{"word_count": 462, "character_count": 3936}
Contemporary art conservation requires a re-assessment of the distinction between the work and its re-configuration in documentation.Although documentation is crucial for the survival of many contemporary works of art, it is never neutral: all approaches, formats, media and systems have their own inherent affordances and blind spots and always transform what they document. Furthermore, in process-centered, technology-based or performative artworks in particular, we often can no longer make a sharp distinction between an original work and its subsequent documentation or replication: documentation is part of the work's very core.On the other hand, even the most meticulously documented works will need to be re-installed or re-performed regularly in order to survive, because otherwise important tacit know-how will get lost.The role of the artist in this process is central, but contested: what if s/he changes her mind, loses interest or is no longer available? And what if the authorship of the work is distributed over several actors? Also, the role of the conservator has taken new dimensions: conservation responsibilities and tasks are now distributed over a diversity of agents.Programa20th June09:00Registration09:50Welcome10:00NECCAR Presentation Ren&#233;e van de Vall10:10Documenting the user experience: from Blast Theory's Rider Spoke, to RAMM's Moor Stories and Tate's Art MapsGabriella Giannachi10:40The role of artistic documentation in conserving and convey social relationshipsLiliana Coutinho11:00Performing documentation and documenting performance: assessing methodologies for reinstallation and preservationRebecca Gordon11:20Coffee break11:50Performance art, its &#171;documentation&#187;, its archives &#8211; about the longing for recollection, the quality of forgetting and new possibilities of transmission of contemporary artIrene Mull&#235;r12:10Poster session12:30Discussion led by Erma Hermens13:00Lunch14:30We don't need no documentation. Reflections on the practice of remembrance.Vivian van Saaze15:00Reactivation Strategies for Unstable EventsJo Ana Morfin15:20Discussion led by Paolo Martore15:40Coffee break16:10Documentation of Contemporary Art Project PresentationRita Macedo e L&#250;cia Almeida Matos16:20(Project Documentation of Contemporary Art)H&#233;lia Mar&#231;al &#38; Andreia Nogueira16:40(Project Documentation of Contemporary Art)Cristina Barros Oliveira17:00Discussion led by Rita Macedo17:30Book presentation of Preserving and Exhibiting Media Art, Inside Installations and Installation Art and the Museum. An authors&#8217; conversation featuring Tatja Scholte, Glenn Wharton, Julia Noordegraaf and Vivian van Saaze17:50Closing21th June10:00Welcome10:10Documenting dilemmas. On the relevance of ethically ambiguous casesRen&#233;e van de Vall10:40Analysing Incommensurable Values in Contemporary Art Documentation: Insights from Cultural SociologyJan Marontate11:00Documenting the Artist Interview and Artist Participation for the purpose of Conservation of a Conceptual and Variable Installation by Jan DibbetsSanneke Stigter11:20Coffee break11:50artemak&#174;. From a compilation of questionnaires &#8230; to a wiki-based online-platform &#8230; to an interdisciplinary documentation and research projectUrsula Haller, Erich Gantzert-Castrillo &#38; Ivo Mohrmann12:10Poster session12:30Discussion led by&#160; Gunnar Heydenreich13:00Lunch14:30Documenting the Analogue Past in Marijke van Warmerdam's Film InstallationsJulia Noordegraaf15:00The quest for the survival of net art, or a speculative approach to documentationAnnet Dekker15:20Discussion led by Pip Laurenson15:40Coffee break16:10(Project Documentation of Contemporary Art)Andreia Magalh&#227;es &#38; Susana Louren&#231;o Marques16:20(Project Documentation of Contemporary Art)Teresa Azevedo16:40Public Access in the Age of Documented ArtGlenn Wharton17:00Discussion led by L&#250;cia Almeida Matos17:30Closing