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Session 2: Conservation in Motion
To coincide with the IMMA Collection initiatives of IMMA Screen and the ongoing Archive Digitisation Project, IMMA has partnered with aemi to devise online discussions with artists and conservators on the subject of the archive. In this session special guests include acclaimed artist Jaki Irvine and Brian Castriota (archaeological & time-based media art conservator) and others.
In Session 2, we shift the focus to the recent display IMMA Archive: 1990s, From the Edge to the Centre and the vital process of collaboration with artists that forms a key part of conservation of time based media artworks. This Session draws on works held in the IMMA Collection as case studies to explore the specific challenges encountered in documenting, caring for and ensuring the longevity of artist moving image works, in order to assess the significance of archives and the importance of public access to collections particularly in the context of the current Covid19 constraints. Guest participants include artist Jaki Irvine and Brian Castriota (archaeological & time-based media art conservator) and others.
Session 1 of Archives LIVE / Artists’ Working with Archives examines the archive as a resource, an enduring subject of interest and site of research for film artists. While Session 2 Archives LIVE / Conservation in Motion, will focus on the conservation process that a moving image work goes through when it is acquired by an archive or a collection.
Online Details: You can attend by registering in advance to receive a zoom link directly to your inbox or you can tune in during live broadcast on the IMMA You Tube Channel, see links above.
Conservation in Motion
Reflecting on recent experiences of the digitisation process related to the recent display of IMMA Archive: 1990s, From the Edge to the Centre – this session offers an artists’ and conservator’s perspective on the inherent methods involved to future proof the display of time based media and moving image artworks, drawing on ideas of artwork identity and authenticity commonly invoked in conservation theory and practice.
Drawing on work of IMMA Collection artist Jaki Irvine, this session centres on the ‘conservator to artist conversation’, as intrinsic to the work of time-based media conservation. Join Brian Castriota (conservator) as he conducts a conversation with Jaki Irvine to learn about the making of these works, and offers a live demonstration of how these kind of interviews between artist and conservator, are key to his work. Key questions address the history of display and its variability, display parameters, equipment significance, etc. As with behind the scenes interviews, these conversations will enter into a Collection artwork’s archive, and serves as a vital information source for future curators and programmers, tasked with preserving and reinstalling time-based and moving image works.
This session will include time for reflection on the current lack of a distributor or archive in Ireland dedicated to disseminating and preserving moving image works by artists and experimental filmmakers. It will shed light on the various Irish arts organisations (galleries, museums, film archives) that hold moving image work by Irish artists and ask what might be involved in forming a connection between these institutions in order to provide clear access and research points for those interested in this vital and thriving area of visual culture.
Presented in collaboration with aemi, and the context of IMMA Archive: 1990s, From the Edge to the Centre exhibition that celebrates an ambitious IMMA Collection and Archive Digitisation Project initiated in 2017, made possible by the support of the Department of Culture, Heritage and the Gaeltacht, of which we are keen to nurture their further support of the Collection. The IMMA archive project is the catalyst behind the IMMA and aemi collaboration, and presents an opportunity to embrace a shared ethos for supporting artists working with the moving image, as well as contributing to the important development of building infrastructures around the conservation of these practices in Ireland.
Jaki Irvine uses video installation, photography, music composition and writing – she explores the complex ways we imagine ourselves and the world around us, a process which, for Irvine,has both philosophical and political implications.
Her practice, as Anne Tallentire remarked, is ‘an invitation to see what might be learnt by attempting to think undistractedly about things we cannot help thinking about anyway, or cannot help have occur to us’. In 1995 Irvine’s work was included in General Release, the seminal exhibition of Young British Artists at the Venice Biennale and she represented Ireland at the Venice Biennale in 1997. She participated in numerous group shows including NoWhere Louisiana Museum of Modern Art, Denmark (1996), White Noise, Bern Kunsthalle, (1998), Intelligence, Tate Britain (2000) and Shifting Ground: 50 Years of Irish Art at the Irish Museum of Modern Art (IMMA) (2000); Revolver II, Matt’s Gallery, London (2014); A Room of One’s Own, Laboratorio Arte Alameda, Mexico City (2015). Her solo exhibitions have included the Project Arts Centre (1996), Kerlin Gallery (2004, 2011) and the Douglas Hyde Gallery, Dublin (1999, 2005); Frith Street Gallery, London (1997, 1999, 2011) the Staatliche Kunsthalle in Baden-Baden, Germany (1998) Delfina Project Space London; Henry Moore Institute (2004) Leeds and Galleria Alessandro de March (2004),Milan.
In 2005 she showed The Silver Bridge in IMMA and Smart Project Space,
Amsterdam. In 2008, her multi channel installation, In a World Like This, was produced in collaboration with Chisenhale Gallery, London and The Model Arts and Niland Gallery, Sligo. To mark the exhibition, The Square Root of Minus 1 is Plus or Minus i , was published in early 2008. Her project, City of Women (2010), developed with Draoícht and The Lab, Foley Street, brought together women of many different backgrounds and ages, to perform for one night on Foley Street, re-enacting gestures from Hogarth’s, The Harlot’s Progress. In 2011 Before The Page is Turned, developed in the Dublin Graphic Print Studios, was presented at the Kerlin Gallery, Dublin. In 2014 her solo show, This Thing Echoes, was presented at Frith Street Gallery, London.
Irvine has written many critical texts and short writings on other artists work in the past, including Extinction Beckons, for Mike Nelson, a book commissioned by Matts Gallery. In 2013 she wrote Days of Surrender, her first novel, published by Copy Press, UK. Irvine is represented in the collections of IMMA, the Irish Arts Council, Tate Modern, FRAC and in numerous other collections, both public and private. She lives and works in Dublin and Mexico City. She is represented by Frith Street Gallery, London and Kerlin Gallery, Dublin. See more details here
Dr Brian Castriota is a Glasgow-based researcher and conservator specialised in the conservation of time-based media, contemporary art, and archaeological materials. He holds a Master’s degree in History of Art and Certificate in Conservation from the Institute of Fine Arts at NYU (2014), and a PhD in History of Art from the University of Glasgow (2019). As one of fifteen doctoral research projects in the Horizon 2020 Marie Skłowdoska-Curie ITN New Approaches in the Conservation of Contemporary Art (NACCA), his thesis research examined notions of artwork identity and authenticity commonly invoked in conservation theory and practice.
Since 2018 he has worked as a freelance conservator for time-based media and contemporary art at IMMA, as well as the Scottish National Gallery of Modern Art in Edinburgh. He currently serves as Supervising Conservator with the Archaeological Exploration of Sardis in Turkey and has worked with the expedition since 2011. Prior to his doctoral studies he was a Samuel H. Kress Fellow in Time-Based Media Conservation at the Solomon R. Guggenheim Museum in New York and worked as a contract conservator for time-based media artworks at the Smithsonian American Art Museum. He is a regular guest lecturer on the subject of time-based media and contemporary art conservation at the University of Glasgow and Edinburgh College of Art, and is an adjunct instructor for the NYU Institute of Fine Arts’ time-based media conservation stream of their MA/MS degree programme.See more details here
Alice Butler is co-director of aemi with Daniel Fitzpatrick. She is a Dublin-based film programmer, curator, lecturer and writer. Alice worked at the Irish Film Institute for six years where she curated several film seasons and had responsibility for artist moving image programming. Solo curatorial ventures have included ‘The L-Shape’ at The Dock, ‘As We May Think’ at IFI and ‘New Spaces’ with VAI Northern Ireland. Alice has written on the moving image for Sight and Sound, Vdrome, Paper Visual Art and Enclave Review and she has lectured or participated in panels on the moving image at Trinity College Dublin, Dublin City Gallery The Hugh Lane, IMMA and PLASTIK Festival of Artists’ Moving Image.
Daniel Fitzpatrick is co-director of aemi. Daniel served as co-director of PLASTIK Festival of Artists’ Moving Image in 2015 and 2017. He has worked as a lecturer, programmer, and researcher with a special interest in the field of artists’ and experimental moving image. Daniel also served as Director of Killruddery Film Festival from 2009 to 2012 and was co-director of Experimental Film Club.
aemi is a Dublin-based initiative that supports and regularly exhibits moving image works by artists and experimental filmmakers. Since its formation in 2016 aemi’s key objective has been to provide support for artists working with the moving image in order to contribute to a developing infrastructure around these practices in Ireland. aemi is dedicated to expanding audiences for this material through regular curated programmes of Irish and international work with the intention of enriching the critical discourse that surrounds the wide range of activity in this area. See more here
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