ACADEMIC EVENTS ORGANIZED
2024 36th Congress of the International Committee of History of Art in Lyon (June 26) Performance: Conservation, Materiality, Knowledge. Two sessions co-organized with E. Magnin and J. Pelta Feldman. With speakers: Adebisi ADEMAKINWA, Michele MARINCOLA, Naomi KROLL HASSEBROEK, Gayathri ANDATHODIYIL, Maciej TALAGA Anna Paula DA SILVA, Fernanda WERNECK CÔRTES, Claire VALAGEAS, Clélia BARBUT, Rebecca PEABODY, Markéta KRAUSOVÁ and Evelyne SNIJDERS.
2024 112th College Art Association Annual Conference Chicago (February 15) Activating Fluxus, Expanding Conservation. Panel co-organized with Aga Wielocha and Josiephoine Ellis as a part of the SNSF research project Activating Fluxus. With speakers: Magdalena Holdar, Danielle Johnson, Kate Lewis, Hannah Mandel, Peter Oleksik, and Inbal Strauss.
2023 Archivio Conz Berlin (November 2-3) Fluxus Fetish. Third Fluxus Study Day and public event organized by SNSF Activating Fluxus (with A. Wielocha and J. Ellis) in collaboration with Archivio Conz. With speakers: Horst Bredekamp (Humboldt University), Clémentine Deliss (KW Institute), Ayesha Fuentes (University of Cambridge), and Patrizio Peterlini (Fondazione Bonotto).
2023 Bern University of the Arts: Performance Conservation: Artists Speak (May 16) Third Annual Colloquium organized by SNSF Performance: Conservation, Materiality, Knowledge (with J. P. Feldman, E. Magin, CH. Wrapner) at Bern University of Applied Science-Academy of the Arts. In situ and online. With speakers Christian Falsnaes (DK), Ido Feder (ISR), Dorota Gawęda and Eglė Kulbokaitė (CH), Pascale Grau (CH), Rosanna Raymond (NZ) and Davide-Christelle Sanvee (CH).
2023 Bonotto Foundation. Concerasa, Italy: Activating Fluxus: In and Out of the Archive(May 4-5). Fluxus Study Day and public event organized by SNSF Activating Fluxus (with A. Wielocha and J. Ellis) and the Bonotto Foundation. Concerasa, Italy. In situ and online. With speakers: Elke Allgaier, Lionel Bovier, Elke Gruhn, Laura Montanari with Alessandro Gazzoti, Patrizio Peterlini and Hubertus von Amelunxen.
2022 Bern University of the Arts: Conserving Performance: Interdisciplinary Perspectives (September 30). Second Annual Colloquium organized by SNSF Performance: Conservation, Materiality, Knowledge (with J. P. Feldman and E. Magin). With speakers: Philip Auslander, Thomas Gartmann, Amelia Jones, Michaela Schäuble, Dread Scott and featuring a performance by Gisela Hochuli.
2022 Institute for Land and Environmental Art: Learning from the Earth: Three-day International Conference at the Institute for Land and Environmental Art (August 26-28), organized wit Johannes M. Hedinger on the occasion of the fourth iteration of the summer school Alps Art Academy and the environmental Biennale Art Safiental. Tenna, Grisons, CH. Keynotes: Ursula Biemann, T.J. Demos and Fernando Garcia-Dory.
2022 Museum Tinguely Basel, Switzerland, Performance: Four Perspectives. In Revolving Documents #1: Narrations of the Beginnings of Performance Art (June 10), convened by Sabine Gebhardt Fink within the exhibition BANG BANG translocal hi:stories of performance art (co-organized and presented with J.P Feldman, E. Magin and V. Maly).
2022 110th College Art Association Annual Conference, Chicago: Conserving Performance, Performing Conservation (March 3), co-organized with J P. Feldman. With speakers: Denise Petzold, Ian Wallace, Paul Couillard, Megan Metcalf, Lauren Rosati, and Limor Tomer.
2021 Performance: The Ethics and the Politics of Care – Mapping the Field (May 30 and 31). First Annual Colloquium organized by SNSF Performance: Conservation, Materiality, Knowledge (co-organized with with J.P. Feldman, E. Magnin and V. Maly), Bern University of the Arts. With keynotes by Rebecca Schneider (Brown University), Pip Laurenson (Tate and Maastricht University), Gabriella Giannachi (University of Exeter), and Barbara Büscher (University of Music and Theatre Leipzig). With speakers:
2020 Institute for Land and Environmental Art, Tenna, Switzerland, (September 26-27) conference “Critical Grounds: Art and Politics of Landscape” (co-organised with Johannes Hedinger). With presentations by Annemarie Bucher, Sally de Kunst, Ryan Dewey, Bill Fox, Michael Hiltbrunner, Marcel Hörler, Tara Lasrado, Dharmendra Prasad, Emily Eliza Scott, Chris Taylor, Curdin Tones, Rebecca Uchill and Karen Winzer.
2018 Los Angeles, 106th College Art Association Annual Conference, Los Angeles Convention Center (February 21-24),“Object – Event – Performance: Art, Materiality, and Continuity since the 1960s,” with speakers Andrea Gyorody, Allen Memorial Art Museum/Oberlin College; Megan Metcalf, University of California, Los Angeles; Oliver Shultz, Stanford University, Edward Bacal, University of Toronto. Organised and chaired by Hanna Hölling.
2017 London, UCL Institute for Advanced Studies (October 10), Permanent Impermanence: Panel Discussion and Book Presentation “Paik’s Virtual Archive: Time, Change, and Materiality in Media Art.” With Briony Fer (UCL), Sarah Cook (University of Dundee), and Hanna Hölling (UCL, organizer). Organized with the support of Institute of Advanced Studies.
2017 Los Angeles, Getty Center (August 22), “What’s the Matter? Media, Materiality, and Meaning in Film and Video Installations,” concept, organization, and chair of presentations and a panel discussion with Glenn Phillips (Getty Research Institute), Jeniffer West (Roski School of Arts and Design, University of Southern California), Mark Gilberg (LACMA), and Hanna Hölling (UCL). Organized with the support of Getty Conservation Institute and Getty Research Institute.
2016 University Basel, Basel, Switzerland, 3rd Swiss Congress for Art History (June 23-25, 2016), “Objekte erklären: Kulturen des Kuratierens und des Konservierens,“ session co-organized with Katharina Ammann, Swiss Institute for Art Research (SIK-ISEA), Zürich.
2016 Washington DC, College Art Association 104th Annual Conference (February 3-6), “The Explicit Material: On the Intersections of Cultures of Curation and Conservation,” concept, organization, and chair of the Educational and Professional Practices session, co-organized in collaboration with Dr. Francesca Bewer, Harvard Art Museums, Cambridge.
2015 London, Tate Modern, Media in Transition (November 18-20), supported by the Getty Research Institute, The Getty Conservation Institute with additional support from the New Art Trust; session “Paik & Fluxus: Object, Archive, and Performance in Nam June Paik’s Multimedia,” co-organized with Pip Laurenson, Michael Mansfield, and Sook-Kyung Lee.
2015 New York, Bard Graduate Center, Revisions: Object—Event—Performance—Process since the 1960s, Symposium and Scholars Day (September 21) on the occasion of an exhibition Revisions—Zen for Film (September 18, 2015—February 21, 2016). Watch on BGCTV.
2014 Glasgow, University of Glasgow and The Glasgow School of Arts, Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation, “Revisiting Authorship” (December 2), co-organization with Erma Hermens and Frances Robertson.
CONVENED PANELS
2023 Julia Robinson: Working In the Spirit of Fluxus (May 25). An invited lecture and panel discussion co-organized by SNSF Activating Fluxus (with A. Wielocha and J. Ellis) within the Research Wednesday seminar series, Bern University of the Arts.
2021 Can Performance Art be Conserved? Claire Bishop in Conversation (September 21). Invited lecture and a panel discussion organized by SNSF Performance: Conservation, Materiality, Knowledge (with J. P. Feldman, and E. Magnin) within the Research Wednesday seminar series, Bern University of the Arts.
2021 Living Materials: Ethics and Principles For Embodied Stewardship. Panel and conversation between Cori Olinghaus and Megan Metcalf organized by SNSF Performance: Conservation, Materiality, Knowledge (with J.P. Feldman, E. Magnin and V. Maly), Bern University of the Arts.
2018 University of Applied Science, Cologne Institute for Conservation Science, “Musealisation,” panel and discussion convened with S. Munoz-Vinas on the occasion of the conference New Approaches in the Conservation of Contemporary Art (June 26)
2018 Museum Ludwig, Budapest, “Born Digital,” panel convened on the occasion of MAPS Media Art preservation (June 4)
2014 Bard Graduate Center, New York, “Conservation Conversations: Judith Olszowy-Schlanger and Michelle Chesner: ‘Conserving Thousands of Lost Medieval Hebrew Manuscripts,’” (February)
2014 Bard Graduate Center, New York, “Conservation Conversations: Francesca Bewer ‘Material Matters: Early Scientific Inquiry in Archaeology and Art’ and Laurent Olivier ‘Henri Hubert Between Durkheim and Mauss: The Visual Reconstruction of Archaeological Time’” (April)
2013 5th International Conference on the Histories of Media Art, Science and Technology, Riga, “Archiving I & II,” two panels convened (October)
2011 University of Cincinnati, “Conservation of Video Sculpture,” panel convened on the occasion of Nam June Paik and the Conservation of Video Sculpture conference (April)
PUBLIC PRESENTATIONS
Updates will follow shortly.
2018 SIK-ISEA | Schweizerisches Institut für Kunstwissenschaft | Swiss Institute for Art Research Zürich, lecture on the occasion of an interdisciplinary symposium Kunst und Material: Repräsentation, Stofflichkeit, Prozesse | Art and Material: Representation, Materiality, Processes (November 1-2).
2018 Berne Univesity of the Arts, Forschungsmittwoch: Performance: Nachleben, Materialität, Interpretation | Performance: Afterlife, Materiality, Interpretation, lecture followed by an artist talk with Johannes Hedinger (Com&Com) and a public conversation (October 17).
2018 University of Basel, Media of Exactitude in the Humanities, Arts, and Science international conference | Medien der Genauigkeit: Ideale, Praktiken, Darstellungen; SNF-Sinergia-Projekt Universität Basel, eikones Forum, (October 5).
2018 University of St. Andrews, Scotland, Art History Research Lecture “Media Art: Transitions, Durations, and the Paradigm of Conservation, School II, St Salvator’s Quad (September 17).
2018 Ecole Polytechnique Federale de Lausanne, Laboratory for Experimental Museology (August 6-7), presentation on the occasion of Archiving Intangible Cultural Heritage & Performing Arts: Symposium and Summer School.
2018 Alps Art Academy, Tenna, Switzerland, opening keynote at international symposium Horizontal – Vertical inaugurating the second summer school on Land and Environmental Art (July 1).
2018 University of Applied Science, Cologne, New Approaches in the Conservation of Contemporary Art, keynote (with Salvador Munoz Vinas, June 25-26, 2018).
2018 Statens Museum for Kunst: National Gallery of Denmark, Transmissions and Transitions – (Post)media, Museums and Cultural Memory, international keynote at the Museums and Art in the Information Age research project symposium (May 30, other keynote speakers included:(with Sean Cubitt, Dieter Daniels, & Sarah Kenderdine).
2018 Ludwig Museum Budapest—Museum of Contemporary Art, MAPS Media Art Preservation – Born Digital (June 4-5, one of international keynotes).
2018 Utrecht University, “The Medium of Time and Transition,” public colloquium presentation following a masterclass in Technical Art History MA and PhD (with Francesca Bewer).
2017 Zürich, SIK-ISEA | Schweizerisches Institut für Kunstwissenschaft (Swiss Institute for Art Research) Zürich (November 17), “Medienkunst: Zeit, Materialität, Authentizität,” lecture and book presentation Paik’s Virtual Archive: Time, Change and Materiality in Media Art.
2017 Rio de Janeiro, Instituto Moreira Salles (October 20, “Perpetuating Change,” master class on media art and performance.
2017 Rio de Janeiro, International Council of Museums, Brasil, a joint initiative of COMCOL (collections) and CIDOC (documentation) committees (October 18), “What’s the Matter of the Future (Collections),” one of the international keynotes.
2017 Munich, Deutsches Museum (October 16), “Trace, Memory, Time” presentation on the occasion of the symposium “Material Authenticity of the Ephemeral.”
2017 Karlsruhe, ZKM Center for Art and Media Karlsruhe, Germany (September 15), “Paik’s Virtual Archive: Time, Change, and Materiality in Media Art,” lecture and book presentation.
2017 Copenhagen, ICOM-CC Triennial Conference (September 4-8) “Time and Conservation,” presentation in the session Theory and History of Conservation.
2017 London, UCL | Institute for Advanced Studies IAS (May 26 ), presentation “Sensing Change: Perceptions and Transitions in Media Art” in the Sense and Sensation seminar series.
2017 New York, The Met | The Metropolitan Museum of Art (April 5), presentation “Media Art between Concept and Material: Nam June Paik’s Installations and the Limits of Material Preservation.”
2017 New York, Insitute of Fine Arts, New York University (April 5), book presentation “Paik’s Virtual Archive: Time, Change, and Materiality in Media Art.”
2016 University of Leeds (November 19), Spaces of Imagination: Intermediality in Film Archives and Exhibition, University of Leeds, presentation “Time, Change, and Identity in Nam June Paik’s Zen for Film.”
2016 University of Brighton (September 23), “Archive, Materiality, and Change,” presentation on the occasion of the conference Materiality and the Visual Arts Archive: Matter and Meaning (cancelled).
2016 Los Angeles, International Institute for Conservation of Historic and Artistic Works IIC (September 11-16), “Transitional Media: Duration, Recursion and the Paradigm of Conservation,” presentation on the occasion of the bi-annual IIC congress.
2016 Fundación Casa Wabi, Puerto Escondido, Mexico (July 12-17), “Revisions, or on the Aesthetics of Change,” presentation on the occasion of Media in the Expanded Field Think Tank organized by Montabonel and Partners, London.
2016 Alps Art Academy: International Summer School, Tenna, Switzerland (26 June), “The Lands of Art: On Land Art’s Shifting Grounds,” inaugural symposium keynote.
2016 Basel, University Basel, 3rd Swiss Congress for Art History (June 23-25), introduction to the session “Objekte erklären: Kulturen des Kuratierens und des Konservierens.“
2016 Washington DC, College Art Association 104th Annual Conference (February 3-6), introduction to the session “The Explicit Material: On the Intersections of Cultures of Curation and Conservation.”
2015 Budapest, Ludwig Museum—Museum of Contemporary Art (December 8), “What is Conservation? Media Arts between the Recent and Traditional Theory,” presentation on the occasion of the conference MAPS Media Arts Preservation.
2015 Warsaw, Academy of Fine Arts—Rector’s Building, Krakowskie Przedmiescie (December 5), “Art in Process, or on the Relative Duration of the Impermanent,” presentation on the occasion of the symposium Art in Process.
2015 Berlin, Max Planck Institute for the History of Science, Boltzmannstrasse 22 (November 23), “Conservation and Contingency: On Realms of Theory and Cultures of Practice,” Max Planck Colloquium Series: Art and Knowledge in Pre-Modern Europe.
2015 Riga, Renewable Futures, Media Art Histories Conference (October 10), invited presentation “Slow and Fast Art: Time, Change, and Continuity in Media Installations” (canceled due to illness).
2015 New York, Bard Graduate Center (September 21), “Zen for Film: Object, Event, Performance, Process,” introduction on the occasion of Revisions: Object—Event—Performance—Process since the 1960s.
2015 Miami, 43rd Annual Meeting of the American Institute for Conservation (May 15) “The Theory of Practice: Practical Philosophy, Cultures of Conservation and the Aesthetics of Change,” Opening Session. Reviewed by Kimi Taira.
2015 Providence, Brown University, Jenks Society (May 7) “On the Relative Duration of the Impermanent and the Aesthetics of Change in Museums” presentation on the occasion of Lost Museums: A Symposium on the Ephemerality and Afterlives of Museums and Collections.
2015 New York, College Art Association 103rd Annual Conference, New York (February 11) presentation “Fluxus: What’s the Matter?” in the panel Preserving the Artistic Legacies of the 1960s and 1970s.
2014 Glasgow, University of Glasgow and The Glasgow School of Arts (December 2). “The Aesthetics of Change: On the Relative Durations of the Impermanent” opening keynote on the occasion of the conference Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation.
2014 Lausanne, University Lausanne, in cooperation with University Neuchâtel, University Lausanne and Bern University (May) “Made in Switzerland: Between Concept and Materialization in Paik’s Video Installations in Basel and Zurich,” paper on the occasion of the symposium Medium Video—Videokunst in der Schweiz. Orte, Protagonisten, Museen, Ausstellungen, Konzepte und Methoden / Medium video—Art vidéo en Suisse Lieux, protagonistes, institutions muséales, expositions, concepts et methods.
2014 México D.F., Universidad Nacional Autónoma de México, Colección/Fundación JUMEX (March 31) “Beyond the Object Principle” opening keynote.
2013 New York, Bard Graduate Center, “On the Aspects of Time, Continuity, Archive and Identity in the Conservation of Multimedia Works of Art,’ presentation on the occasion of the BGC seminar series Work in Progress.
2013 Riga, Latvia, Stockholm School of Economics (October), “Versions, Variations, and Variability: Possibilities and Potentialities in the Preservation of Computer-based Art,” conference paper presented at the plenary session RENEW: Media Art Histories; The 5th International Conference on the Histories of Media Art, Science and Technology. Session chair and moderation of two panels Archiving (A, B).
2013 Dubrovnik, Croatia, University of Dubrovnik, Institute of Art History (May), “The Challenge of Multimedia in the Conservation and Conceptualisation of Nam June Paik’s Installations,” conference paper on the occasion of Our Modern: Re-Appropriating Vulnerable 20th century Heritage.
2012 Brisbane, Australia, Gallery of Modern Art (December), “Between Conceptualities and Materialities: Shifting Identities in Nam June Paik’s Installations,” conference paper on the occasion of The Meaning of Materials. 2012 AICCM Paintings Group +20th Century in Paint Symposium.
2012 Seoul, South Korea, Nam June Paik Art Center (October), “Rethinking Materiality: Concept, Object and Installation After the Advent of New Media,” conference paper on the occasion of The Gift of Nam June Paik (5).
2012 Chicago, School of Art Institute Chicago (May), “Obsolescence and New Media in Five Episodes,” presentation on the occasion of a roundtable discussion Obsolescence and New Media, with Michael Newman, Daniel Quiles, and Channel TWo (Jessica Westbrook and Adam Trowbridge).
2012 Boston, Art Institute of Boston (January), “Rethinking Materiality: Concept, Object and Installation in the Age of New Media,” invited lecture.
2012 London, University College London, History of Art Department (March), “On the Object of Conservation,” invited lecture.
2011 Cologne, German Conservation Association VDR (Verband Deutscher Restauratoren) (November), “Between Concept and Materiality: Artist’s Intention, Material Constrains and Practicability in Conservation of Computer-based Arts,” conference paper on the occasion of The Transience of Material: The Artist’s Intention Versus Conservability.
2011 Lisbon, Portugal, Catholic University of Lisbon (September), “Revisiting Materiality: Nam June Paik’s Organic and Technology-based Media in the Tournaments with Time,” conference paper on the occasion of Exposing Exhibitions.
2011 Philadelphia, 39th Annual Meeting of the American Institute for Conservation (May), “Versions, Variations, and Variability: Ethical Considerations in the Conservation of Computer-based Art; A Study into the Preservation of I/Eye by Bill Spinhoven van Oosten (1993),” conference paper, Electronic Media Group.
2011 Santa Barbara, University of California (April), “On the Ethics in the Preservation of Multimedia: Between Conceptuality and Materiality of Nam June Paik Installations,” conference paper on the occasion of Moralities in Arts.
2011 Cincinnati, University of Cincinnati, School of Art at the College of Design, Architecture, Art, and Planning (April) “Nam June Paik and the Conservation of Video Sculpture,” conclusions and moderation of the conference Nam June Paik and the Video Sculpture.
2011 Amsterdam, Netherlands Media Art Institute (currently LIMA) (February), “Virtualization as a Preservation Strategy for Computer-based Artworks,” paper on the occasion of the symposium To Transfer or to Transform and Expert Meeting of the Obsolete Equipment Research Group.
2011 London, Courtauld Institute of Art (March), “Revisiting ‘Life Cycles:’ Nam June Paik’s Organic and Technology-based Media in the Tournaments With Time,” paper on the occasion of the Courtauld Institute of Art Research Forum The Material Life of Things.
2010 Brussels, PACKED (November), “Virtualization as a Preservation Strategy for Computer Based Art: A Study into the Installation I/Eye (1992) by Bill Spinhoven,” presentation on the occasion of the Expert Meeting Obsolete Equipment Research Group (with Jo Ana Morfin).
2010 Montreal, Canada, 5th DOCAM Summit (Documentation and Conservation of the Media Arts Heritage) (March), “Between Organic Media and Technology: Unstable Materials and Contemporary Conservation.”
conferences