The ZKM | Center of Art and Media is a place of scientific and artistic research. Here, research scholars and artists from around the world discover unique conditions for realizing theoretical and practical projects, and the opportunity for presenting them to a broad public.
In the near future, the Project Archive, which is currently under construction, is to provide information on all completed ZKM research projects.
»The App phenomenon is an unbelievable success story. The development of Smartphones and the applications designed for this device gives new definition to the future of mobility.«
(Christiane Riedel, General Manager of the ZKM | Karlsruhe)
With the AppArtAward, the ZKM has been presenting an annual award for the best artistic developments in the field of applications for smartphones and tablets since 2011. The idea came about in view of the fact »that AppStores do not fall under the category ‘art‘, and that consequently, artistic and highly innovative developments enjoy only marginal value.«
The AppArtAward was initiated by the ZKM in collaboration with the software-cluster partners CAS Software AG and CyberForum e.V., the biggest regionally active hightech business network in Germany, and was presented for the first time in 2011. The AppArtAward bestows awards for works of art which combine creative software solutions and artistic innovation in App format. Since 2012, the AppArtAward has itself become part of the software-cluster, which, based in southwest Germany, is considered the Silicon Valley of Europe.
“Composing with Sounds” is an intuitive music processing software developed as part of a EU project by four European partner institutions from 2011 to 2013: the Music, Technology and Innovation Research Centre at the De Montfort University Leicester (UK), the Institut National de L’Audiovisuel Paris (F), Norsk Senter for Teknologi i Musikk og Kunst Oslo (Nor) and the ZKM | Institute for Music and Acoustics Karlsruhe (D).
Alongside the development of the software for the use in schools, workshops for teachers, educationalists and school students were also offered with the aim of familiarizing users with the program. Furthermore, composition contracts were awarded to composers from each of the participating countries who elaborated electro-acoustic pieces together with students and by means of “Composing with Sounds”.
The project’s objective is to introduce young people to electronic music, to strengthen trans-European exchange, to develop within the European network software capable of being used for teaching purposes and, finally, to create new works of art.
In view of the immense growth of knowledge in the field of neurosciences, and its increasing significance for society and public discussion, the Gemeinnützige Hertie-Stiftung initiated an online theme portal entitled »www.dasGehirn.info«.
The starting point of the project initiative was the fact that in German-speaking countries, no online source yet exists for comprehensively editing knowledge in the field of brain for different target groups. An Internet portal is now planned for representing the brain and its functions and diseases in an attractive and up to date way.
The target groups are members of the interested lay public of all age groups, including school pupils, students, the relatives of patients with diverse brain illness, as well as scientific institutes who can use the portal for the representation and mediation of research results. The relevance of the portal not only concerns contents, but multimedia editing as well: the intuitive user concept, the basis of which is a three-dimensional, »mobile« model of the brain, combines various, edited multimedia thematic fields, which deepen the various themes in emerging complex levels of information, and thereby accounts for user requirements. The range of information is continually extended and updated by editorial contributions, and a select community of interested persons.
In order to guarantee the portal’s consistent levels of innovation, the Hertie-Stiftung approached the ZKM management with the request, as cooperation partner, to assume responsibility for the field of new media. In the collaboration between the management and the Institute of Visual Media, an advisory board was established, which convened for the first time at the ZKM on August 11, 2009. The advisory board advised the project directors in implementation planning and implementation supervision both technically as well as in terms of design, thereby guaranteeing design and technical quality control for the online theme platform. So as to do justice to the above-mentioned requirements, a seven-person advisory board was appointed of the following members:
- Prof. Daniel Fetzner, Furtwangen University, faculty for Digital Media
- Sabine Hirtes, Filmakademie Baden-Württemberg, Institute for Animation, Visual Effects and digital Post-production
- Kurt Jansson, Editor at Spiegel Wissen, Hamburg
- Bernd Lintermann, ZKM | Institute for Visual Media, Karlsruhe / Director of the Advisory Broad
- Dirk Lüsebrink, computer scientist, media artist, Berlin
- Prof. Dr. Rupert Vogel, Vogel & Partner
The three-year digital art conservation project (2010-2012) was dedicated to researching strategies for the conservation of digital art. The project focus lay on artworks created with computer programming and digital technologies.
The project was initiated at the ZKM | Center for Art and Media Karlsruhe, and was carried out in collaboration with five other institutions from the Upper Rhine region. In the course of the project, issues revolving around the conservation of digital art were analyzed both from a theoretical and a practical perspective. Furthermore, concrete strategies for the conservation of a broad spectrum of digital works of art were tested and critically evaluated by way of the exemplary treatment of ten works from regional collections. An extensive publication in three different language editions (German, English and French) comprehensively documents the project's activities, and presents the results of the case studies.
»RECORD > AGAIN! - 40jahrevideokunst.de - Teil 2« erforscht die Geschichte der deutschen Videokunst von ihren Anfängen in den 1960er- und 1970er-Jahren bis zum Beginn des 21. Jahrhunderts.
Videogeschichte erforschen bedeutet heute vor allem zunächst einmal, das audiovisuelle Material der vergangenen Jahrzehnte wieder sichtbar zu machen. Vieles lagert vergessen in Museumsdepots und Künstlerateliers, ohne dass es angeschaut werden kann. Die Abspielgeräte für die auf Spulen im Ein-Zoll-, Halb-Zoll- oder gar Viertel-Zoll-Format, auf seltsamen quadratischen oder auch fünfeckigen Kassetten gespeicherten Inhalte sind verschwunden oder defekt. Die Bänder selber sind zudem kaum mehr lauffähig, da sie begonnen haben, sich allmählich aufzulösen und zu verkleben. Um diesen Verfall zu stoppen, wurde 2004 am Karlsruher Zentrum für Kunst und Medientechnologie das Labor für antiquierte Videosysteme eingerichtet. Inzwischen verfügt es über einen großen funktionierenden historischen Gerätepark gepaart mit moderner digitaler Technik, der es ermöglicht, über 50 obsolete Videoformate der 1960er- bis 1980er-Jahre wieder sichtbar zu machen, hochwertig zu digitalisieren und damit für die Nachwelt zu erhalten.
Das von der Kulturstiftung des Bundes geförderte Projekt »RECORD > AGAIN!« stellt nun in einer Ausstellung, einem umfangreichen Katalog und einer DVD-Studienedition rund 50 Videoarbeiten aus den letzten 40 Jahren vor, die exemplarisch die Vielfalt der deutschen Videoszene widerspiegeln. Darunter sind u.a. der berühmte Boxkampf, den Joseph Beuys 1972 auf der documenta 5 veranstaltete, die Rekonstruktion der auf sechs Monitoren gezeigten Arbeit "Schafe" von Wolf Kahlen, die 1976 zum letzten Mal zu sehen war, frühe Videosynthesizer-Arbeiten von Walter Schröder-Limmer, der "Mediengarten" von HA Schult von 1978, eine fast unbekannte Arbeit von Ulrike Rosenbach und Klaus vom Bruch von 1977 und eine Installation mit einem 1985 entstandenen Gretchen-Dutschke-Interview von Michaela Buescher und Gerd Conradt. Zudem werden Arbeiten aus der Fernsehgalerie Gerry Schum mit Klaus Rinke und Ulrich Rückriem präsentiert sowie eine Dokumentation über Anna Oppermann von 1977 und bisher unveröffentlichtes Videomaterial des "Festivals Genialer Dilletanten" von 1981 im Berliner Tempodrom.
Die Ausstellung zeigte das Material überwiegend auf zeitgenössischen Geräten, der Katalog enthält u.a. Texte von Siegfried Zielinski, Peter Weibel, Klaus Staeck, Sylvia Martin, Claus Löser, René Block und Christoph Blase sowie eine illustrierte Geschichte der Videotechnik, Erörterungen zur heutigen Restaurierungspraxis und eine ausführliche kommentierte Bibliografie.
Die DVD-Studienedition kann von Institutionen zur nicht-öffentlichen Nutzung für Lehre und Forschung erworben werden.
Die Archivierung von Medienkunst gewinnt in der internationalen Fachwelt zunehmend an Bedeutung. In den vergangenen drei Dekaden entstand eine Vielzahl künstlerisch wertvoller Arbeiten, die aber bislang durch die bestehenden Archive kaum erfasst wurden. Ihre Sicherung und Restaurierung ist eine wesentliche Zukunftsaufgabe für diesen Archivbereich, da Videobänder, Filme, analoge Trägermaterialien, aber auch CDs und DVDs nur über eine begrenzte Lebensdauer verfügen.
Vier Institutionen haben sich zu einem zukunftsweisenden Kooperationsprojekt zusammengeschlossen:
:: ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe
:: European Media Art Festival Osnabrück
:: documenta Archiv Kassel
:: Kasseler Dokumentarfilm- und Videofest
Das gemeinsame KUR-Projekt zur Konservierung und Restaurierung von mobilem Kulturgut zielt auf die elektronische Aufarbeitung ausgewählter Bestände dieser vier einzigartigen Sammlungen und darauf, sie der Öffentlichkeit zugänglich zu machen. Ein wichtiger Bestandteil dieser Arbeit ist die Entwicklung einer exemplarischen Datenbank-, Archiv- und Präsentationsstruktur, die es auch kleineren Archiven und anderen Institutionen ermöglicht, anzudocken und eigene Bestände aufzuarbeiten. Die Technik von »mediaartbase.de« basiert weitgehend auf Open-Source-Software, um eine kostengünstige, dezentrale Datenbank zu schaffen und neue Inhalte mit bereits vorhandenem Datenmaterial verknüpfen zu können.
Das ZKM | Institut für Musik und Akustik entwickelte innerhalb des Projekts ein Datenbanksystem, das die spezifischen und komplexen Erfordernisse elektroakustischer Musik zu berücksichtigen vermag und die Langezeitarchivierung gleichermaßen einschließt. Die Werke können auf diese Weise aufbereitet und reproduziert werden.
ZKM | Institut für Musik und Akustik
Produktionsarchiv: über 450 Kompositionen
Veranstaltungsarchiv: über 300 Aufführungen
IDEAMA: über 550 Werke
> zur Datenbank »mediaartbase«
April 30th 2011 marked the end of PRACTICs; a European project for interdisciplinary collaborative research, sharing knowledge and learning about the conservation of contemporary art. 33 leading museums, institutions and universities joined hands for two years to assess and implement knowledge gained through European projects of the last decade.
The project was managed by the Cultural Heritage Agency of the Netherlands (RCE)* and co-organised by six European organisations that in turn collaborated with national and international partners. Co-organisers were: Tate, England; Restaurierungzentrum Düsseldorf in collaboration with the University of Applied Sciences Cologne, Germany; Museo Nacional Centro de Arte Reina Sofia, Spain; Stedelijk Museum voor Actuele Kunst (SMAK), Belgium; Foundation for the Conservation of Contemporary Art (SBMK), The Netherlands. This group of co-organisers also collaborated on the successful project Inside Installations www.insideinstallations.org (2004-2007).
The multi-facetted and heterogeneous challenges of contemporary art conservation have led to the current trend of diversity in practices. During PRACTICs, knowledge gained from previous international and regional projects was shared and complemented with case studies on the most urgent issues of contemporary art conservation: installation art, documentation, artists’ participation, decision-making, research and education. The International Network for the Conservation for Contemporary Art (INCCA) was enlarged with the creation of new network groups. In addition, a sub-project on public access to contemporary art conservation (Access2CA) was carried out.
Main project results were:
- International symposium »Contemporary Art: Who Cares?« (Amsterdam, June 2010)
- Book »Inside Installations. Theory and Practice in the Care of Complex Artworks« (Editors, Tatja Scholte and Glenn Wharton)
- Documentary film »Installation Art: Who Cares?«
- Access2CA seminars Ljubljana (2009) and Porto (2011) plus diverse access projects and activities.
- Creation of new INCCA groups: INCCA Central and Eastern Europe and the INCCA Education Network.
The Amazon is a crucial factor in deciding global future. Huge areas of the world’s largest rain forest are being destroyed every day by slash-and-burn clearing for cattle breeding, and energy and natural resource production—with dramatic effects on climates throughout the world. An international art project takes this devastating development as its starting point: »Amazonas –Music Theatre in Three Parts.« The project linked media art, music theatre, technology, and science to an artistic whole and cast a hitherto non-existent gaze at the Amazonian world.
Amazonas music theatre had its world premiere on 8 May, 2010 at the Munich Biennale – International Festival of New Music Theatre.
The loss of the Amazonian rain forest likewise implies for numerous animal and plant species, the loss of their habitat and for Brazil’s indigenous people, the loss of their home. The Yanomami, one of the largest indigenous groups in South America, with a population of 33,000, live in the region along the border of Brazil and Venezuela. In collaboration with the Yanomami, European and Brazilian media artists, composers, sociologists, and anthropologists have been developing the concept for »Amazonas –Music theatre in three parts« since 2006. The multimedia music theatre project, a co-production by the Goethe-Institute, Munich Biennale, ZKM Karlsruhe, SESC São Paulo, Hutukara Associação Yanomami, and Teatro Nacional de São Carlos included current scientific knowledge and Indian cosmology and spirituality as equal partners.
The project »CloudBrowsing« makes information search on the Internet experienceable in a novel way. If we only experience the manifold information landscape of the net in sections and in a linear way via the computer monitor, then the treatment of net-based information becomes a spatial experience: search questions and results are not returned as text-based link lists, but form dynamic collages of images and sounds. Here, the relationship of content, as well as the temporal course of research is mirrored by the arrangement of the representing images on the single websites, as well as through the acoustic levels.
In the current version of the work, the visitor browses through the free online encyclopedia »Wikipedia«, compiled by a global community, which stands for the collective knowledge of the Internet. A selection mechanism ensures that only free content can be shown. In the installation, the cylindrical surface of the PanoramaScreen becomes a large-surface entirely encompassing the browser and provides an audiovisual Panorama of its movements in virtual information space
Sound as Medium of Fine Art
The Giga-Hertz Award is dedicated to world-famous physicist Heinrich Hertz (1857–1894) who discovered electromagnetic waves at the Karlsruhe Institute of Technology (KIT) where he taught at the end of the nineteenth century. The prize was arranged as an initiative of the ZKM | Center for Art and Media.
Two different prizes are awarded yearly by the Giga-Hertz Award: The Giga-Hertz Grand Prize for Lifetime Achievement and several Giga-Hertz Production Prizes.
The Giga-Hertz Grand Prize distinguishes renowned composers for their lifetime achievement. The prize is based on jury recommendations rather than an open call. The Giga-Hertz Production Prizes are directed at composers of electronic and acousmatic music. They serve to initiate and support new projects. The focus of the Special Prizes is to honor a work, and not a person. Apart from that, in some years there are awarded various Special Prizes, for example for SoundArt, Technical Innovation or Dance & Media.
Im Rahmen des Förderprogramms »Schule und Kultur« des Kulturamtes der Stadt Karlsruhe entwarfen die SchülerInnen der Computer AG des Helmholtz-Gymnasiums Karlsruhes während eines zweijährigen Kooperationsprojektes, in den Schuljahren 2007-2009, mit der Museumskommunikation ein virtuelles Schulmuseum. Sie bauten mit Hilfe einer Computerspiele-Software ein fiktives Gebäude in welches sie reale, im Team kuratierte Arbeiten ihrer MitschülerInnen digitalisiert ausstellten. Der Benutzer der Software konnte sich durch die animierten Räume bewegen, die Schulkunst betrachten und durch nahes “herangehen” weitere versteckte Informationen zu den Werken und ihren Schöpfern erfahren. Spannender Nebeneffekt war, dass die Software ursprünglich für die Programmierung von Ego-Shooter-Spielen entwickelt worden ist, hier aber einen völlig »friedlichen«, künstlerischen Einsatz erlebt hat.
Das im Frühjahr 2009 abgeschlossen Projekt wurde beim Schulkunst-Wettbewerb »Im Puls« des Kultusministerium Baden-Württemberg eingereicht und gewann einen von vier gleichwertigen Preisen. Es war neben drei darstellenden Preisträgern, das einzige Mediale.
The term globalization has now become a catchword on everyone’s lips. The question as to its impact on contemporary art and institutions, however, still remains unaccounted for. It was with this in view that Peter Weibel and Hans Belting initiated the project GAM – Global Art and the Museum at the ZKM, in 2006; the aim was to launch an examination of a process which brought about the transformation of art production, extended to a global level, as well as the transformation of art museums. The aim was to awaken a consciousness of this transformation which globalization signified for the emergence of new art worlds. The point of departure for this investigation was the art museum in its previous manifestation as MOCA (Museum of Contemporary Art) that had experienced a founding boom, while the biennales spread a new network of art forms around the globe.
Whereas, for the most part, museum theory which analyses all types of museum has still remained within a western context, GAM by contrast, focused its attention on the new museum practices, which have been emerging over the last two decades beyond “Euramerica” (John Clark). Two international conferences in 2006 and 2007 brought together the representatives of museums; the theme was the challenges to the art museum in the age of globalization. This was followed by a series of workshops in collaboration with the Goethe Institute, which took place in Sao Paulo, New Delhi and Hong Kong, and which discussed the GAM project in a locally different context. In Brazil the global turn in contemporary art collections was discussed, in India, the role of art history, and in Hong Kong the emergence of new regions of art. The issue was subsequently deepened at the ZKM by way of a grant program sponsored by the Fritz-Thyssen Foundation. The program began with a ten-day seminar in which scholarship holders from a total of ten countries discussed their experiences with the status of the museum landscape, and the transformation of art practice. The program was continued under the heading “Global Studies”: here, conferences were held at which young scholars and researchers from German-speaking countries presented their research projects in which very similar phenomena found in contemporary art were examined from different specialist perspectives.
The exhibition »The Global Contemporary. Art Worlds After 1989« (2011/12) represented a first assessment of GAM. In 2013 the Karlsruhe exhibition was opened in Berlin, at the Academy of Arts in a different format and under the title »Nothing to Declare?«. In 2014, the conference »Biennials: Prospect and Perspectives« took place in Karlsruhe.
Text: Andrea Buddensieg
|The activities and results of GAM have been published on its website (www.globalartmuseum.de) in various columns since 2008; these provide a forum for invited authors as well as presenting the museum of the month.|
|2007||Peter Weibel, Andrea Buddensieg (Ed.), »Contemporary Art and the Museum. A Global Perspective«||Hatje Cantz, Ostfildern|
|2009||Hans Belting, Andrea Buddensieg (Ed.), »The Global Art World. Audiences, Markets and Museums«||Hatje Cantz, Ostfildern|
|2011||Hans Belting, Jacob Birken, Andrea Buddensieg and Peter Weibel (Ed.), »Global Studies. Mapping Contemporary Art and Culture«||Hatje Cantz, Ostfildern|
|2011||»The Global Contemporary. Kunstwelten nach 1989«, exhib. brochure||ZKM | Center for Art and Media|
|2013||»The Global Contemporary and the Rise of New Art Worlds«, exhib. catalog||The MIT Press, Cambridge/Mass.|
|2015||Andrea Buddensieg, Elke aus dem Moore, Peter Weibel (Ed.), »Biennials: Prospect and Perspectives«, e-paper||ZKM | Center for Art and Media|
|2006||»The Global Challenge of Art Museums I«||ZKM, Karlsruhe|
|2007||»The Global Challenge of Art Museums II: Where is Art Contemporary?«||ZKM, Karlsruhe|
|2009||»Global Art and the Museum. Globalization and the Art Market«||ZKM, Karlsruhe|
|2010||»Global Studies: Kunst und visuelle Medien heute«||ZKM, Karlsruhe|
|2011||»Curating in Asia«||ZKM, Karlsruhe|
|»The Global Contemporary: Kunstwelten nach 1989«||ZKM, Karlsruhe|
|»Global Studies 2011. Die Frage nach dem Kunstbegriff«||ZKM, Karlsruhe|
|2014||»Biennials: Prospect and Perspectives«||ZKM, Karlsruhe|
|2011||»The Global Contemporary. Kunstwelten nach 1989«||ZKM, Karlsruhe|
|2013||»Nothing to Declare? Weltkarten der Kunst nach '89«||Akademie der Künste, Berlin|
Since April, 2006, the audio archives from Radio_ Copernicus, the independent and mobile German-Polish Artists Radio Station is accessible to the public as a permanent exhibit in ZKM | Center for Art and Media Karlsruhe.
Nearly the entire program that ran on air for almost six months from July until December 2005 in Polish, German and English can now be selected and heard at the Media Library at ZKM | Karlsruhe. Not only is it possible to research artists, program content, background information, time slots and dates on site, but also on the internet [under http://radio-c.zkm.de/radio-copernicus.org//de/index.html]. The visitors of the ZKM can lean back comfortably in the listening-chairs [by Dieter Mankau for documenta 8] at the ZKM | Media Library and listen to the numerous artist’s talks, readings, soundscapes, interviews, live-sessions as well as the 27 commissioned works of the artists radio station.
Under the direction of Professor Sabine Breitsameter [Professor of Experimental Audiomedia/Berlin University of the Arts] with the support of the Polish project-coordinator, Robert Gawlowski [University of Wroclaw], and a team of approximately 50 people, a program was realized this past year that until now had been unheard of on any other radio station. Related to current development in media arts and electronic culture, Radio_Copernicus dedicates itself especially to radio art, electro-acoustic art forms, live performances, new literature as well as current cultural and societal debates and discourses.
The main focus of the program is the 27 commissioned works given explicitly to chosen artists such as Robert Piotrowicz, Zbigniew Karkowski, Guy van Belle, ElletroVoce, Duo Merzouga, the artists group LIGNA, Stefano Giannotti. About 200 media artists, people who work in radio, producers, technicians, and organizers collectively developed Radio_Copernicus into a broadcast station that implements an innovative cultural radio concept. This has happened not only through its program content from pop to »high culture«, including the entire range of sophisticated artistic radio work, but above all through its unconventional discourse and presentation forms.
Professor Sabine Breitsameter, »The positive and enthusiastic reactions from artists and listeners show how great the need is for an innovative, and at the same time, artistically sophisticated radio on both sides of the border. Because the audio archives of Radio_Copernicus will be open to the public regardless of the broadcasting time in ZKM, our project gains in having a long-term effect.«
Radio_Copernicus, the independent German-Polish Artists Radio, ran from July 15th till December 31st 2005 on local and temporary FM frequencies as well as worldwide via Live-Stream in German, Polish and English every day, 24 hours a day. The mobile station operated between the two neighboring countries. It moved from its first location in Stralsund [July/August 2005] to Warsaw [September 2005], then to Berlin [October 2005] and finally to Wroclaw [December 2005]. Radio_Copernicus cooperated with the »garage« Festival in Stralsund, the »Warsaw Autumn«, the series of events, »Dis_Positionen« [Academy of the Arts Berlin] and »Talking Back to Radio - Radio as listener - Arty_ci zmieniaj_ radio« at the University of Wroclaw as well as at numerous local institutions.
The general aim of the research association, planned over a three year period (2006-2009) was to investigate basic methods and prototypical applications for the visualization of data on large high-resolution screens. The requirements of the research association were extended for a further year following the project’s success.
In the application context of artistic projects, software tools and presentation methods were developed at the Institute of Visual Media [LINK], so as to make interactive digital content available within a public space. Here, emphasis was placed on the production of real-time manipulation and interaction with digital panoramic contents. The results produced as part of the project were on show in 2007 at the PanoramaFestival at the Institute for Visual Media, and at the Ideenpark Stuttgart, in 2008, and presented in the exhibition »IMAGINING MEDIA@ZKM« in 2009. At the climate summit in Copenhagen the installation »Exits II«, among others by Diller, Scofidio + Renfro was shown at the Kunsthalle Charlottenborg (Copenhagen); it was also on show from May to August 2010 at the Alhondiga Bilbao, in Spain.
In 2009, the PanoramaLab was installed as a permanent presentation site in the ZKM | Foyer. »CloudBrowsing«, a research project developed in collaboration with the University of Konstanz was extended in 2010 for the purposes of increasing access to random databanks and so-called »bookmarks«, a mechanism which makes it possible to feature themes by link collection retrieval.
In addition to Wikipedia, an institute production databank is visible, in which the works from the exhibition »IMAGINING MEDIA@ZKM« are explained. As part of the project, a composite manager based on the software code of the Panorama Player was developed for the X11 window system; this allows for the representation of any given applications with limited bandwidth range without special adaptations to the Panorama Screen.
The Institute of Visual Media supported the construction of a 270-degree driving simulation at the Living Lab Automotive of the FZI Karlsruhe, which was realized with the aid of this software level.
Various installations were initiated for the Panorama technology developed at the institute illustrating the broadly distributed spectrum of the application and design potential which this technology opens up.
The project Inside Installations. Preservation and Presentation of Installation Art was a three-year research project (2004 - 2007) into the care and administration of an art form that is challenging prevailing views of conservation. It was funded by the European Commission, Culture 2000 programme.
Inside Installations was coordinated bij Netherlands Institute for Cultural Heritage (ICN, Amsterdam), and co-organised by Tate, London; Restaurierungszentrum der Landeshauptstadt Düsseldorf; Stedelijk Museum voor Actuele Kunst, Ghent; Foundation for the Conservation of Contemporary Art (SBMK, The Netherlands); Museo Nacional Centro de Arte Reina Sofia, Madrid.
The Inside Installations project asks: How can we safeguard artists' installations so that they can be experienced by future generations? For contemporary art museums this is a key question as they struggle to address their responsibilities in relation to an art form which is significantly different to traditional objects.The complexity of installations calls for a greater interdisciplinary approach in their conservation, production and installation, drawing on a wide body of expertise. This is a new area for conservation and collections management and one which is ideally suited to a collaborative approach in the development of guidelines and models of good practice.
The Inside Installations project consisted of 3 main parts which are geared to each other in organisation and content:
1. Thirty-three complex installations (many multimedia) were re-installed, investigated and documented (see Artists and Artworks).
2. By sharing their experience project participants worked together to develop guidelines and tools within five research themes: preservation, artist participation, documentation, theory & semantics and knowledge management & information exchange (see Research).
3. Over the three-year period 6 events (seminar/workshops) were organised and a considerable amount of knowledge was captured and can now be shared via the project website (see Events and Lectures).
The case studies on artists’ installations brought about a wealth of research results on specific cases and practical guidelines. In order to develop ‘good practice’ and recommendations for the broader research themes of the project a matrix structure was applied - forming a liaison between the case studies and the 5 main research themes. Each co-organiser was responsible for case studies of their partners as well as for one of the research themes. The project’s themes gave also direction to the events (seminars and workshops) which were organised by the co-organiser responsible for it.
Inside Installations has inspired many in their daily work and research activities. It also contributed largely to the ‘community building’ which started in 1999 with the start of the International Network for the Conservation of Contemporary Art (INCCA). In fact, the initiative for the project came from INCCA founding members and there remained a strong relationship with the INCCA group. In this new and challenging field of conservation it is of crucial importance to collaborate and to exchange expertise and experiences. Inside Installations has proven the benefits of this.
Events at ZKM
Karlsruhe Seminar/workshop Documentation of Installation Art (1 & 2 December 2005)
The third »Inside Installations« event was a workshop organised by project co-organiser Restaurierungszentrum DÃ¼sseldorf. Held on 1st and 2nd December 2005 the meeting was kindly hosted by the Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe.
The main subject of the seminar was the documentation of installation art. Contributions by the German partners focussed on measuring techniques and documentation strategies applicable to complex installations and their time-based elements movement, sound and light. Additional papers presented by guest speakers dealt with the accessibility and management of knowledge on installation art. A model designed by the German partners for the documentation of installation art was presented and critically discussed.
Finally a discourse on the term installation provided an introduction to the next project meeting on Theory and Semantics of Installation Art on 11th and 12th May, 2006 in Maastricht.
On day 2, a workshop on documentation was held for project partners.
Entwicklung eines virtuellen Museums für die Highlights der Sammlung »Karlsruher Türkenbeute« des Badischen Landesmuseums mittels interaktiver 3-D- und Zoom-Aufnahmen. Verknüpft sind diese mit weiterführenden Informationen zu Geschichte, Kunst, Kulturgeschichte, einem Downloadservice sowie einem Archiv mit Materialien der Website www.tuerkenbeute.de. Foren und ein Chat ermöglichen die lebendige Auseinandersetzung mit dem Virtuellen Museum und den Meinungsaustausch mit anderen Besuchern.
The ZKM_Sound Dome is the unique heart of the institute. The dome-shaped set up comprising forty-seven loud speakers is an ideal location for the development and reproduction of spatial electro-acoustic or acousmatic music. New compositions can be produced and then performed here. In addition to the works produced at the ZKM, the Sound Dome also serves as a special venue for international guest performances and festivals, and as a special concert space.
The Sound Dome is controlled by the free software Zirkonium, which the ZKM | IMA has been developing since 2004. In addition to a recording space, the studio also serves as a public concert hall and laboratory for research in the field of musical acoustics. Initiated by the state of Baden-Württemberg, the so-called Sound Dome was designed and realized for the Cube as part of the »Zukunftsoffensive« [future offensive] research project. The studio space has since been equipped with forty-seven high-quality loudspeakers, which are located around the listeners in a dome-shaped arrangement. The studio and the attached directors’ space in the ZKM_Cube are the main work locations at the ZKM | IMA.