Archives de catégorie : Films et numérisation

Film forum/Spring school, Udine/Gorizia, 5-14 avril 2011

L’édition 2011 du Colloque international de cinéma et de l’Ecole de printemps organisés conjointement par l’Université de Udine et de Paris III (départements cinéma) avait pour thème : L’ARCHIVE.

La conservation, la restauration et la numérisation des fonds confrontés à l’obsolescence se sont ainsi trouvé au premier plan des sujets abordés. 

La nécessité d’élaborer un paradigme de conservation-restauration adapté au film est apparue très nettement – le paradigme issu des beaux arts s’avérant inapproprié et inopérant. L’importance de développer une réflexion concertée et une expertise sur les numérisations opérées dans les collections patrimoniales constitue également une priorité.

Une intervention a été présentée le 8 avril à l’Ecole de Printemps par Cécile Dazord :

Film digitization : The problematics of conserving visual effetcs

 Cecile Dazord, Clotilde Boust – Centre de recherche et de restauration des Musées de France (C2RMF)

Since 2006, the French Museum Conservation and Research Center (Ministry of Culture) is working on the phenomena of technological obsolescence. The purpose of this program is to study the impacts of technological evolutions on contemporary art and its preservation. Since the late 1960s, an increasing number of art works consist of still or moving images, many of which are now conserved on obsolete devices and formats. Consequently, it is always more difficult to present them: their accessibility is threatened, as is their preservation. Faced with this combined obsolescence of media, devices and formats, heads of collections frequently carry out the digitization of repositories for purposes of distribution or preservation. However, a digitization campaign requires specialized skills and, above all, a specific code of practice that is currently unavailable in museum contexts. Art works are unique and non-standard objects. Therefore, methods of mass digitization used in other domains such as television or library archives cannot be directly imported into the field of art. We focused on the digitization of avant-garde and experimental cinema because 16 or 35 mm film is becoming obsolete and because the aesthetics of the images is essential in such films.

Cécile Dazord holds degree in art history and classical studies and is accredited by the Institut national du patrimoine (National institute of curatorial studies). From 2001 to 2005, she was chief curator of the contemporary art collection at the Strasbourg museum of modern and contemporary art. Since 2006, she has been head of the Department of contemporary art at the Research institute of the national museums of France

Clotilde Boust received her engineering degree in photography from the Ecole nationale Louis Lumière, France, in 1998 and a Ph. D. in image quality from Paris IV University in 2004. She is now assistant professor, doing research about color imaging at the Research institute of the national museums of France.

 

XVIII International Film Studies Conference / Convegno Internazionale di Studi sul Cinema
Udine, April 5 – 7, 2011
T H E  A R C H I V E
Memory, cinema, video and the image of the present

 

« It was Jacques Derrida who reminded us that the word archive (Archè) combines the idea of beginning and that of command: the place
where things get started, and where the sources reside, but at the same time the place where the Law arises and where it finds its
dwelling.
In the regime of the image the archive is – in a single concept – the storage of recorded and transmitted images, but also what Jacques
Rancière defines as «the organization of the sensible» (le partage du sensible); that instance which regulates, institutes and organizes
the places and positions of access to the experience of the visual. Nevertheless the archive is not a one-dimensional concept: it is not
only made by objects and concreteness, but also by void spaces, missing elements, silences, which preserve not only the transmittable
history but also the trace of what could have been but was not and nevertheless continues to persist in the present times.
While a widespread tradition always understood history as a vertical narrative that emerges from an origin and is written like a book by
a constituent subject; the archive appears as a radical dishomogeneity, irreducibly paratactic and organized through a vast multiplicity
of elements. It was Michel Foucault who underlined the way in which history is inevitably linked to the question of the constituent
subject, and how archaeology (or genealogical practices) reverse the question and claim that it is the subject itself which is constituted
by a thick network of practices of knowledge and technologies of power that define its conditions of possibility. The archive is not
defined by the staticity of its object, but rather by the lack of its subject.
Addressing the question of the archive does not mean turning our back to the present according to a teleological diachronical
perspective, but on the contrary it would mean to analyze how knowledge and technology that define the range of the contemporary
visuality are in turn defined by a “historical a-priori” (Foucault) in which they find their own conditions of possibility. An “a-priori” is
co-extensive with the present: it is not meant to be searched as an already-given object somewhere in the past, but it is rather something
that needs to be synchronically constructed, connected and organized through a genealogical practice toward the future.
In the past few years many experiences in fine arts, cinema, philosophy etc. have turned their attention towards the concept of the
archive and in general towards practices of the paratactic juxtaposition of elements: as if a new experience of the historical time was
emerging. The digital culture, for instance, along with the new possibilities of organization and recording of knowledge connected to it,
open up new perspectives of construction and access of knowledge based on modularity and a-hierarchical horizontality more than on a
vertical discipline. Or in the field of the visual studies, a renewed attention toward figures like Aby Warburg and Walter Benjamin
testimony an intellectual sensibility focused on the relationship between image, memory and historical time.
We would therefore like to refer to the associations opened up by the concept of the archive in its expanded declination. Archive is the
discursive and yet physical place where dialectical and conflictual negotiations between genealogical practices and dispositifs of power
find their place to be. And where what’s at stake is nothing less than the form and modalities to access the present regime of the visual.
Institutions, knowledge, dispositifs. Which institutions, knowledge, dispositifs of power define and organize the condition of
possibility of the contemporary visual? Which agents, subjects, norms and conditions of access are legitimized or made illegitimate?
The Digital Archive. How do the modalities of registration and preservation made possible by the digital turn redefine archival
practices and the organization of knowledge? The pervasive possibility of filming, recording, decoding, archiving – with very low costs
and easily accessible technologies – which kind of relation does it establish with temporality, history and memory?
Memory, image, historical time. Are images examples of a recorded and archived past? Are the enormous archives of images an
example of a technological preservation of memory? Or rather does their supposed accuracy and adherence hide blanks spots, silences,
missing elements? What does an image say or does not say? Would it be possible to imagine a politics of images which does not
delegate a testimony but rather takes on the responsibility of doing so to its most extreme consequences?
Archive and its subject. How is it possible to make an archive speak? Which is the subject (institution or ideology) that is entitled to
make it speak? Are we a constituent subject (active) of an archive or are we subjected (passive) to it and to the way through which an
archive is shaping the conditions of the possibility of the visual?
Archive and its traces. What are the material traces preserved in and by the archive connected to? What is their status? In which way
do cultural artefacts hide and reveal at the same time a complex set of cultures, agents and audiovisual memory? »

 

IX MAGIS – Gorizia International Film Studies Spring School
Gorizia, April 8 – 13, 2011
T H E A R C H I V E
Memory, cinema, video and the image of the present


« The IX MAGIS Spring School, organized by the University of Udine and the University of Paris III in collaboration with their network
of partners – the Universities of Amsterdam, Bochum, Prague, Valencia, Milano-Cattolica, Pisa and CineGraph/Hamburg – as part of
the activities of the International PhD in Audiovisual Studies, will be held this year in Gorizia, from April 8th to April 11th.
This IX edition of the MAGIS Spring School will focused on the relationship between audiovisual forms and the notion of the
Archive. With the help of scholars, graduate students, artists, curators and representatives of art institutions, the IX Spring School will
try to address in plenary sessions and workshops the main topic of “the Archive” in relation to specific disciplinary fields, objects and
perspectives of research with an emphasis on:
Cinema & Contemporary Visual Art. The archive form undoubtedly dominated curatorial and artistic practices of the last decade. On
the one hand it allowed for the adoption of a retrospective point of view toward modernist great points of reference, thereby
reappraising not only their historical importance, but also their utopian aspect and experimental gesture. On the other hand, it freed up
the possibility of assemblage and manipulation of sources (with the digital turn becoming increasingly more accessible) and gave rise
to a different phenomenological experience of reality which modifies the interpretation, recording and organization of data. Sharing the
theoretical framework and perspective suggested by the FilmForum 2011’s call for papers, the Cinema & Contemporary Visual Arts
section aims to investigate the archive form with an analysis of its significance along these two aspects. We will place an emphasis, in
particular, on the relevance of researches and authorial practices of the net, of sound and moving images.
Archive & Post-Cinema: videogame/animation/comics. The “archive”, if we understand it as a “database”, could define the new
media landscape. This structure in fact interconnects every single medial experience: videogames; web comics; the “multiverse” of
comics; cell phone applications; contaminations of art, cinema, animation, videogame. We would like to map the presence and
interpretation of the archive in this landscape and open it up specific issues: in which ways do the different medial experiences
organize traces of memory? Which are the bodily and intellectual experiences that include application users, videogamers, web-goers?
What is the role of emulation, retro-technology and preservation? Which are the problems opened up by archiving and preserving
objects that are so strongly connected to contemporary times and to the quick deterioration of supports? Which videogames or medial
objects produce spatial structures which work as a collection of information and knowledge? In which ways does the spatial and
narrative dynamics of game constitute in and of itself a cultural database?
Cartography of Pornographic Audiovisual. The Porn Studies Section intends to explore the geographies of audiovisual pornography,
employing a cartographic perspective (cfr. Barker 1996). This perspective accounts for at least two levels of theoretical formalization,
which involve both the diachronic dimension and the synchronic one (cfr. Cregan 2007). The first level deals with the construction of
chronological systems that subtend the “historical space” in which a particular cultural phenomenon develops. The second level deals
with the elaboration of topological systems that subtend the “geographical dynamic” through which that particular cultural
phenomenon appears. By joining the temporal dimension and the spatial one (and vice versa), the cartographic dispositive acquires a
double nature, overlapping the “plain” geographic atlas to the “deep” historic archive (cfr. Buchloh 1999).
The Film Heritage. Film Archives emerges as a response to an absence. Film Heritage is primarily about a loss and a trauma, even
before the very act of preserving and taking care of. In the times of contemporary remediation archives are facing a transition
characterized by a new “absence” and by a new opening up of practices, bodies, knowledge and dispositifs. Can the study of film
tradition, transmission and preservation reveal models of archival transition and contemporary re-enactment of archives? Which
identities and visual/cultural forms do the laboratorial practices and technologies leave on the bodies of the archives? How do
cosmesis, therapies and obsolescence produced by the digital domain and the digital market generate symptomatical and pathological
archives? What are the paradoxes of an archive that plans itself and that enunciates its own self-sufficiency? In what ways does the
present transition and the dialectic between preservation and access dissimulate and hide the complexity of the notion of the archive? »

 

For more information, please contact:
Dipartimento di Storia e Tutela dei Beni Culturali – Università degli Studi di Udine, Palazzo Caiselli, Vicolo Florio 2 – 33100 Udine,
Italy fax: +39/0432/556644 – e-mail: gospringschool@gmail.com – http://filmforum.uniud.it

 

Consulter le programme : ProgramFilmforum2011

 

Cécile Dazord

Conservatrice au C2RMF, Département recherche ; Chargée de l'art contemporain et notamment de l'étude des phénomènes d'obsolescence technologique

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Cinéma argentique et “Flicker” : le cas particulier des films dits d’avant garde ou expérimentaux – F. Chevalier

Cinéma argentique et “Flicker” : le cas particulier des films dits d’avant garde ou expérimentaux de F. Chevalier, rapport C2RMF, 2011

Télécharger ici : Flicker_Fleur_Def2

Clotilde Boust

- Chercheur Culture, Responsable du groupe imagerie du C2RMF - Maître de Conférences, Univ Versailles et Nantes, en Science de l'information et de la communication, spécialité imagerie (2005-2013) - Docteur de l'Université Paris 6, codirection MNHN, Telecom Paris et Océ PLT en Optronique, spécialité traitements perceptifs des images numériques (2005) - Diplômée de l'Ecole Nationale Supérieure Louis Lumière en photographie, traitement des images (1998) - Licence de mathématiques 1995 - Deug math, physique et informatique 1994

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Archimage 2010 Intervention de Fleur Chevalier et Matthieu Dubail

ARCHIMAGE 2010

Intervention de Fleur Chevalier et Matthieu Dubail

19 novembre 2010

 Compte rendu par Fleur Chevalier

 

Proposant de faire le point sur la place de l’audiovisuel dans les institutions patrimoniales en réunissant conservateurs, experts ou artistes, la dernière édition d’ARCHIMAGES, « De la création à l’exposition : les impermanences de l’œuvre audiovisuelle », organisée par l’Institut National du Patrimoine et la Bibliothèque Nationale de France, abordait, comme annoncé par son titre, les mutations liées au passage de l’analogique au numérique, et son impact sur la conservation du patrimoine audiovisuel. C’était l’endroit idéal, en somme, pour présenter les recherches du groupe Art Contemporain du C2RMF sur la numérisation des films argentiques. Cécile Dazord et Clotilde Boust étant parties à l’Eastern Analytical Symposium, nous avons donc pris le relais, avec Matthieu Dubail, pour présenter l’avancée de ces recherches à travers nos contributions respectives au projet.

 

Dans le cadre de la matinée consacrée conjointement aux thèmes de la « Conservation » et de la « Collection », notre intervention, intitulée « Obsolescence technologique et art contemporain : étude sur la numérisation des films argentiques », englobait deux axes : le cas du flicker film et le rendu de la couleur. Le but étant de démontrer la complémentarité de nos deux approches théorique et technique sur ces deux facettes du film, largement exploités par les cinéastes d’avant-garde ou underground.

 

Le flicker film, en tant que genre ou effet, s’enracine sur le phénomène du papillotement, se rapportant aussi bien à la perception humaine qu’au défilement de la pellicule, ponctué par la fermeture régulière de l’obturateur. Les cinéastes qui développent cette pratique détournent cette mécanique, inhérente au cinématographe. Néanmoins, son histoire est plutôt souterraine, perceptible dans les descriptions faites des films par leurs auteurs ou les historiens. Avant de pouvoir mesurer l’impact des numérisations sur le clignotement, il faut d’abord enquêter sur l’origine et les visées esthétiques du flicker, ainsi que sur ses effets psycho-physiologiques. Ces battements accentués de l’image, en tirant partie de l’oscillation lumineuse du projecteur, génèreraient, entre autres, de nouvelles couleurs, subjectives. D’où l’intérêt de réunir un corpus et d’établir l’histoire multiple d’une pratique qui, semble-t-il, influerait notamment sur notre perception des couleurs.

 

Matthieu Dubail, tout en présentant ses investigations techniques sur la couleur a d’ailleurs bien souligné ce fait : la numérisation équivaut à une transformation du film, et ne rime pas forcément avec la sauvegarde de ses effets souhaités sur le spectateur. L’étape de la correction colorimétrique lors de ce transfert ne va pas forcément de soi et pâtie du peu d’outils adaptés à ces demandes spécifiques : son expérience réalisée avec trois étalonneurs différents le prouve. La mesure des couleurs obtenues au final a démontré d’une part, que le résultat s’écarte non seulement beaucoup de l’original mais aussi qu’il variait en fonction des étalonneurs, et, d’autre part, que les couleurs des films ne sont pas toutes reproductibles sur l’écran. La constatation n’est pas vaine toutefois puisque des solutions semblant répondre au problème émergent de l’étude.

 

Dans le cadre d’un tel colloque, nos interventions ont rappelé, à juste titre, l’importance de saisir, afin d’en assurer la pérennité, la spécificité du film argentique, tout en l’envisageant dans son dispositif technologique global, à l’heure où il se retrouve abondamment représenté dans les collections audiovisuelles.

 

Cécile Dazord

Conservatrice au C2RMF, Département recherche ; Chargée de l'art contemporain et notamment de l'étude des phénomènes d'obsolescence technologique

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Archimage 2010 : Programme

Archimage 2010,  De la création à l’exposition : les impermanences de l’oeuvre audiovisuelle, INP, BnF et 24/24, 17-19 novembre 2010

Annonce

Archimages est un colloque professionnel sur le devenir en Europe des archives de cinéma et de l’audiovisuel. Il appartient au cycle des Rencontres européennes du patrimoine.

On a connu jadis le cinéma permanent, où l’on pouvait à toute heure entrer voir un long métrage de fiction à vedettes. Aujourd’hui, les débats autour du numérique ont remis en avant la permanence de l’enregistrement sur pellicule analogique, par opposition à l’inconnu du devenir des œuvres sur support numérique. Mais la création, si attentive aux matières et aux dispositifs, a suivi, pour à la fois en bénéficier et en jouer, tous les méandres des évolutions technologiques du cinéma et de l’audiovisuel, ce qui pose aujourd’hui de nombreuses questions de conservation et de présentation.

A l’heure du franchissement des frontières entre cinéma et vidéo,de la mutation des salles de cinéma, Archimages10 se propose de faire le point sur le statut, la place et le rôle de l’œuvre audiovisuelle,en particulier au sein des institutions patrimoniales. On abordera les différents moments (et les multiples difficultés) des politiques à mettre en œuvre, dans les musées comme dans les cinémathèques : production, acquisition, conservation, migration et duplication,exposition, avec des interventions d’experts, de créateurs et de conservateurs.
Friedrich Kittler ouvrira les travaux où alterneront pendant trois jours interventions et tables rondes.

Coordination : INP, en association avec le Collectif 24/25, la BnF et le CNAP

Programme du colloque : Progr_Archimage_2010

Cécile Dazord

Conservatrice au C2RMF, Département recherche ; Chargée de l'art contemporain et notamment de l'étude des phénomènes d'obsolescence technologique

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Eastern Analytical Symposium (EAS)

Eastern Analytical Symposium, New Jersey, November 15-18, 2010

L’Eastern analytical symposium (EAS) est avant tout un colloque de chimie analytique (l’un des plus grands rassemblement du genre aux Etats-Unis). La conservation des biens culturels (patrimoine architectural, monumental et beaux-arts) est inscrite dans ce cadre comme un domaine d’application possible des développements de la chimie analytique. Deux sessions étaient consacrées en 2010 à l’art contemporain : l’une, organisée par Tom Learner (Getty research institute), avait pour sujet les matériaux synthétiques, l’autre, coordonnée par Gwynne Ryan (Hirshhorn Museum) et dans laquelle était convié le groupe art contemporain du C2RMF, traitait de la conservation des données numériques.

Si la conservation des matériaux synthétiques a bien partie liée avec la chimie, celle des données numériques (sauf à travailler sur la conservation matérielle de supports d’enregistrement, ce qui n’est pas notre cas et n’était en réalité le cas que d’une seule intervenante de la session) n’utilise pas la chimie. Cette position de porte-à-faux nous est familière : le Département recherche du C2RMF est un laboratoire de physique-chimie. Traditionnellement, la conservation et la restauration traitent du vieillissement et des altérations physiques des matériaux, et non de l’obsolescence de matériels…

Néanmoins, dans ce contexte général dans lequel notre sujet pouvait sembler partiellement décalé, la session dans laquelle nous étions s’est avérée extrêmement cohérente et stimulante. Nous avions choisi de présenter une communication sur la numérisation des films argentiques. Nous travaillons depuis quelques temps sur ce sujet (voir les pages Films et numérisations ou Projets de ce blog). La plupart des études de conservation sur les numérisations portent sur les modalités de stockage de données et se focalisent sur la longévité et la pérennisation des données. Notre approche, centrée sur les modifications inéluctables, notamment au niveau de l’apparence et des effets visuels, introduites par le passage d’une technique à une autre (en l’occurrence d’une image photo-chimique à une image numérique), apparaît souvent comme singulière et isolée. Les interventions de David Rice (restaurateur film et archiviste numérique) et Ian Bogost (spécialiste du jeu vidéo), qui précédaient immédiatement la notre, s’inscrivaient dans une démarche rigoureusement similaire. David Rice a présenté une étude sur les problèmes et les artefacts engendrés par la migration des données vidéo conservées sur cassettes mini-DV en fichiers numériques. Ian Bogost a présenté une étude sur les modifications substantielles de l’apparence des images lors de l’émulation des jeux vidéos (de la console couplée au moniteur à tubes cathodiques à l’ordinateur). Nous espérons être en mesure de reproduire ou diffuser au moins partiellement ces deux communications.

Nous remercions encore Tom Learner et Gwynne Ryan pour cette invitation.

Annonce du colloque

Eastern Analytical Symposium and Exposition (EAS) is the world’s leading community for analytical chemists seeking the highest quality education and career development. Our wide variety of technical programs, globally recognized speakers, and large exhibition offer attendees highly applicable job training and an exceptional professional networking experience. At EAS, attendees improve their skills, validate research, interact with peers, experts, and vendors, achieve higher job performance and productivity, and enhance career opportunities.

EAS exhibitors access a highly targeted professional group in an environment renowned for its professional networking. This enables higher quality lead generation and stronger customer relationships.

EAS is the symposium of choice for analytical chemists, managers, and academicians desiring extraordinary professional development and relationships with noted authorities in the field.

Session «Digital media in cultural heritage », 16 novembre 2010 (annonce)

EAS has a conservation science programme ( see here) and in particular a section called :

Digital Media in Cultural Heritage: New Preservation Technologies,
organized in cooperation with New York Conservation Foundation
Chair: Gwynne Ryan, Hirshhorn Museum and Sculpture Garden

  1. Trends in the Conservation of Time-Based Media, Gwynne Ryan, Hirshhorn Museum and Sculpture Garden
  2. The Binary Loupe: Data Analysis as Part of a Pres- ervation Strategy for Digital Media, Chris Lacinak, David Rice, AudioVisual Preservation Solutions
  3. Phosphor and Dust: Simulating the Cathode Ray Tube for Computer and Video Media, Ian Bogost, The Georgia Institute of Technology
  4. Contemporary Art and Phenomena of Technological Obsolescence: Digitizing Artist’s Films, Cecile Dazord, Clotile Boust, Centre de Recherche et de Restauration des Musées de France
  5. Standardization, Preservation, and Access to Cultural Heritage Digital Data, Fenella G. France, Library of Congress
  6. Research Studies on the Longevity of Digital Optical Media at the Library of Congress, Michele H. Youket, Library of Congres

Programme du colloque : Progr_EAS_2010

Cécile Dazord

Conservatrice au C2RMF, Département recherche ; Chargée de l'art contemporain et notamment de l'étude des phénomènes d'obsolescence technologique

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Contemporary Art : Who Cares?

Contemporary Art : Who Cares ? colloque organisé par l’INCCA à Amsterdam, 9-11 juin 2010

Douze ans après le premier colloque organisé en 1999 sous l’intitulé Modern art: who cares ?, l’INCCA (International network for the conservation of contemporary art) a rassemblé à nouveau les professionnel de la conservation et de la restauration œuvrant dans le domaine de l’art contemporain.L’INCCA est l’un des premiers réseaux apparus sur ce sujet et sans doute l’un des plus fédérateurs. Sur le principe, l’INCCA n’est pas focalisé sur un aspect particulier et tous les problèmes conservatoires relatifs aux œuvres contemporaines ont droit de cité. En pratique, certains sujets sont récurrents. Au début des années 2000, l’accent était ainsi fortement mis sur la documentation des installations et l’intentionnalité de l’artiste. Dix ans plus tard, l’approche semble plus technique : les matériaux synthétique et les phénomènes d’obsolescence sont au premier rang des préoccupations. A ce jour, ces deux sujets suscitent encore un grand nombre d’interrogations et de perplexités…

Le public (intervenants et auditoire)  était essentiellement constitué de restaurateurs, responsables de collections et physico-chimistes. Peu de français étaient présents au regard de la forte mobilisation des néerlandais, belges, suisses, allemands, anglais, nord-américains et, dans une moindre mesure, italiens ou espagnols.

Le Groupe art contemporain du Département recherche du C2RMF a présenté un poster sur la numérisation des films argentiques qui sera reproduit dans la compilation éditée à l’issue du colloque : Boust Clotilde, Dubail Matthieu, Dazord Cécile, « Contemporary art and technological obsolescence : Film digitization and color rendering in avant-garde and experimental cinema ».

Voir le poster : Poster_CAWC

Annonce du colloque

http://www.incca.org/contemporaryartwhocares

Research and practices in contemporary art conservation

International symposium for (up-and-coming) professionals, from diverse disciplines, who are connected to the conservation of modern and contemporary art. Organised by the Netherlands Institute for Cultural Heritage (ICN), Foundation for the Conservation of Contemporary Art in the Netherlands (SBMK) and the University of Amsterdam (UvA).

Background – Modern Art: Who Cares? 1997

The 1997 symposium Modern Art: Who Cares? (MA:WC?) was one of the first international symposia to deal specifically with the problems of the conservation and restoration of modern art. The event was the culmination of a Dutch research project The Conservation of Modern Art (1995-97) and was meant to identify problems and to investigate possible solutions to these problems in order to develop methodology. Two years later in 1999, the results of the original research project as well as post-prints of the symposium were published in the book Modern Art: Who Cares? which is still considered a milestone for the profession. In addition, a direct result of discussions during MA: WC? was the formation of the International Network for the Conservation of Contemporary Art (INCCA).

Contemporary Art: Who Cares? 2010

The overall theme of the 2010 symposium Contemporary Art: Who Cares? (CA:WC?) is the current standard in care and conservation of modern and contemporarnetworky art. More that ten years after the first proposals for a methodological approach for this new domain of conservation, a new profession has emerged with its own set of specialist areas, its own research projects and its own training programmes. International collaborations, where shared research is the norm, have resulted in the development of good practice (methodological approaches, instruments, conservation techniques) as well as new training programmes and spin-off research projects on a national level.

At CA:WC? participants will share, learn from and discuss the outcomes of recent research projects in contemporary art, with special attention to installation art. Following in the footsteps of Modern Art: Who Cares? much of the programme is based upon a previous research project; this time the European project Inside Installations (2004-2007). Through open discussion, interactive learning and networking sessions, participants will be contributing to the development of this profession.

Cécile Dazord

Conservatrice au C2RMF, Département recherche ; Chargée de l'art contemporain et notamment de l'étude des phénomènes d'obsolescence technologique

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Art d’aujourd’hui, patrimoine de demain

Publication des actes du colloque Art d’aujourd’hui, patrimoine de demain, Conservation-restauration des oeuvres contemporaines — Art Today, Cultural properties of tomorrow, Conservation of contemporary artworks, 13è journées d’études de la SFIIC, INP, Paris, 24-26 juin 2009, Paris, SFIIC, 2010

(Section française de l’institut international de conservation)

Clotilde Boust, Cécile Dazord, Matthieu Dubail, Obsolescence technologique et art contemporain, Etude de la couleur lors de la numérisation de films argentiques

Lire l’article : Boust_Dazord_Dubail_SFIIC_2009

Annonce de la publication des actes du colloques :

Publication des actes du colloque autour de six thèmes principaux :

● Droit, éthique, déontologie
● Installations et mouvement
● Matériaux synthétiques
● Peinture, arts graphiques
● Photographie, nouveaux médias
● Art monumental et de plein air

Ces champs recouvrent les principales questions propres à l’art contemporain, que ce soit en matière de droit (propriété des œuvres, intervention de l’artiste, etc.), en matière d’installations (faut-il rénover certaines installations en remplaçant les matériaux d’origine ?) ou de nouveaux médias (informatique, etc.) ; les questions relatives à l’art monumental permettent d’illustrer des exemples de problème de l’intégration de l’art contemporain dans le paysage urbain ou dans l’environnement naturel.
Les articles sont publiés dans leur langue de présentation (français ou anglais) avec un résumé dans l’autre langue.

Tables des matières : SFIIC_TM_2009


Cécile Dazord

Conservatrice au C2RMF, Département recherche ; Chargée de l'art contemporain et notamment de l'étude des phénomènes d'obsolescence technologique

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CREATE conference

CREATE conference Gjøvik 2010
Colour in art, science, design, conservation, research, printmaking, digital technologies, textiles.


Where : Gjøvik University College, Gjøvik, Norway
When : 8th-11th June 2010

Thank you!
For making the CREATE 2010 conference such a successful end to the current CREATE project!

The organisers at the Gjøvik University College did a fantastic job in planning a lively and inspiring programme of conference and social events. With a welcome to Gjøvik from the Major in the Gjøvik Olympic stadium (the ‘largest manmade cavern fit for public use’) the week was off to a winning start!

As the last in the current programme of CREATE events, it was great to see such a mixture of familiar and unfamiliar faces – a testament to the scope this network has to continue to grow. We’ve had some great feedback from you about the positive impactCREATE has had on your research career, such as…

‘It was an extremely eye opening experience and I was excited and more than a little relieved to find so many people that were engaged in diverse and exciting colour research. It is testament to the range of participants that I made so many connections many of which with people that I would never have contemplated approaching under other circumstances. I was amazed at the extent to which people were able to find meaningful common interest despite coming from such a range of disciplines, quite inspiring!’

It was great to hear about the research projects you are currently working on with those you have met at CREATE events, and those you hope to start in the future. And how your exposure to research in other fields has inspired and changed your approach in your own chosen field. As always, please let us know of your activities.

So, the most important question for us now is – what next?! (Answers on a postcard please!)

We will add notes from the last discussion session ‘CREATE – past, present and future’ here soon, and will be working to update the website and it’s structure to offer you a useful tool for communication, information sharing and networking, that can sustain the network you have developed, for the foreseeable future. Again, any suggestions on how best we can do this would be gratefully received.

And more importantly, we hope to be back with a new project in the not too distant future – in the form of re-CREATE! So keep an eye on the website, and keep in touch!

Photos, papers and more from the conference are coming to the archive section soon…

With best wishes,
Carinna, Alison & all at CREATE

Clotilde Boust

- Chercheur Culture, Responsable du groupe imagerie du C2RMF - Maître de Conférences, Univ Versailles et Nantes, en Science de l'information et de la communication, spécialité imagerie (2005-2013) - Docteur de l'Université Paris 6, codirection MNHN, Telecom Paris et Océ PLT en Optronique, spécialité traitements perceptifs des images numériques (2005) - Diplômée de l'Ecole Nationale Supérieure Louis Lumière en photographie, traitement des images (1998) - Licence de mathématiques 1995 - Deug math, physique et informatique 1994

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AMIA session, The Reel Thing – april 2010

Film Biennale 2010: Amsterdam
EYE Film Institute Netherlands (formerly the Filmmuseum) presents the Film Biënnale, featuring unique film events at special venues throughout Amsterdam from 7 to 11 April. The Film Biënnale showcases film productions which blur the boundaries between different artistic disciplines, merging music, art, theatre and poetry.

On April 7th, AMIA will present a half day session at the Biennale. The AMIA session will be followed by a half day of The Reel Thing.

Wednesday April 7, 2010
9:30 – 12:30 – AMIA seminar
13:30 – 17:00 – The Reel Thing

The AMIA session at the Biennale will explore online access to Audiovisual Archives. Traditionally film archives are responsible for providing access to archival audio-visual content. But access to on-line AV archives today is provided by a much wider variety of agents: from individuals to communities, from film festivals to academic programs. During this half day seminar a selected number of recent projects will be presented focusing on the who is providing access to audio-visual archives, why they are doing it and for whom.

Following the AMIA session, The Reel Thing will present a half day techical symposium. Dedicated to presenting the lastest technologies in audiovisual restoration and preservation. The Reel Thing brings together a unique lineup of laboratory technicians and specialists.

Clotilde Bous a présenté : “Film digitization : focus on visual effects conservations”

http://www.amianet.org/events/events/2010_biennale.php

http://www.filmmuseum.nl/website/exec/frontpageread/page.html?id=752155-6e6c2e66696c6d6d757365756d2e50616765

Clotilde Boust

- Chercheur Culture, Responsable du groupe imagerie du C2RMF - Maître de Conférences, Univ Versailles et Nantes, en Science de l'information et de la communication, spécialité imagerie (2005-2013) - Docteur de l'Université Paris 6, codirection MNHN, Telecom Paris et Océ PLT en Optronique, spécialité traitements perceptifs des images numériques (2005) - Diplômée de l'Ecole Nationale Supérieure Louis Lumière en photographie, traitement des images (1998) - Licence de mathématiques 1995 - Deug math, physique et informatique 1994

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