What is going on concerning audiovisual archives?
International seminar: workshop, lectures, presentations, exhibition, panel

PUBLIC EVENTS:

Kapelica Gallery, Kersnikova 4, Ljubljana, Slovenia
Wednesday, 28th November
16.00-19.00: Exhibition (selection from video archives)
19.00: Lectures

Project Room SCCA, Metelkova 6, Ljubljana, Slovenia
Thursday, 29th November
17.00: Presentation of SCCA e-ARCHIVE, exhibition (selection from video archives), panel

The purpose of the project What is going on concerning audiovisual archives? is to inform as regards the various possibilities for digital archiving of audiovisual materials and the strategies for their dissemination with a focus on institucional examplary practices:

• Montevideo/Time Based Arts, The Netherlands Media Art Institute, Amsterdam,
• MediaArtNet.org in 40jearsvideoart.de,
• e-ARHIV, SCCA-Ljubljana.

The project is a logical continuation of the SCCA concerns with research and documentation of video production, which have resulted in the artistic/educational/discursive project What is to be done with audiovisual Archives?, focused on archival projects, implemented mostly by the artists and as individual initiatives (2005) and Videodokument: Video art in Slovenia 1969-1998 (catalogue, book of essays, CD-ROM and web site, 1999/2003).

The main aims of the project are:

• to establish a platform for preservation, presentation and dissemination of the audiovisual contents (contextual level),
• to trigger the institutional change, i.e. to make possible the inclusion of the audiovisual/video archives under the sector of the national cultural heritage (political level),
• to present models and means of preservation, presentational strategies and possibilities of dissemination (theoretical level).

Kapelica Gallery, Kersnikova 4, Ljubljana, Slovenia
Wednesday, 28th November
16.00-19.00: Exhibition (selection from video archives)
19.00: Lectures

LECTURES

Gaby Wijers: Montevideo/Time Based Arts Collection

Because of their short life and technical or otherwise variable, and because of the variability and rapid obsolescence of the media formats, there is a need for a different approach in terms of strategies for documentation, presentation and preservation of media art. When developing strategies into the preservation and presentation of media art availability and accessibility to the content is the main goal. In this lecture Gaby Wijers will explore the relation between technology, certain types of media art and their documentation and preservation context, focusing on the collection of the Netherlands Media Art Institute. Describing preservation strategies for media art preservation and a number of national and international research projects and resources.

Gaby Wijers has a degree in documentary informatics and visual representation and and a elaborate experience as a project leader of projects centred around new media art preservation an access. She is specialized in capturing of variable artworks, from dance to new media. Coordinator of preservation, research and development at the Netherlands Media Art Institute, Montevideo/TBA Amsterdam (NL); participated in various international projects dealing with the documentation and preservation of Media Art like Inside Installation, 404 Object not Found, OASIS archive and coordinated the project under the auspices of the Foundation for the Conservation of Modern Art (SBMK); guest lecturer at the University from Amsterdam; lives in Amsterdam.

Heike Helfert: Re-moving images

MediaArtNet.org and 40jearsvideoart.de as two different approaches to save the heritage of media art.

The value of an archive or a collection lies in its specific strategy. Generating knowledge by accumulation or by concentration are two different methods of organizing information. The projects MediaArtNet.org and 40yearsvideoart.de try out different approaches in the field of unstable media.
MediaArtNet tries to give an overview of media art while using media adequate means of representation. During the process of development a multitude of decisions had to be made. Starting from the focal point up to the question how the information should be displayed. What kind of metadata is needed and how can the database be structured? How can an online archive be maintained? Also the question of sustainability already rises during the creation of the online archive. As we all know an archive is not only as good as its structure, but also as its properties. When dealing with media wether digital or electronic, special aspects of ageing must be taken into consideration. Magnetic tapes are subject to a constant process of decay and therefore video art is confronted with this dilemma. Actually video art as a part of our cultural heritage is acutely endangered. As an example in the field of digital heritage the German project 40yearsvideoart.de investigates how future imminent losses can be averted and what restorative measures can be taken. The different objectives and solutions of these projects are highlighted in the lecture.

Heike Helfert is a cultural scientist working in the field of media art. During the last years she worked for institutions like Expo2000, Edith Russ Site for Media Art, ZKM, Center for Art and Media and the Ludwig Boltzmann Institute Media.Art.Research. For the ZKM she worked on the media art platform www.mediaartnet.org and the project on digital heritage 40yearsvideoart.de.

EXHIBITION (SELECTION FROM VIDEO ARCHIVES)

40yearsvideoart.de
(ZKM - Zentrum für Kunst und Medientechnologie, Karlsruhe)

Curated by: Heike Helfert
Wolf Vostell: Sun in Your Head (1963); Otto Piene, Aldo Tambellini: Black Gate Cologne (1968/69); Gerry Schum: Land Art (1969); Ulrike Rosenbach: Tanz für eine Frau/Dance for One Woman (1974); Richard Kriesche: Malerei deckt zu, Kunst deckt auf/Painting Covers, Art Reveals (1977); Die tödliche Doris: Über-Mutti-Live-Konzert-Paris 1983 Played Back Berlin 1984/Super-Mom Live Concert Paris 1983, Lip-Synched in Berlin 1984 (1984); Granular Synthesis: Sweetheart (1997); Korpys/Löffler: The Nuclear Football (2004)

Montevideo/Time Based Arts
(The Netherlands Media Art Institute)

Curated by: Gaby Wijers
Erwin Olaf: Le Dernier Cri (2006); eddie d: Significance and Back (2001); Guido van der Werve: Nummer vier (2005); Arno Coenen & Transformer di Roboter: Baghdad Disco (2005); Martijn Veldhoen: (why do I keep going) FORWARD (2004); Jeroen Kooimans: Fata Morgana (2006); Peter Bogers: The Secret Place of the Most High (2003); Bas van Koolwijk: FBCK/AV - FIVE (2002); Jeroen Offerman: Stairway at St. Paul's (2002); Livinus & Jeep van de Bundt: Percussion VI (1977); Bas van Koolwijk: FBCK/AV - Red Flag (2005); Persijn Broersen & Margit Lukacs: Prime Time Paradise (2004); Marinus Boezem: Breathing upon the Tube (1971); Peter Frucht: Stay Tuned (2005); Sonia Cillari: Se Mi Sei Vicino (2006); Marina Abramović: Art must be Beautiful, Artist must be Beautiful (compilation version), 1975); Iain Forsyth & Jane Pollard: Walking after Acconci (Redirected Approaches) (2005)

e-ARHIV, SCCA-Ljubljana

Trace
Curated by: Mateja Rot
Apolonija Šušteršič: Bonnevoie by Day &Night, Luxemburg (1998); Mojca Marija Pungerčar: Portable Home, Düsseldorf (1996); Nataša Skušek: Venezia 2 (2004); Venice; Duba Sambolec: Tour de place, Art Academy Trondheim, Norwey (2001)

Videodokument_Presents.
Selected video works presented in Videodokument (1969-1998)
Curated by: Barbara Borčić
Nuša & Srečo Dragan: The White Milk of White Breasts (1969-1984); Marijan Osole-Max: Avtop (1983); Miha Vipotnik; Don't Panic (1984); Zemira Alajbegović & Neven Korda (Borghesia): Discipline (So Young) (1984); Marko A. Kovačič: American Dream (1986); Rok Sieberer-Kuri: Crisis (1989); Sašo Podgoršek: Model (1989); Zemira Alajbegović & Neven Korda: The Sand Collectors (1995); Peter Vezjak: Venite Lucifer (1995); Mirko Simić: Ausländer (1996); Ema Kugler: Taiga (1996); Miha Vipotnik: Path of Crazy Wisdom (1993/96); Nataša Prosenc: One Way (1996); Apolonija Šušteršič: Private Corridor - Public Toilets, (1997); Sašo Vrabič: Tower Flatline (1998)

Creatures II
Curated by: Barbara Borčić
Damijan Kracina: Nails (1995); Oliver Marčeta: 2227 - Innocent When You Dream (1995); Neven A. Korda: Nomad (2002); Andrej Lupinc - Lupo: In Eight Minutes Around the World (1990-2000); Marko A. Kovačič & Kolja Saksida: Lab Party (2002)

Eyedentify Yourself
Curated by: Tevž Logar
Nika Autor, Robertina Šebjanič: Niro (2006); Tomaž Furlan: Wear (2005); Tomaž Tomažin: Mr. Tornhill (2005); Vesna Bukovec, Lada Cerar, Metka Zupanič: First Impression (2004);
Nataša Berk: PolyPlay (2004)

Production
SCCA, Center for Contemporary Arts - Ljubljana
www.scca-ljubljana.si

Co-production
Galerija Kapelica, Zavod K6/4
www.k6-4.org

Support
Ministry of Culture of the Republic of Slovenia, Municipality of Ljubljana, Royal Netherlands Embassy Ljubljana, Goethe Institut Ljubljana

Special thanks
Montevideo/Time Based Arts, The Netherlands Media Art Institute; ZKM - Zentrum für Kunst und Medientechnologie, Karlsruhe