La participación en la preservación de videoarte Activismo, proliferación y archivos comunitarios
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Publicado
31-01-2024
Paula Fernández Valdés
Resumen
A lo largo de su historia, el videoarte ha sido empleado habitualmente como un arma artística contra las injusticias sociales y la desigualdad. Por su carácter experimental y tecnológico, este carácter activista se ve continuamente limitado por los procesos de obsolescencia, el mayor desafío en la preservación de estas obras. El presente artículo propone un entendimiento del videoarte como un artefacto de carácter proliferativo, que permite centrar las estrategias de conservación en el acceso. En este marco de actuación, los espacios online se presentan como recursos de especial interés por su carácter accesible, que posibilita la difusión y reactivación de las reivindicaciones sociales transmitidas en las obras de video. ¿Es posible diseñar prácticas participativas efectivas en el entorno institucional? Y, simultáneamente, ¿cómo debemos transformar las colecciones y prácticas institucionales para garantizar esta horizontalidad? A través del concepto de postmuseo se realiza una propuesta en relación con las posibilidades, límites y efectos de la participación de agentes no profesionalizados en los procesos de preservación.
Cómo citar
Fernández Valdés, Paula. 2024. «La participación En La preservación De Videoarte: Activismo, proliferación Y Archivos Comunitarios». AusArt 12 (1). https://doi.org/10.1387/ausart.25549.
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Keywords
VIDEOARTE, PRESERVACIÓN, PARTICIPACIÓN, ARCHIVOS ONLINE
References
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Brea Cobo, José Luis. 2002. La era postmedia: Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: Consorcio Salamanca
Castriota, Brian. 2021. «Variants of concern: Authenticity, conservation, and the type-token distinction». Studies in Conservation 67(1-2): 72-83. https://doi.org/10.1080/00393630.2021.1974237
Dahlgren, Anna Näslund & Karin Hansson. 2022. «Crowdsourcing cultural heritage as democratic practice». Participatory practices in art and cultural heritage: Learning through and from collaboration, edited by Per Hetland, Palmyre Pierroux & Line Esborg, 39-48. Cham, Switzerland: Spriger. https://doi.org/10.1007/978-3-031-05694-9_4
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Domínguez Rubio, Fernando. 2014. «Preserving the unpreservable: Docile and unruly objects at MoMA». Theory and Society 43(6): 617-645. https://doi.org/10.1007/s11186-014-9233-4
Domínguez Rubio, Fernando. 2020. Still life: Ecologies of the modern imagination in the art museum. Chicago: University of Chicago
Domínguez Rubio, Fernando. 2023. «Pensar desde la fragilidad [Thinking from fragility]». Diseña 23. https://doi.org/10.7764/disena.23.Article.2
Dumitriu, Anna, Alex May, Athanasios Velios, Zoi Sakki, Veroniki Korakidou, Hélia Marçal & Georgios Panagiaris. 2022. «Unruly objects: NFTs, blockchain technologies and bio-conservation». Technoetic Arts 19(3): 383-397. https://doi.org/10.1386/tear_00076_1
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Groys, Boris. 2018. «Entering the flow: Museum between archive and Gesamtkunstwerk». En The future of museums, edited by Gerald Bast, Elias G. Carayannis & David F.J. Campbell, 67-79. Cham, Switzerland: Spriger. https://doi.org/10.1007/978-3-319-93955-1_8
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Huvila, Isto, Jamie Johnston & Henriette Roued-Cunliffe. 2022. «LAMs and the participatory turn». En Libraries, archives, and museums in transition: Changes, challenges, and convergence in a Scandinavian perspective, edited by Casper Hvenegaard Rasmussen, Kerstin Rydbeck & Hakon Larsen, 158-172. London: Routledge. https://doi.org/10.4324/9781003188834-15
Ippolito, Jon. 2022 «Crypto-preservation and the ghost of Andy Warhol». Arts 11(2): 47. https://doi.org/10.3390/arts11020047
Irvin, Sherry. 2019. «Authenticity, misunderstanding, and institutional responsibility in contemporary art”. The British Journal of Aesthetics 59(3): 273-88. https://doi.org/10.1093/aesthj/ayz007
Laurenson, Pip, Vivian van Saaze & Renée van de Vall. 2022.«Bridging the gaps between theory and practice through cross-institutional collaboration in the conservation of contemporary art». En Engaged humanities: Rethinking art, culture, and public life, edited by Aagje Swinnen, Amanda Kluveld & Renée van de Vall, 271-304. Amsterdam: Amsterdam University https://doi.org/10.2307/j.ctv2rcnqpt.14
Laurenson, Pip. 2022. «Introduction: Tony Conrad, ten years alive on the infinite plain». Tate.org. https://www.tate.org.uk/research/reshaping-the-collectible/introduction-tony-conrad-ten-years-alive-on-the-infinite-plain
Balduf, Leonhard, Martin Florian & Björn Scheuermann. 2022. «Dude, where's my NFT: Distributed infrastructures for digital art». En Proceedings of the 3rd International Workshop on Distributed Infrastructure for the Common Good DICG '22, edited by Kaiwen Zhang, 1-6. New York: Association for Computing Machinery, 2022. https://doi.org/10.1145/3565383.3566106
Liew, Chern Li, Anne Goulding & Max Nichol. 2022. «From shoeboxes to shared spaces: Participatory cultural heritage via digital platforms». Information, Communication & Society 25(9): 1293-1310. https://doi.org/10.1080/1369118X.2020.1851391
Lovejoy, Margot. 1997. Postmodern currents: Art and artists in the age of electronic media. Upper Saddle River NJ: Prentice Hall
Marçal, Hélia. 2019. «Public engagement towards sustainable heritage preservation». Protection of Cultural Heritage 8: 185-210. https://doi.org/10.35784/odk.1084
Marçal, Hélia. 2023. «Entangled ethics: Heritage conservation, transmission and participation». En From conservation to conversation: Rethinking collection care, edited by Farideh Fekrsanati & Gabriel Schimmeroth. Hamburg: Museum am Rothenbaum Kulturen und Künste
Marstine, Janet. 2006. New museum theory and practice: An introduction. Hoboken: John Wiley & Sons
Meigh-Andrews, Chris. 2006. A history of video art: The development of form and function. Oxford: Berg
National Library of Australia. 2003. Guidelines for the preservation of digital heritage. Paris: Unesco. https://unesdoc.unesco.org/ark:/48223/pf0000130071
Pastor Pérez, Ana, David Barreiro Martínez, Eva Parga-Dans & Pablo Alonso González. 2021. «Democratising heritage values: A methodological review». Sustainability 13(22): 12492. https://doi.org/10.3390/su132212492
Phillips, Joanna. 2010. «Shifting equipment significance inTime-based media art». Electronic Media Group Session, AIC 36th Annual Meeting Milwaukee, WI, May 11–14, http://resources.culturalheritage.org/wp-content/uploads/sites/15/2016/07/Vol-1_2010_Ch-6_Phillips.pdf
Phillips, Megan, Jefferson Bailey, Andrea Goethals & Trevor Owens. 2013. «The NDSA levels of digital preservation: explanation and uses». Archiving Conference 10, 216-222. https://doi.org/10.2352/issn.2168-3204.2013.10.1.art00047
Price, Seth. 2019. «Dispersion». En The art happens here: Net art anthology, edited by Aria Dean, Dragan Espenschied & Michael J. Connor. New York: Rhyzome
Rausch, Christoph, Ruth Benschop, Emilie Sitzia & Vivian van Saaze, eds. 2022. Participatory practices in art and cultural heritage: Learning through and from collaboration. Cham, Switzerland: Springer
Rinehart, Richard & Jon Ippolito. 2014. Re-collection: Art, new media, and social memory. Cambridge MA: MIT
Schäfer, Mirko Tobias. 2011. Bastard culture! How user participation transforms cultural production. Amsterdam: Amsterdam University
Smith, Laurajane. 2006. Uses of heritage. London: Routledge
Zavala, Jimmy; Alda Allina Migoni, Michelle Caswell, Noah Geraci & Marika Cifor. 2017. «’A process where we’re all at the table’: Community archives challenging dominant modes of archival practice». Archives & Manuscripts 45(3): 202-215. https://doi.org/10.1080/01576895.2017.1377088
Balachandran, Sanchita & Kelly Mchugh. 2019. «Respectful and responsible stewardship: Maintaining and renewing the cultural relevance of museum collections». En Preventative conservation: Collection storage, Lisa Elkin & Christopher A. Norris, editors, 3-25. Washington DC: George Washington University
Brea Cobo, José Luis. 2002. La era postmedia: Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: Consorcio Salamanca
Castriota, Brian. 2021. «Variants of concern: Authenticity, conservation, and the type-token distinction». Studies in Conservation 67(1-2): 72-83. https://doi.org/10.1080/00393630.2021.1974237
Dahlgren, Anna Näslund & Karin Hansson. 2022. «Crowdsourcing cultural heritage as democratic practice». Participatory practices in art and cultural heritage: Learning through and from collaboration, edited by Per Hetland, Palmyre Pierroux & Line Esborg, 39-48. Cham, Switzerland: Spriger. https://doi.org/10.1007/978-3-031-05694-9_4
Dewdney, Andrew, David Dibosa & Victoria Walsh. 2013. Post critical museology: Theory and practice in the art museum. London: Routledge
Domínguez Rubio, Fernando. 2014. «Preserving the unpreservable: Docile and unruly objects at MoMA». Theory and Society 43(6): 617-645. https://doi.org/10.1007/s11186-014-9233-4
Domínguez Rubio, Fernando. 2020. Still life: Ecologies of the modern imagination in the art museum. Chicago: University of Chicago
Domínguez Rubio, Fernando. 2023. «Pensar desde la fragilidad [Thinking from fragility]». Diseña 23. https://doi.org/10.7764/disena.23.Article.2
Dumitriu, Anna, Alex May, Athanasios Velios, Zoi Sakki, Veroniki Korakidou, Hélia Marçal & Georgios Panagiaris. 2022. «Unruly objects: NFTs, blockchain technologies and bio-conservation». Technoetic Arts 19(3): 383-397. https://doi.org/10.1386/tear_00076_1
Elwes, Catherine. 2005. Video art, a guided tour. With a foreword by Shirin Neshat. London: I.B. Tauris
Eveleigh, Alexandra. 2012. «Welcoming the world: An exploration of participatory archives». Paper at the International Council on Archives Brisbane, August. http://ica2012.ica.org/files/pdf/Full%20papers%20upload/ica12Final00128.pdf
Fernández Valdés, Paula. 2023. «Pasado, presente y futuro del videoarte en España: Nuevas estrategias de preservación para su difusión en red». Tesis doctoral, Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/200467
García Morales, Lino. 2021. Teoría de la conservación evolutiva: Basada en ejemplos. Norderstedt, Germany: Books on Demand
Giannachi, Gabriella, Rebecca Sinker, Steve Benford, Tony Glover, Helena Hunter, Valentina Ravaglia, Acatia Finbow, Emily Pringle & Laura Carletti. 2017. «The cartography project: Documenting participatory practices in museums and art galleries». DCH2017 Digital Cultural Heritage International Conference Berlin. https://www.tate.org.uk/documents/1304/dch2017_cartography_project.pdf
Groys, Boris. 2018. «Entering the flow: Museum between archive and Gesamtkunstwerk». En The future of museums, edited by Gerald Bast, Elias G. Carayannis & David F.J. Campbell, 67-79. Cham, Switzerland: Spriger. https://doi.org/10.1007/978-3-319-93955-1_8
Horsfield, Kate. 2006. «Busting the tube: A brief history of video art”. En Feedback: The video data bank catalog of video art and artist interviews, edited by Kate Horsfield and Lucas Hilderbrand, 7-16. Philadelphia PA: Temple University
Hummelen, IJsbrand M.C. & Dionne Sillé, eds. (1999) 2005. Modern art- who cares? An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art. Text editor, Marjan Zijlmans. London: Archetype
Huvila, Isto, Jamie Johnston & Henriette Roued-Cunliffe. 2022. «LAMs and the participatory turn». En Libraries, archives, and museums in transition: Changes, challenges, and convergence in a Scandinavian perspective, edited by Casper Hvenegaard Rasmussen, Kerstin Rydbeck & Hakon Larsen, 158-172. London: Routledge. https://doi.org/10.4324/9781003188834-15
Ippolito, Jon. 2022 «Crypto-preservation and the ghost of Andy Warhol». Arts 11(2): 47. https://doi.org/10.3390/arts11020047
Irvin, Sherry. 2019. «Authenticity, misunderstanding, and institutional responsibility in contemporary art”. The British Journal of Aesthetics 59(3): 273-88. https://doi.org/10.1093/aesthj/ayz007
Laurenson, Pip, Vivian van Saaze & Renée van de Vall. 2022.«Bridging the gaps between theory and practice through cross-institutional collaboration in the conservation of contemporary art». En Engaged humanities: Rethinking art, culture, and public life, edited by Aagje Swinnen, Amanda Kluveld & Renée van de Vall, 271-304. Amsterdam: Amsterdam University https://doi.org/10.2307/j.ctv2rcnqpt.14
Laurenson, Pip. 2022. «Introduction: Tony Conrad, ten years alive on the infinite plain». Tate.org. https://www.tate.org.uk/research/reshaping-the-collectible/introduction-tony-conrad-ten-years-alive-on-the-infinite-plain
Balduf, Leonhard, Martin Florian & Björn Scheuermann. 2022. «Dude, where's my NFT: Distributed infrastructures for digital art». En Proceedings of the 3rd International Workshop on Distributed Infrastructure for the Common Good DICG '22, edited by Kaiwen Zhang, 1-6. New York: Association for Computing Machinery, 2022. https://doi.org/10.1145/3565383.3566106
Liew, Chern Li, Anne Goulding & Max Nichol. 2022. «From shoeboxes to shared spaces: Participatory cultural heritage via digital platforms». Information, Communication & Society 25(9): 1293-1310. https://doi.org/10.1080/1369118X.2020.1851391
Lovejoy, Margot. 1997. Postmodern currents: Art and artists in the age of electronic media. Upper Saddle River NJ: Prentice Hall
Marçal, Hélia. 2019. «Public engagement towards sustainable heritage preservation». Protection of Cultural Heritage 8: 185-210. https://doi.org/10.35784/odk.1084
Marçal, Hélia. 2023. «Entangled ethics: Heritage conservation, transmission and participation». En From conservation to conversation: Rethinking collection care, edited by Farideh Fekrsanati & Gabriel Schimmeroth. Hamburg: Museum am Rothenbaum Kulturen und Künste
Marstine, Janet. 2006. New museum theory and practice: An introduction. Hoboken: John Wiley & Sons
Meigh-Andrews, Chris. 2006. A history of video art: The development of form and function. Oxford: Berg
National Library of Australia. 2003. Guidelines for the preservation of digital heritage. Paris: Unesco. https://unesdoc.unesco.org/ark:/48223/pf0000130071
Pastor Pérez, Ana, David Barreiro Martínez, Eva Parga-Dans & Pablo Alonso González. 2021. «Democratising heritage values: A methodological review». Sustainability 13(22): 12492. https://doi.org/10.3390/su132212492
Phillips, Joanna. 2010. «Shifting equipment significance inTime-based media art». Electronic Media Group Session, AIC 36th Annual Meeting Milwaukee, WI, May 11–14, http://resources.culturalheritage.org/wp-content/uploads/sites/15/2016/07/Vol-1_2010_Ch-6_Phillips.pdf
Phillips, Megan, Jefferson Bailey, Andrea Goethals & Trevor Owens. 2013. «The NDSA levels of digital preservation: explanation and uses». Archiving Conference 10, 216-222. https://doi.org/10.2352/issn.2168-3204.2013.10.1.art00047
Price, Seth. 2019. «Dispersion». En The art happens here: Net art anthology, edited by Aria Dean, Dragan Espenschied & Michael J. Connor. New York: Rhyzome
Rausch, Christoph, Ruth Benschop, Emilie Sitzia & Vivian van Saaze, eds. 2022. Participatory practices in art and cultural heritage: Learning through and from collaboration. Cham, Switzerland: Springer
Rinehart, Richard & Jon Ippolito. 2014. Re-collection: Art, new media, and social memory. Cambridge MA: MIT
Schäfer, Mirko Tobias. 2011. Bastard culture! How user participation transforms cultural production. Amsterdam: Amsterdam University
Smith, Laurajane. 2006. Uses of heritage. London: Routledge
Zavala, Jimmy; Alda Allina Migoni, Michelle Caswell, Noah Geraci & Marika Cifor. 2017. «’A process where we’re all at the table’: Community archives challenging dominant modes of archival practice». Archives & Manuscripts 45(3): 202-215. https://doi.org/10.1080/01576895.2017.1377088
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