La participación en la preservación de videoarte Activismo, proliferación y archivos comunitarios
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Argitaratua
2024-01-31
Paula Fernández Valdés
Laburpena
Bere historian zehar, bideo-artea bidegabekeria sozialen eta desberdintasunaren aurkako arma artistiko gisa erabili izan da. Izaera esperimental eta teknologikoagatik, izaera aktibista hori etengabe mugatzen dute zaharkitze-prozesuek, obra horiek babesteko erronkarik handiena baita. Artikulu honek bideoartea tresna ugaritzat hartzea proposatzen du, kontserbazio-estrategiak sarbidean zentratzea ahalbidetzen duena. Jarduera-esparru horretan, online espazioak interes bereziko baliabide gisa aurkezten dira, irisgarriak direlako, bideo-lanetan transmititutako gizarte-aldarrikapenak hedatzea eta berraktibatzea ahalbidetzen baitu. Diseinatu al daiteke parte-hartze praktika eraginkorrik erakundeen ingurunean? Eta, aldi berean, nola eraldatu behar ditugu bildumak eta praktika instituzionalak horizontaltasun hori bermatzeko? Museo-ondokoaren kontzeptuaren bidez, proposamen bat egiten da profesionalizatu gabeko eragileek kontserbazio-prozesuetan parte hartzeko dituzten aukerei, mugei eta ondorioei buruz.
Nola aipatu
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
Bideoartea, zaintza, parte-hartzea, online artxiboak
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
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
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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