Abstract
In the exhibition What's Happening, now on show at Statens Museum for Kunst, there are quite a few performative works, that have either been recreated specifically for the exhibition, or are the actual physical remains of a performance/happening from the 60’s or 70’s. From a conservation point of view, remnants from happenings present a real challenge, concerning not only aspects of cleaning, making repairs, replacement of missing parts, display or mounting, but also the way conservation affects their meaning.
Relics, art works or documentation?
What happens to the objects/props/scenography when a happening is over? Sometimes these objects, which are often post-happening referred to as relics, are saved by the members of the public, the artist or a collector/museum. When the objects or relics from a happening are acquired by a museum their status can change - from being an object that only has meaning within a performative setting, to be being an object that may be asked to function on its own with little or very little reference to its original use or origins. The conception or original intention of the work is arguably very important to convey, in that the work is conceived as just one part of a greater whole, but a whole that only exists via documentary films, still photographs or by reenactments – a far cry from the actual physical object. The transition from relic to artwork effects the way we view the work, interpret its meaning and ultimately the choices we make regarding conservation
Relics, art works or documentation?
What happens to the objects/props/scenography when a happening is over? Sometimes these objects, which are often post-happening referred to as relics, are saved by the members of the public, the artist or a collector/museum. When the objects or relics from a happening are acquired by a museum their status can change - from being an object that only has meaning within a performative setting, to be being an object that may be asked to function on its own with little or very little reference to its original use or origins. The conception or original intention of the work is arguably very important to convey, in that the work is conceived as just one part of a greater whole, but a whole that only exists via documentary films, still photographs or by reenactments – a far cry from the actual physical object. The transition from relic to artwork effects the way we view the work, interpret its meaning and ultimately the choices we make regarding conservation
| Original language | Danish |
|---|---|
| Publication date | 10 Apr 2015 |
| Publisher | Statens Museum for Kunst |
| Publication status | Published - 10 Apr 2015 |