INCCA Talk: Fernando Domínguez Rubio in conversation with Pip Laurenson - Shared screen with speaker view
Who can see your viewing activity?
Live captions are available for this event. Click the CC Closed Captions button. Or click on this link for a fully adjustable page of captions: https://www.streamtext.net/player?event=tate
Josephine Bobeck and Rachel Rivenc will be moderating the Chat. Please do feel free to ask questions by typing into the Chat, and we’ll pick up on your questions later.
Please do feel free to type in any questions or comments you may have to the Chat!
You have in your book made visible the environmental impact of our HVAC systems and our environmental controls in storage and display. What might a different regime of care look like?
I would even question the duality between artificial and natural environment in regards to the museum. I'd say, that all the environments we live in are artificial (because they are changed by humans). A museum environment is just one of these environments.
The power dynamics you describe between the global south and global north expressed through loans and donations - do you have suggestions on how to equalize those, or do you know of programs that do?
Ruth del Fresno-Guillem She/Her/Hers
And why is that bad? having several interviews and having to deal with different ideas? Isn’t that what makes the artist ande the interaction human? You have to make choices for sure. but isn’t that care?
can this comment be read?there is a Spanish saying, used to call someone “slow minded” , that says:when someone points you to the moon, you look at the finger instead.(sorry for the bad translation )I think that saying can be turned around and actually it is very much like what you describe in these ecologies: lets look at the shiny moon and not at the system that enables the vision.and as a citizen of the global south, I find it relevant to think the museum and its issues in a geopolitical waythank you.
How might we make that labour visible when so much of these behind-the-scenes discussions and decision making are seen as “sensitive” information, or not a curatorial or artistic priority?
Pip Laurenson (she/her)
Useful reference on this https://read.dukeupress.edu/public-culture/article-abstract/32/1/215/147871/The-Work-of-Art-in-the-Age-of-Digital-Fragility
(Following Sofia's comment, Feranando's concept of care as extraction is major, the current trends in conservation (being it the accumulation of resources - human, documentation, TiBM equipment, etc.) bring me and my peers in Portuguese museums an overall feeling of anxiety and further delay in comparison with major institutions.)
Purchase Fernando Domínguez Rubio’s book here - use this discount code for 20% off: UCPMUS - https://press.uchicago.edu/ucp/books/book/chicago/S/bo51203276.html
We would be really grateful if you could complete a brief feedback form about today’s event - https://forms.gle/P1dK1f39PYMv5ZzeA
I liked that, reimagine storage as a pool. In the digital space, this is happening: distributed storage, distributed source code management.
Thank you for joining us for this INCCA Talk, the first in a series of conversations and panels exploring current issues in contemporary art conservation and related fields. Find out more and search for upcoming events at https://www.incca.org/events
Unfortunately I need to leave… Thank you very much for this interesting presentation / discussion
thank you for the presentation.
yasss brilliant talk, thank you very much!!
thank you, this was great!
Veerle Meul - Middelheimmuseum
Thank you, super interesting, looking forward to reading the book too! ALl the best Veerle