WRITING

ESSAYS, CHAPTERS, REVIEWS

Hanna has published peer-reviewed essays, articles and book chapters in English, German and Polish. Several of them have been translated into Chinese, Dutch, French, Italian, Korean and Portuguese.

2023

“Conserving and Curating Changeability.” Introduction, Aargauer Kunsthaus – Mit Gegenwart umgehen, edited by Katharina Ammann, Simona Ciuccio, Katrin Weilenman and Bettina Mühlenbach, [French and German]. Zürich: Scheidegger and Spiess, 2024. Available here.

“Conserving Active Matter—Activating Conservation?” Review of Conserving Active Matter, edited by Peter N. Miller and Soon Kai Poh (Bard Graduate Centre, 2022, distr. by the University of Chicago Press), Zeitschrift für Kunstgeschichte, vol. 86, no. 3 (October 2023). Available here.

“Can We Talk Post-Preservation? A Letter to Paik Nam June.” In My Paik Nam June: Memories, Conservation, and the Spread of Discourse, edited by Han Jungin, 83-96. Seoul: National Museum of Modern and Contemporary Art, Korea, 2023. Available here.

“Introduction: Caring for Performance.” In Performance: The Ethics and the Politics of Conservation and Care, Vol. 1, edited by Hanna B. Hölling, Jules Pelta Feldman and Emilie Magnin, 1-20. London: Routledge, 2023 (with Pelta Feldman and Magnin). Available here.

“Not, Yet: When Our Art is in our Hands”—Rebecca Schneider, with Antiphonal Interludes by Hanna B. Hölling.” In Performance: The Ethics and the Politics of Conservation and Care, Vol. 1, edited by Hanna B. Hölling, Jules Pelta Feldman and Emilie Magnin, 50-69. London: Routledge, 2023. Available here.

“Innovation and Preservation: Shadreck Chirikure on the Performance of Heritage.” In Performance: The Ethics and the Politics of Conservation and Care, Vol. 1, edited by Hanna B. Hölling, Jules Pelta Feldman and Emilie Magnin, 113-120. London: Routledge, 2023. Available here.

“Peeling the Paint off the Walls: Kelli Morgan on Black Performance and Racial Justice in Western Institutions.” In Performance: The Ethics and the Politics of Conservation and Care, Vol. 1, edited by Hanna B. Hölling, Jules Pelta Feldman and Emilie Magnin, 188-199. London: Routledge, 2023. Available here.

“Performing the ‘Mask:’ Kongo Astronauts (Eléonore Hellio and Michel Ekeba) on Postcolonial Entanglements.” In Performance: The Ethics and the Politics of Conservation and Care, Vol. 1, edited by Hanna B. Hölling, Jules Pelta Feldman and Emilie Magnin, 200-2016 London: Routledge, 2023. Available here.

“Potential Afterlives: Cauleen Smith on the Relation of Film and Performance.” In Performance: The Ethics and the Politics of Conservation and Care, Vol. 1, edited by Hanna B. Hölling, Jules Pelta Feldman and Emilie Magnin, 293-304. London: Routledge, 2023. Available here.

“Notation and Eternity in Symphonie No. 5 and Liberation Sonata for Fish.” In I Expose the Music, edited by Rudolf Frieling, 109-114. Leipzig: Spector Books, 2023. Available here in English.

“Notation und Ewigkeit in Symphonie No. 5 and Liberation Sonata for Fish.” (German version
of the above essay.) In I Expose the Music, edited by Rudolf Frieling, 109-114Leipzig: Spector Books, 2023. Available here in German

2022

“Matter Minding, or What the Work Wants: Aldo Tambellini’s Intermedia.”  Afterall, (52): 106-119. doi:10.1086/719773. Available here

“Introduction: Object—Event—Performance.” In Object—Event—Performance: Art, Materiality and Continuity since the 1960s, edited by Hanna B. Hölling, 1-39. New York: Bard Graduate Center. Available here.

“Exhausting Conservation: Object, Event, Performance in Franz Erhard Walther’s Werkstücke.” In Object—Event—Performance: Art, Materiality and Continuity since the 1960s, edited by Hanna B. Hölling, 62-84. New York: Bard Graduate Center. Available here.

“The Propensity to Openness: Bloch as Object, Event, Performance—Hanna B. Hölling in Conversation with Johannes M. Hedinger.” In Object—Event—Performance: Art, Materiality and Continuity since the 1960s, edited by Hanna B. Hölling, 261-283. New York: Bard Graduate Center. Available here.

“Can We Talk Post-Preservation? A Letter to Nam June Paik.” Preprint from an invited lecture at My Nam June, an international conference at the National Museum for Modern and Contemporary Art in Soul, South Korea. Available here.

“Post-Preservation: Paik’s Virtual Archive, Potentially.” In Nam June Paik Reader, edited by Soon Lee, 1-18. Seoul: Nam June Paik Art Center. Available here.

2021

“Assembling a Work of Art: An Annotated History of Fluxfilm No. 1.”  MAP – Media | Archive | Performance, 1 (11). Available here.

“Caring For Performance: Recent Debates.” CeROArt : Conservation, Exposition, Restauration d’Objets d’Art, doi:10.4000/ceroart.8119. Available here

“Keeping Time: On Museum, Temporality and Heterotopia.” ArtMatters: International Journal for Technical Art History, Special Issue 1 (2021): 47-54. Available here.

“Zeit, Materialität, Authentizität in Paiks Medienkunst / Time, Materiality and Authenticity in Paik’s Media Art.” In Nam June Paik: Pre Bell Man – Eine Ikone der Medienkunst /An Icon of Media Art, edited by Corina Engel, 70-72 (German, English). Frankfurt: Museum für Kommunikation Frankfurt.

Baumfänger – Auszüge aus der Eröffnungsrede im Kunsthaus Zofingen.” In Von Würzlen zu Wolken, edited by Claudia Waldner, 10-21. Kunsthaus Zofingen CH. Available here.

Über das Nichts, die Leere und die Langeweile.” In Leere, edited by A. Krüsi, 60-61. VGS St Gallen. Available here.

Unpacking the Score: Fluxus and the Material Legacy of Intermediality.” On Curating, Fluxus Special Issue, 51 (2021): 64-81. Available here.

2020

“Paik, Musically.” In The Legacy of Nam June Paik, edited by Eunjin Park. Seoul: The National Museum of Modern and Contemporary Art, edited by Park Eunji (한나 B., 횔.링.  백남준, 음악적으로: 플럭서스—슈톡하우젠—케이지). Available here.”

“Archival Activations—Nam June Paik between Text and Object. Metropolis M: Feature (25.05.2020). Available here.

“Archiefactiveringen: Nam June Paik tussen tekst en object.” Metropolis M, 42, 1 (February 2020): 42-45.

Introduction: Landscape.” In Landscape: Institute for Land and Environmental Art, edited by Hanna B. Hölling and Johannes M. Hedinger, 2-7. Berlin: Vexer Verlag. Co-authored with Johannes M. Hedinger. Available here. 

The Lands of Art: On Land (Art) and its Shifting Grounds (2016).” In Landscape: Institute for Land and Environmental Art, edited by Hanna B. Hölling and Johannes M. Hedinger, 52-69. Berlin: Vexer Verlag. Available here

2019

“Introduction: Material Encounters.” In: The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures. Edited by Hanna B. Hölling, Francesca G. Bewer and Katharina Ammann, 1-14. Leiden and Boston: Brill. Co-authored with Francesca G. Bewer and Katharina Ammann. Available here.

Materials, Objects, Transitions: Jorge Otero-Pailos in Conversation with Hanna Hölling.” In The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures. Edited by Hanna B. Hölling, Francesca G. Bewer and Katharina Ammann, 255-272. Leiden and Boston: Brill.

Mídia transicional: permanência, recursividade e o paradigma da conservação.” In A memória do digital e outras questões das artes e museologia. Edited by Pablo Gobira, pp. 37-49. Belo Horizonte: Editora da Universidade do Estado De Minas Gerais, Brasil.

2018

“Archive and Documentation.” Art and Documentation Journal, 1 (17), 19-2

2017

 “Reflections on the Impossibility of Material Continuation.” Review of Wirtualne Cialo Sztuki by Elżbieta Wysocka. The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 1 (Spring 2017):163-166.

The Technique of Conservation: On Realms of Theory and Cultures of Practice.” Journal of the Institute of Conservation, 40th anniversary issue The Future of Conservation, Vol. 40, Nr. 2, (2017): 87-96. doi:10.1080/19455224.2017.1322114.

Time and Conservation. ICOM-CC 18th Triennial Conference Preprints, Copenhagen, 4-8 September 2017, edited by J. Bridgland. Paris: International Council of Museums. 

Sztuka i proces: kontynuacja, względny czas trwania i archiwum Fluxus.” In  Sztuka w procesie / Proces w sztuce: Ku nowej filozofii ochrony dziedzictwa kultury, edited by Iwona Szmelter, 50-61. Warszawa: Akademia Sztuk Pieknych w Warszawie. Available here.

汉娜·霍玲, 白南准《禅之电影》的美学变化, 2016″ (The Aesthetics of Change, 2016). In Time-based, Non-places edited by Li Zhenhua, 72-97. Shenzhen: 3rd Shenzhen Independent Animation Biennale.

“Lost in Museums? Changeable Media, Their World, and Performance.” Museum History Journal, special issue dedicated to the Lost Museums Colloquium at Brown University, Vol.  9 , Nr. 2 (2016): 1-15.

2016

“The Lands of Art: On the Shifting Grounds of Land Art.” Land Art – An Alps Art Academy Reader, n.p. Tenna, Switzerland: Alps Art Academy.

“Transitional Media: Duration, Recursion and the Paradigm of Conservation.“ Studies in Conservation, special issue Saving the Now, Vol. 61 (2016): 79-83. Digitally published by Taylor and Francis Online, Maney Publishing. http://dx.doi.org/10.1080/00393630.2016.1181929. Available here.

“The Aesthetics of Change: On the Relative Durations of the Impermanent.” In Authenticity in Transition, edited by Erma Hermens and Frances Robertson, 13-24. London: Archetype Publications. Available here.

“The ‘Virtual Body of Art:’ Reflections on the Impossibility of Material Continuation.” Book review Wirtualne Ciało Sztuki (Elżbieta Wysocka, published in Warsaw by Narodowe Centrum Kultury, 2013), Zeitschrift für Kunsttechnologie und Konservierung: Deutscher Restauratoren Verband No. 1 (2016): 126-28.

2015

“The Archival Turn.” In Data Drift: Archiving Media And Data Art In The 21st Century, edited by Rasa Smite, Lev Manovich and Raitis Smits, 73-89. Riga: RIXC and Liepaja’s University Art Research Lab.

Die Wandelbarkeit von Objekten und Konzepten: Zur Erhaltung von computerbasierten Medien am Beispiel von I/Eye. In Die Vergänglichkeit des Materials, edited by Simone Heuken, 135-155. Cologne: Verband Deutscher Restauratoren VDR.

2014 

“The Explicit Material: On the Intersections of Conservation, Art History and Human Sciences.” Simulacrum, Stichting Simulacrum, Kunsthistorisch Instituut, University of Amsterdam, 23/1. Link to footnotes and TOC.

French translation “La substance explicite : à propos des croisements de la conservation-restauration avec l’histoire de l’art et les sciences humaines” by Marco Maire available at Semin’R https://seminesaa.hypotheses.org/7318.

“From Social to Technological Interactivity: Delegating the Act, Translating the Object.” In Hannes Schmid: Momentous II, edited by Kornelia Imesch-Ochslin, 52-58. Beijing: Today Art Museum Beijing.

“Seeking the Authentic Moment: De- and Re-Materializations in Paik’s Video and Multimedia Installations.” Journal of the Australian Institute for the Conservation of Cultural Materials, 34 (AICCM): 85-92.

“Dal recupero alla ri-medizione; pratiche di restauro per l’arte basate sull’utilizzo del computer nel caso di I/Eye (1993) di Bill Spinhoven van Oosten.” (From Recovery to Remediation: Conservation Practices in Computer-based Art on the Example of I/Eye (1993) by Bill Spinhoven van Oosten.) In Tra memoria e oblio: percosi nella conservazione dell’arte contemporanea, edited by Paolo Martore, 229-250. Rome: Castelvecchi Publishers.

2013

“What’s Next? Translating Time, Transforming Objects in the Conservation of Multimedia.” In WHAT’S NEXT? Kunst nach der Krise—Ein Reader (What’s Next? Art after Crisis—A Reader), edited by Johannes M. Hedinger and Torsten Meyer, 251-258. Berlin: Kulturverlag Kadmos.

“On the Identity of Nam June Paik’s Changeable Multimedia Installations in the Context of Their Conservation.” In Hanna Hoelling, Bernhard Serexhe, Glenn Wharton, Nam June Paik Art Center Interviews, edited by Manu Park, Seong Eun Kim, and Sang Ae Park, 119-134  (34-50 in Korean). Seoul: Nam June Paik Art Center.

Conversation: Hanna Hoelling, Bernhard Serexhe, Glenn WhartonNam June Paik Art Center Interviews, edited by Manu Park, Seong Eun Kim, and Sang Ae Park, 90-118 (5-34 in Korean). Seoul: Nam June Paik Art Center.

“Transcending Obsolescence in Technological Ruins? Questions of Conservation and Presentation in Nam June Paik’s Multimedia Installations.” Necsus European Journal of Media Studies, special issue Waste. No. 4 (Autumn 2013):n.p.

“Versions, Variations, and Variability: Ethical Considerations and Conservation Options for Computer-Based Art.” In Electronic Media Review of the American Institute for Conservation of Historic & Artistic Works, edited by Jeffrey Warda, 33-43. Washington DC: American Institute for Conservation.

2013

“Monitor’s Matters.” In: Simon Denny: Full Participation, edited by Jacob Proctor, 185-187. Aspen: Aspen Art Press.

2011

“Reflections on a Biographical Approach to Contemporary Art Conservation.” ICOM_-CC 16th Triennial Conference Preprints, Lisbon, 19-23 September 2011, edited by J. Bridgland. Paris: International Council of Museums (with Renee van de Vall, Tatja Scholte, and Sanneke Stigter).

“Virtualization as a Preservation Strategy for Computer-based Art: An (Empirical) Study into the Installation I/Eye (1993) by Bill Spinhoven van Oosten. Research report. Amsterdam: Netherlands Media Art Institute NIMk, PACKED and DNart.

“On the Afterlife of Performance.” Review of the conference The Manifold (After) Lives of Performance, 12 – 13 November 2010 (Part 2). Amsterdam and Leuven: De Appel Arts Centre  and STUK Kunstcentrum.

2010

“Konservierung.” In Lexikon zur zeitgenössischen Kunst von Com&Com (Lexicon of contemporary art by Com&Com), edited by Johannes M. Hedinger and Marcus Gossolt, 83-84.  Zürich: Niggli Publishers.

2009

“On the Afterlife of Performance–The Manifold Afterlife of Performance, November 13-15, 2009: Review of the conference The Manifold (After) Lives of Performance (Part 1). Amsterdam and Leuven: De Appel Arts Centre and STUK Kunstencentrum.

2005

“Zur Konservierung des Environments The Portable War Memorial von Edward Kienholz” (On Conservation of the Environment The Portable War Memorial by Edward Kienholz). Kölner Museums-Bulletin, No. 3 (2005):39 – 48.