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This paper examines the distinct function performed by objects in contemporary artworks, and draws attention to various non-object-based means by which artworks can be revealed to viewers. The discussion takes as its starting point the idea of contemporary art as a new paradigm of artistic practice, along with the concept of the art project, and the notion of the document as proposed by French documentalist Susanne Briet. These ideas will be examined through a piece by Danh Vo, which, despite unfolding around three physical artefacts, only becomes legible in light of stories the artist has communicated through means such as interviews and catalogues. As the identity of a contemporary artwork is distributed across the various objects, processes, concepts and contexts that shape it throughout its career, and because of its potential media variability, I argue that the information conveyed through other channels of communication might be equally important for the integrity of artworks as the art objects proper. Accordingly, this paper suggests that in contemporary art, the art objects themselves can be seen as documents on equal footing with other artwork-related documentation, and in consequence proposes to shift the significance, value, and therefore status of artwork-related documentation within the artwork understood as a collectible.

Este estudio examina la importancia de documentar metódicamente la cooperación a largo plazo entre instituciones y creadores en relación con los propósitos de conservación y restauración. Se analiza la práctica de la entrevista con artistas como estrategia fundamental dentro de esta colaboración y, mediante el concepto de “obra de arte como archivo”, se reflexiona críticamente sobre las posibilidades de una estructura museística capaz de recopilar y archivar la información, así como sobre el papel del restaurador en este proceso.

Presentation delivered by the collective of doctoral researchers from the training and research network New Approaches in the Conservation of Contemporary Art (NACCA) at the Symposium ‘Acting in Contemporary Art Conservation’, organized by Stichting Behoud Moderne Kunst (SBMK); Cultural Heritage Agency of the Netherlands, Amersfoort, 15 November 2018.

The Bródno Sculpture Park is considered a permanent exhibition of the Museum of Modern Art in Warsaw. It was inaugurated in June 2009 as a long-term project, involving artists, residents of Bródno district and organized by a public art institution and the local authorities. The initiator, coordinator and artistic supervisor of the whole project is Paweł Althamer, internationally acclaimed Polish artist, known for his community-type projects, who happens to live near the Park. Bródno Sculpture Park project is drawn from different traditions of public art: that derived from minimalism and abstract art, as well as from art of a social, participatory character. The project has been divided into ‘chapters’ – once a year a new sculpture, object or installation appears in the Park. Not all artists’ interventions are material or permanent. ‘Sculpture’ is defined here rather as a kind of dynamic artistic expression about a particular place and time, particular spatial relations and relationships between the people. Among the artists who contributed to the Sculpture Park project are Olafur Eliasson, Jens Haaning, Susan Philipsz and Ai Weiwei. Works located in the park are a part of the collection of the Museum of Modern Art in Warsaw. A gallery open to the public 24/7 needs proper maintenance. The park is located in a ‘difficult’ residential district, and the works are constantly exposed to acts of vandalism. There are also conservation problems related to unsuitable techniques or mediums used by artists or the interactive character of objects. On the basis of case studies from Bródno Sculpture Park I would like to discuss problems related to the application of conservation standards and museum procedures for works of art from a public collection exhibited in public places.

Poster presented during public presentation organized as a part of NACCA research training network 2017 winterschool held at Tate Modern.

Since 1998, when Michael Brenson's famous article "The curator's moment" was published, the role of the curator as a creator of the meaning of art has been increasing. The Museum of Modern Art in Warsaw is a small, young institution which is currently building its own collection. Some of the acquisitions are made following an exhibition, while others are specially created for a show. Often exhibitions represent a curator's personal choice. Objects may also be part of the artist's archive, a prop from a performance or a material product of an artistic action. The problem starts when such objects enter a public collection as works of art. From the point of view of a conservator of modern and contemporary art, the artist's opinion has always been viewed as more important than any other consideration in terms of care, conservation and restoration but in many cases, artists are not interested in participating in the "museum" life of their works. This paper discusses whether the curator should become the authority in such a case.