conse a ion is used o se e as a b idge be ween he a s and he sciences o displaying conse a ion is o example belie ed o inc ease public awa eness o a his o ical and echnical esea ch. Wha e e he easons a e, in gene al he p o ession o conse a ion is belie ed o a ouse he pub- lic’s cu iosi y and hus a ac mo e isi o s. The online jou nal CEROART goes so a 5Cen e o In e disciplina y Science o A , A chi- ec u e and A chaeology a Uni e si y o Cali o - nia San Diego. h p://cisa3.cali 2.ne , accessed Ap il 2010. GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS 238 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 FIG. 3 - 25 Ca amboles and Va ia ions. A Bi hday P esen o a 25 Yea Old (1979) by Miguel-Ángel Cá denas (1934). Video-ins alla ion. Dimensions: a iable. Ins alled o he exhibi ion ‘30 yea s o Du ch Video-a ’, Ne he lands Media A Ins i u e (NIMk). Collec ion S edelijk Museum, Ams e dam, The Ne he lands. Pho o: NIMk, 2003. as o desc ibe he cu en heigh ened public a en ion o conse a ion ac i i ies as ‘a spec acula isa ion o he p o ession which is being media ised, ilmed, ele ised, podcas ; i headlines magazines and p og ammes wi h a wide audience base, and has been acco ded a speci ic ype o p es ige.’6 O cou se, he e ec s o display will highly depend on he way conse a ion is dis- played. In a ecen a icle on he eme gence o conse a ion exhibi ions, Annlinn K uge dis inguishes a leas wo s a egies: whe he a conse ed wo k appea s as a playe (a wo k o such signi icance ha i causes he ac o i s conse a ion o be s aged) o a p op (o only inciden al signi icance o s aging ac s o conse a ion) (K uge 2010: 4). Al hough he public amilia isa ion o conse a ion is some imes me wi h scep icism, o museum educa o s, cu a o s and conse a o s, hese de elopmen s aise many in e es ing ques ions such as: o wha ex en should conse a ion in o ma ion be conside ed as an in eg a ed pa o exhibi ion discou se? How does conse a ion in o ma ion in he galle y in luence he a wo k’s expe ience and how o con ey expe knowledge o a lay-audience? Pe haps one o he mos impo an challenges o making conse a ion accessible o a la ge audience lies in a meaning ul b idging o backs age and on s age. In he ollowing sec ion I will a gue ha dissol ing he bounda ies be ween conse - a ion (backs age) and p esen a ion ( on s age) is inhe en o he accessioning o ins alla ion a wo ks in o museum collec ions. Also, I will sugges ha ecogni ion o he blu ing o bounda ies be ween backs age and on s age may p o ide insigh ul pe spec i es on he a wo ks in ol ed and he museums in which hey ci - cula e. GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS 239 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 FIG. 4 - A Vi us o Sadness, he Vi ulence o Loneliness (1990) by Lydia Schou en (1949). Video-ins alla ion. Dimensions: 350 x 600 x 800 cm. Ins alled a he occasion o a pilo -s udy in o he conse a ion o ins alla ion a wo ks, Ne he lands Ins i u e o Cul u al He i age (ICN). Collec ion: ICN, The Ne he lands. Pho o: Tim Kos e /ICN, 2002. FIG. 5 - A Vi us o Sadness, he Vi ulence o Loneliness (1990) (de ail) by Lydia Schou en (1949). Video-ins alla ion. Dimensions: 350 x 600 x 800 cm. Ins alled o he occasion o a pilo -s udy in o he conse a ion o ins alla ion a wo ks, Ne he lands Ins i u e o Cul u al He i age (ICN). Collec ion: ICN, The Ne he lands. Pho o: Tim Kos e /ICN, 2002. 6See he announcemen o he special issue on ‘ es o a ion on he s age and behind he scenes’ o CEROART , issue 5, sp ing 2010. h p://ce oa . . e ues.o g/, accessed Ma ch 2010. Towa ds a Public Face o Conse a ion o Ins alla ion A wo ks Al hough he opic o conse a ion o con empo a y a has been on he esea ch agenda since he 1990s, and despi e a g owing body o li e a u e as well as he many con e ences on hese opics, conse a ion issues and subsequen museum’s in e en- ions a e no o en se iously add essed ou side conse a ion li e a u e. In gene al, delibe a ion p ocesses and conse a ion ea men s ake place behind closed doo s, cau iously concealing hem om he museum public. In con empo a y a museums ins alla ion a wo ks a e usually p esen ed as ixed and inished a wo ks, he eby neglec ing he some imes a - eaching physical changes o conse a ion decisions and successi e ins alla ion momen s. Al hough his is su p ising conside ing ins al- la ion’s pa adoxical in e winemen wi h he con empo a y a museum, i does show he i mness o he ideological and a chi ec u al bounda ies be ween conse a ion and p esen a ion: be ween backs age and on s age. Despi e he ela i ely low in e es in he conse a ion o con empo a y a ou side o he conse a ion ield, he las wo decades ha e shown a heigh ened a en ion o i s public side. Howe e , p ess a icles commen ing on conse a ion o con empo a y a show ha public a en ion does no au oma ically lead o in e es ing deba es on he subjec . As soon as 1996, conse a o Albe Albano showed himsel pa icula ly c i ical owa ds he ways conse a ion o con empo a y a was add essed in he p ess: ‘Cha ac e is ic o many jou nalis ic c i iques is he endency o inco po a e GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS 240 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 FIG. 6 - D aaiboek oo de Scha bewaa de (1996) by Hono é d’O (1961) du ing he exhibi ion ‘Inside Ins alla ions’, S.M.A.K., Mixed media, dimensions: a iable. Collec ion: S.M.A.K., Ghen , Belgium. Pho o: Di k Pauwels, 2010. cynical polemics and undocumen ed anecdo es. These ales a e chosen delibe a ely o a o hose opinions ha con o m o an a p io i heme o he au ho , which usu- ally highligh s he epheme al physical quali ies o an a wo k’ (Albano 1996: 177). Indeed, many newspape a icles ha e he endency o e ol e a ound a e and ex eme cases o ocus on he amoun s o money collec o s pay in acqui ing pe ishable con- empo a y a wo ks. Recen newspape a icles wi h headings such as: ‘Copy Tha ! Wai , Don’ . Whi ney Ponde s P oblem o Replica ion in Mode n A ’ ( The New Yo k GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS 241 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 FIG. 7 - Pila us T ans o ma o (1997) by Thomas Hi schho n (1957) Mixed Media, dimensions: 200 x 385 x 85 cm, Collec ion Bonne an enmuseum, Maas ich , The Ne he lands. Pho o: Pe e Cox. FIG. 8 - Pila us T ans o ma o (1997) (de ail) by Thomas Hi schho n (1957). Mixed Media, dimensions: 200 x 385 x 85 cm, Collec ion Bonne an enmuseum, Maas ich , The Ne he lands. Pho o: Pe e Cox. Obse e , No embe 26, 2009) and ‘How o Conse e A Tha Li es in a Lake ( The New Yo k Times , No embe 17, 2009) unde sco e Albano’s a gumen and illus a e he need o mo e se ious con eyance o conse a ion delibe a ion p ocesses. Besides in newspape a icles, conse a ion issues conce ning con empo a y a ha e ecen ly also en e ed he on s age o museums. Examples o exhibi ions dedica ed o he opic o con empo a y a conse a ion and ela ed decision-making a e o example: ‘Seeing Double: Emula ion in Theo y and P ac ice’ a he Solomon R. Guggenheim Museum in New Yo k (19.3.-16.5.2004) and a ious ideo-a exhibi- ions such as ‘Re-play. An änge in e na ional Medienkuns ’, Gene ali Founda ion, Vienna, Aus ia (5.12-8.6.2000), ‘40jah e ideokuns .de’ a ZKM Cen e o A and Media Ka ls uhe, Ge many (3.25-5.21.2006) and ‘Recons uc ion Swiss Video A F om he 1970s and 1980s’ a Museum o A , Luce ne (15.03-2.5.2008). Whe eas hese esea ch p ojec s and ela ed exhibi ions speci ically ocused on he chal- lenges o obsole e media-equipmen , ecen exhibi ions eme ging om he conse - a ion esea ch p ojec s ‘Inside Ins alla ions. P ese a ion and P esen a ion o Ins alla ion A ’ (2004-2007) and ‘PRACTICs’ (2009-2011) a e dealing wi h he conse a ion o ins alla ion a in a mo e gene al sense: ‘Inside Ins alla ions’ a he K ölle -Mülle Museum in O e lo, The Ne he lands (25.10.2006-07.01.2007 and 21.03-03.06.2007), and ‘Inside Ins alla ions’ (05.06-27.03.2011) a S.M.A.K. in Ghen , Belgium.7 These exhibi ions (o en o ganized by he conse a ion depa men o he espec- i e museum) explici ly add essed conse a ion issues o con empo a y a in con- nec ion o he esul s o speci ic esea ch p ojec s. In ha sense hese displays can be conside ed as special p ojec s, somewha ou side o he egula exhibi ion p ac- ice and a e also announced as such. GOING PUBLIC: CONSERVATION OF CONTEMPORARY ARTWORKS 242 REVISTA DE HISTÓRIA DA ARTE Nº8 - 2011 FIG. 9 - O e iew solo exhibi ion ‘The Value o Void’ by Na id Nuu (1976) in Kuns halle F ide icianum, Kassel, Ge many. Pho o: Ca hleen Schus e and Ma cel Dickhage, 2009. 7Fo mo e in o ma ion on hese esea ch p ojec s isi www.inside-ins alla ions.o g and www.icn.nl. See also: Schol e and ‘ Hoen (2008). DEPOCAS, A., J. Ippoli o, e al. (2003). Pe manence h ough change: The Va iable Media App oach . New Yo k/ Mon eal. GOFFMAN, E. (1973, i s published in 1959). The P esen a ion o Sel in E e yday Li e. Woods ock, New Yo k: The O e look P ess. IRVIN, S. (2005). "The A is 's Sanc ion in Con empo a y A ." The Jou nal o Aes he ics and A C i i- cism 4 (63): 315-326. IRVIN, S. (2006). "Museums and he shaping o con empo a y a wo ks." Museum Managemen and Cu- a o ship (21): 143-156. JONES, C. and C. S inga i (2008). “Seeing Double: Emula ion in Theo y and P ac ice”. In: C. Paul (ed.) New Media in he Whi e Cube and Beyond: Cu a o ial Models o Digi al A . Be keley: Uni e si y o Cali- o nia P ess: 221-232. KENNEDY, R. “How o Conse e A Tha Li es in a Lake?” ( The New Yo k Times , No embe 17, 2009). KRUGER, A. (2010). 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