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Inquiries on the Intersection of Curatorial and Conservation Cultures
The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds - manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage - may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation.
Inquiries on the Intersection of Curatorial and Conservation Cultures
The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds - manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage - may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation.
Abstract
This interview explores how cultural transmutations condition the existence/recognition of ‘transitional objects’ and how these objects are themselves physically unstable. The conversation reflects on the concepts of temporality and duration, questioning what constitutes an artwork or an artefact, to then return to their role in our attempts to grasp our own temporality and reality. The conservator’s intervention on an object is cast as a critical and creative positing of a question about whether that object serves its purpose in the continuously unfolding present.