La conservazione delle opere cinetico-visuali di arte contemporanea
Author(s)
Martore, Paolo
Date Issued
November 19, 2008
Type
Doctoral Thesis
Abstract
The continuously evolving bond between aesthetic and technology gathers phenomena like the Kinetic Art, Video-Art, Digital-Art, Net Art, Cybernetics etc. This link makes clear the vast range of the technological dimension, that represents a better level of study, stronger than every other classification in the contemporary field. The inherent properties of the tecno-sphere (automation, reproducibility, functionality, interactivity etc) have the power to incessantly mobilize the notions of identity and authenticity of the work. The immediate collateral effect of this great settlement motion is the paradox for which, while the technological irruption enriches the matter, definitive art de-materialization hypothesis strikes the observer, confused by work’s inconsistency within his own expectations. Any attempt to identify and describe an artistic object without considering the idea of technological device is underdog.
At the present time, the strategies of Conservation for the Contemporary art adopt a decision making model mostly voted to the recovery of the original meaning of the artistic text. But many times such guideline however does not fit with typical problems of technologically complex art. This paper then propose to check the use of the concepts of artistic statute and author’s intention, in order to balance them with the notion of cultural identity, connection of the artwork with the production and reception practises. The target is therefore to reach to a theoretical premise for the definition of a modernized operating protocol of extended effectiveness, helpful in a technology-based art context.
Additional information
Dottorato di ricerca in Memoria e materia delle opere d’arte attraverso i processi di produzione,
storicizzazione, conservazione, musealizzazione
storicizzazione, conservazione, musealizzazione
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