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<b>Conference: Art Work. Accumulation and Availability</b><br>
Editors: <b>Kristian Lukic, Gordana Nikolic</b><br>
<br>
<br>
<b>Wednesday, 1st December 2010 / 11.00 - 17.30 / Museum of Vojvodina,
Dunavska 35</b>, Novi Sad<br>
<br>
<br>
The conference and discussion entitled <b>Art Work. Accumulation and
Availability</b> proceeds from the idea that today the traditional
mechanisms of accumulating and collecting art works face the test of
finding new models of using artistic creations, which inevitably
follows the transformation of the role of cultural institutions.
Proceeding from this starting point, the conference gathers theorists,
artists and cultural workers who will analyse various models that exist
today when it comes to dealing with, documenting, archiving and
disseminating media and broader artistic practice, the status of art
collections and their social and economic implications. Also, the
conference will deal with the revaluation and financialisation of art
in the second half of the 20th century, particularly taking into
consideration the neoavant-garde and conceptual art of Eastern
Europe. <br>
<br>
The strengthening of creative industries in the contemporary
post-Fordist conditions of the production and accumulation of capital
is indicative of the role that the sphere of art and culture has in the
global financial order. Art, with its inherently subjective and
speculative nature, corresponds to the speculativeness and relativism
of the value of capital, where the economy of attention is the key
value generator. The strict policies of ownership and management of art
works cannot follow the development of information and communication
technologies where efficient exchange is the ultimate goal. Collections
of art works with limited access become public archives, and the
accumulation of art works loses the aura of social status and bears the
(un)easy mark of private entrepreneurship and financial speculations.
<br>
<br>
In art history there are examples of practices focusing on the critique
of commodification and hyperproductivism in art, and also on the
critique of the institution of art market and the mediatory role of
dealers in the accumulation of art works as investments with a
potential for increasing their financial value. The dematerialisation
of art through conceptual art and the “new artistic practices” of the
1960’s and 1970’s and their penetration into everyday life unfolded by
way of shifting away from the market paradigm and the gallery
environment of high art. However, this non-institutional artistic
practice has left behind material traces of its critique, which achieve
high market values today and are part of great collections of museums,
galleries and private collectors, and also of institutionalised
historical narratives. The reproducibility of certain art media, among
them digital art, film and video, raises the question of the
exclusivity of ownership and use of these creations within an
institutional and non-institutional framework. This issue gets more
acute with the Internet revolution during the 1990’s and movements
advocating free software and free culture after the year 2000, and with
the increased presence of on-line video archives, which, by affirming
the values of networking, communication and creative cooperation,
change the meaning of the notion of authorship and ownership of art
works. On the other hand, there remains the question: will private and
public collections and the art market be able to follow these trends,
and if so, in what way? <br>
<br>
Production: <b>Museum of Contemporary Art of Vojvodina</b> <a class="moz-txt-link-abbreviated" href="http://www.msuv.org">www.msuv.org</a><br>
Co-production: <b>New Media Center_kuda.org</b> <a class="moz-txt-link-abbreviated" href="http://www.kuda.org">www.kuda.org</a><br>
<br>
Support: Provincial Secretariat for Culture, EU Culture Programme
2007-2013, Novi Sad City Council, Ministry of Culture of Republic of
Serbia, Museum of Vojvodina<br>
Sponsor: Halogen<br>
IT support: Sons<br>
Program and time-line:<br>
<br>
<br>
Program and time-line:<br>
<br>
Panel 1: <b>Accumulation of Art</b><br>
<br>
What is the nature of the wish to own art works? Love of art? Social
status? Long-term investment and profit? Is there a difference between
the accumulation of art goods and the accumulation of other value units
of exchange such as gold and diamonds? What is the role of art in the
global order of financial capital?<br>
<br>
11.00 - 11.10: Introduction<br>
11.10 - 11.40: Suhail Malik (GBR) - A Politics of Art Prices?<br>
11.40 - 12.10: Stephen Wright (GBR, FRA) - Overshadowed<br>
12.10 - 12.40: Stefan Heidenreich (DEU) - (Con)temporary collection<br>
12.40 - 13.10: Plenary discussion<br>
<br>
13.10 - 13.30: Pause<br>
<br>
Panel 2: Openness of content and the new economy<br>
<br>
Is it possible to implement the experience of the movement for free
software and free culture, which has permeated the subculture and the
critical circles over the past decades, in the mainstream art system?
To what extent can the openness of archives and access to their content
endanger the viability of artistic production? What are the models of
regulating the relations between oppositionally positioned open
(on-line) archives and the museum practices of collecting that would be
convenient to artists, as well as the public and museums? <br>
<br>
13.30 - 14.00: <b>Annelys de Vet (NLD)</b> - Mapping the alternative -
or new design strategies in an open source society<br>
14.00 - 14.30: <b>Vladimir Jeric Vlidi</b> (SRB) - A time of monsters<br>
14.30 - 15.00: Plenary Discussion <br>
<br>
15.00 – 16.00 Lunch Pause<br>
<br>
Panel 3: <b>Archives and digitalisation – Digitizing Ideas, a case
study</b><br>
<br>
The panel will focus on basic approaches to the digitization of
cultural heritage through examples of digitization practice explaining
the purpose, possibilities and advantages of digitization, and will
deal with specific technical aspects of digitization, including types
of equipment and technical conditions, international standards and
recommendations, examples of specific problems and solutions to
different types of cultural heritage digitization. The case study will
present examples of good practice from the museums of contemporary art
in the region gathered around the project Digitizing Ideas.<br>
<br>
16.00 - 16.15: <b>Luka Kulic</b>, Museum of Contemporary Art
Vojvodina, Novi Sad<br>
16.15 - 16.30: <b>Martina Munivrana</b>, Museum of Contemporary Art,
Zagreb <br>
16.30 - 16.45: <b>Andreja Hribernik</b>, Modern Gallery, Ljubljana<br>
16.45 - 17.00: <b>Maria Matuszkiewicz</b>, Museum of Modern Art,
Warsaw <br>
17.00 - 17.30: Plenary Discussion<br>
<br>
The conference <b>“Art Work. Accumulation and Availability”</b> is
part of the project <b>The Media Practice Collection of f Museum of
Contemporary Art Vojvodina</b>, in production of MoCAV and kuda.org.<br>
<br>
<br>
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