My work focuses on the intersection of conservation, art history and theory, and material culture studies. In Spring 2016, I joined the Department of History of Art, University College London, where I teach, do research, and convene the BA programme History of Art, Materials and Technology (MAT). Prior to this, as Andrew W. Mellon Visiting Professor in the curricular initiative Cultures of Conservation, I taught graduate seminars on conservation, art history, and museology at the Bard Graduate Center in New York.
My primary research and teaching interests lie, among others, in ethics, aesthetics, and philosophy in and of conservation, film, video, installation, and electronic media, contemporary and post-war art, and the concepts of time, change, identity, and archive (as discourse and physical space) both in artworks and in objects of material culture. In conservation, I focus specifically on the notions of authenticity, intentionality, and conservations’ epistemic dimensions, that is, knowledge derived from, and generated by, diverse practices, theories, and cultures of conservation. I conducted this research at the Max Planck Institute for the History of Science in Berlin, where, in the Fall of 2015, I was a visiting scholar within the research group Art and Knowledge in Premodern Europe. My research on art, media and technologies since the 1960s has been supported by the Getty Foundation residential grant (2016-2017), UCL Global Engagement Fund (2019-20), and, most recently, by the Terra Foundation for American Art (2019-20).
I obtained my Ph.D in 2013 from the University of Amsterdam, Institute of Art History and Cultural Studies with a thesis focusing on conservation, time, and change in film, video, and multimedia works of art, with a particular focus on the work by the Korean American artist Nam June Paik. A revised form of this research titled Paik’s Virtual Archive: Time, Change, and Materiality in Media Art has been published by the University of California Press (2017; for review quotes, follow this link).
In September 2015, my book Revisions-Zen for Film was published by Bard Graduate Center/The University of Chicago Press. Reviewed in Art Forum, Critical Inquiry, and Journal of Curatorial Studies, among others, Revisions-Zen for Film accompanied an eponymous exhibition at the Bard Graduate Center Gallery located on Manhattan’s Upper West Side (September 17, 2015—February 21, 2016). This exhibition focused on the ways in which artworks endure over time in the face of remediation, obsolescence, ageing materials, and changing interpretations of their meaning. The exhibition was accompanied by a series of public events organised at the Bard Graduate Center: Scholars’ Day and a Symposium titled Revisions-Object, Event, Performance since the 1960s (September 21, 2015) with the participation of more than 15 international scholars in film, video, performance, museum, and conservation studies.
In 2019, a co-edited anthology titled The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures was published from Bill (Boston and Leiden, with Francesca Bewer and Katharina Ammann) and the first book in the artistic-theoretical series Landscape saw the daylight from Vexer Verlag (No.1, Horizontal – Vertical; St. Gallen and Berlin, with Johannes M. Hedinger). Another volume provisionally titled Object-Event-Performance: Art, Materiality and Continuity since the 1960s is in preparation at the Bard Graduate Center (expected 2020 in the series Cultural Histories of the Material World).
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