Conservation – intima • Igor Štromajer

Archéologie des média – MCD

MCD #75
magazine des cultures digitales
septembre 2014

L’archéologie des média est quasiment inconnue en France, bien qu’elle ait plus de vingt d’existence. Pourtant, elle a produit (et continue de produire) des effets majeurs dans le champ de la création, de l’exposition, de la médiation, de la conservation et de la théorisation des œuvres médiatiques et numériques

Les contributeurs de ce numéro :
Andrés Lozano, Anne Laforet, Annick Bureaud, Annick Rivoire, Cécile Dazord, Clarisse Bardiot, Coline Bourgouin, Emmanuel Guez, Emmanuel Guy, Gwenola Wagon, Igor Štromajer, Jussi Parikka, Laura Garrassin, Line Herbert-Arnaud, Lionel Broye, Lucille Calmel, Marie Bastard, Morgane Stricot, Prune Galeazzi, Rémy Geindreau, Serge Hoffman, Tiphaine Vialle.

Rédacteur en chef invité : Emmanuel Guez & l’ESAA (École Supérieure d’Art d’Avignon); Rédacteur en chef : Laurent Diouf

www.digitalmcd.com/mcd-75-archeologie-media

Theory and Practice in the Conservation of Digital Art

Theory and Practice in the Conservation of Digital Art.
The Project digital art conservation

ZKM | Museum of Contemporary Art,
Espace Multimédia Gantner, Bourogne
CEAAC, Straßburg
House of Electronic Arts Basel

ISBN: 978-3-7091-1469-8
2013

Editor: Bernhard Serexhe
Publisher: Ambra |V, Vienna
665 pages, 174 images in color, 30 images b/w

Available at ZKM in English, German and French.

Includes contribution by Igor Štromajer, based on Expunction

– read the complete text by Igor Štromajer: M=5¦é×–0§ń $iá†:

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Digital Art Conservation, Strasbourg

Digital Art Conservation: Practical Approaches
Artists, Programmers, Theorists
École supérieure des arts décoratifs de Strasbourg, 24 and 25 November 2011, 09.00–18.30

FR | DE + Download the programme booklet and the poster (PDF)

24 Nov 2011 at 16:15 | Igor Štromajer presenting: Expunction (Deleting http://www.intima.org Net Art Works, May – June 2011)

Artists who create digital artworks face the problem of preservation much sooner than artists who work with more traditional materials. Artists who wish their work to endure always ready for exhibition, must give some thought to preservation strategies from the moment the artwork is created. The choices of standard tools, documentation and modes of distribution are all part of this process.

An interest in the historical value of digital artworks also encourages the institutions that exhibit them to make this particular value visible, in addition to the appropriate conservation of the work. This leads us to reconsider the conservation strategies which advocate the systematic and continuous updating of non-functioning or obsolete devices.

This symposium aims to give an overview of certain strategies that have been implemented over the past few years by presenting the intertwined approaches and practices of theorists, artists, programmers and preservation specialists.

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