{"id":440,"date":"2025-01-10T16:16:56","date_gmt":"2025-01-10T16:16:56","guid":{"rendered":"https:\/\/sites.dundee.ac.uk\/sustainingart\/?page_id=440"},"modified":"2025-01-23T15:43:25","modified_gmt":"2025-01-23T15:43:25","slug":"conference-day-1-part-4-alternative","status":"publish","type":"page","link":"https:\/\/sites.dundee.ac.uk\/sustainingart\/conference-day-1-part-4-alternative\/","title":{"rendered":"Part 4"},"content":{"rendered":"\n<p><\/p>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-columns-116434a6\" class=\"wp-block-themeisle-blocks-advanced-columns has-1-columns has-desktop-twoOne-layout has-tablet-equal-layout has-mobile-collapsedRows-layout has-vertical-unset has-dark-bg\"><div class=\"wp-block-themeisle-blocks-advanced-columns-overlay\"><\/div><div class=\"innerblocks-wrap\">\n<div id=\"wp-block-themeisle-blocks-advanced-column-a02cd54f\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<h1 id=\"wp-block-themeisle-blocks-advanced-heading-bd7c2933\" class=\"wp-block-themeisle-blocks-advanced-heading wp-block-themeisle-blocks-advanced-heading-bd7c2933\">Conference Day 1 &#8211; PM<\/h1>\n\n\n\n<p class=\"has-medium-font-size\">Conserving contemporary artworks that may challenge the very notion of art and its materiality, has seen the practice and profession of conservation expand to webs of relationships and infrastructures that have direct impact on the Planet. This conference asks questions about the sustainability of those practices and networks of care. SUSTAINING ART sees conservators, artists, curators, technicians, collectors, researchers and more, coming together to challenge assumptions, examine practices, and imagine equitable futures. Through experience pieces, research talks, panel discussions, workshops, and short films the sustainability of people, practices, and the planet will be pursued in relation to the conservation of contemporary art.&nbsp;<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-columns-70338fcd\" class=\"wp-block-themeisle-blocks-advanced-columns has-2-columns has-desktop-equal-layout has-tablet-equal-layout has-mobile-collapsedRows-layout has-vertical-unset\"><div class=\"wp-block-themeisle-blocks-advanced-columns-overlay\"><\/div><div class=\"innerblocks-wrap\">\n<div id=\"wp-block-themeisle-blocks-advanced-column-56f66378\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"nv-iframe-embed\"><iframe loading=\"lazy\" title=\"Sustaining Art: People, Practice and Planet | Annet Dekker\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/wj_SfS6vWzc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n<\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-column-4580d923\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<h1 class=\"wp-block-heading has-text-color has-link-color wp-elements-572053070dff80854db674703d5074eb\" style=\"color:#000000\">Ariana Makau<\/h1>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-1bd3a74072ae2c0d662ee41d231b3e0a\" style=\"color:#7e9b86\">The Plan is Now: Using Preservation to Prepare for the Future<\/h2>\n\n\n\n<p>Art Conservation requires skills that can be learned at college, an internship, or on the job. Having a narrow vision of who is qualified eliminates a wide swath of skilled people who want to<br>contribute to the world of preservation who may be limited only by lack of opportunity. There are many adept voices and participants from within our communities if we take time to listen, amplify, and elevate. It is no longer acceptable to speak\/work\/conserve on behalf of the \u201cother\u201d without their involvement&#8211; especially when they are ready, willing and available to do so. Examples from Nzilani Glass will demonstrate how conserving old stained glass has led to changes in team members\u2019 approach to their own personal artwork as well as fabrication of new public work by the company. <\/p>\n\n\n\n<p>Engaging artists to consider sustainability as part of their initial<br>creation is key to the works\u2019 preservation. Not to be overlooked is the sustainability of the artist through self-preservation employing proper health and safety measures during production. Encouraging community involvement through documentation of processes, interaction with (and material understanding of) the art; plus training to maintain the work through passive and active<br>maintenance all contribute to the longevity of the work and our planet. &#8220;<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-f1921e4adbd267771b889aa227be2d12\" style=\"color:#7e9b86\"><strong>About <\/strong>Ariana Makau<\/h2>\n\n\n\n<p>Ariana Makau is President and Principal Conservator of Nzilani Glass Conservation, based in Oakland, California. She holds an MA in Stained Glass Conservation from the V&amp;A\/RCA, in<br>London, England and is Second Vice President and Health &amp; Safety Chair of the Stained Glass Association of America; plus a Fellow of the American Institute for Conservation. Nzilani\u2019s<br>mission, \u201cBe Safe. Have Fun. Do Excellent Work.\u201d focuses on self-empowerment through information, sharing: processes, health and safety procedures and the importance of preserving<br>cultural landscapes and the environment. Ariana\u2019s work is most fulfilling when at the intersection of equity, preservation and art.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-columns-1d5dc991\" class=\"wp-block-themeisle-blocks-advanced-columns has-2-columns has-desktop-equal-layout has-tablet-equal-layout has-mobile-collapsedRows-layout has-reverse-columns-mobile has-vertical-unset\"><div class=\"wp-block-themeisle-blocks-advanced-columns-overlay\"><\/div><div class=\"innerblocks-wrap\">\n<div id=\"wp-block-themeisle-blocks-advanced-column-51367c92\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<h1 class=\"wp-block-heading\">Charlotte Hale (V&amp;A Dundee) and James Pulman, Alex Borrell (Asif Khan Studio)<\/h1>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-5616080b860ee798d1f651af73f03987\" style=\"color:#7e9b86\">V&amp;A Plastic: Remaking our World Exhibition<\/h2>\n\n\n\n<p>V&amp;A Dundee and exhibition designers Asif Khan Studio will discuss their work on the design and build of the exhibition \u2018Plastic: Remaking Our World\u2019. Through exploring issues including material usage, object conservation and new approaches to exhibition design this talk will explore the complexities of more sustainable approaches to exhibition making.<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-062ba1bf1177d5a89ee3c1eed668b0b3\" style=\"color:#7e9b86\"><strong>About <\/strong>Charlotte Hale<\/h2>\n\n\n\n<p>Charlotte Hale is Curator at V&amp;A Dundee and co-curator of the current exhibition Plastic: Remaking Our World.<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-68e62ed15bb3a6f700e41f1d06d12c51\" style=\"color:#7e9b86\"><strong>About <\/strong>James Pulman<\/h2>\n\n\n\n<p>James Pulman is an architectural designer at Asif Khan Studio and has adapted the exhibition design for Plastic: Remaking our world for the installation at V&amp;A Dundee.<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-ec4cb52387ce3a378f275bf4ea308109\" style=\"color:#7e9b86\"><strong>About <\/strong>Alex Borrel<\/h2>\n\n\n\n<p>Alex Borrell is an architectural designer and maker at Asif Khan Studio and developed the exhibition design for Plastic: Remaking our world at Vitra Design museum in Germany.<\/p>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-column-792df489\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"nv-iframe-embed\"><iframe loading=\"lazy\" title=\"The Damned - Dr Jekhyll &amp; Mr Hyde - Cambridge Corn Exchange - 16.12.24\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/vjND983ldAE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n<\/div>\n<\/div><\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-columns-882998c1\" class=\"wp-block-themeisle-blocks-advanced-columns has-2-columns has-desktop-equal-layout has-tablet-equal-layout has-mobile-collapsedRows-layout has-vertical-unset\"><div class=\"wp-block-themeisle-blocks-advanced-columns-overlay\"><\/div><div class=\"innerblocks-wrap\">\n<div id=\"wp-block-themeisle-blocks-advanced-column-3efd1762\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"nv-iframe-embed\"><iframe loading=\"lazy\" title=\"Sustaining Art: People, Practice and Planet | Annet Dekker\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/wj_SfS6vWzc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n<\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-column-6a0f592d\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<h1 class=\"wp-block-heading has-text-color has-link-color wp-elements-b4694f7504d89f2e99358d8a9936890e\" style=\"color:#000000\">Flaminia Fortunato &amp; Simnikiwe Buhlungu<\/h1>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-b6002b38424c8055ca95d971d4fba98f\" style=\"color:#7e9b86\">Do you care?<\/h2>\n\n\n\n<p>As part of a collective institutional effort to support artists during the COVID-19 pandemic, the Stedelijk Museum Amsterdam allocated a portion of the public program budget to commission<br>new time-based media artworks. The initiative called &#8220;Sketches For the Future&#8221;, curated by Karen Archey, encouraged six artists to produce new works in the format of sketches, small impressions about the future. These works became part of the museum&#8217;s permanent collection.<br><\/p>\n\n\n\n<p>Within this framework, artist Simnikiwe Buhlungu created What We Put In the Skafthini (Mixtapenyana), 2021, a sound piece that exists in two forms, as an installation with an audio cassette tape and as a digital sound work. In line with the mixtapenyana series, the artist recorded impressions about the future while walking in Amsterdam. In July 2021, I invited Simnikiwe to the time-based media conservation atelier to look at her work together. It was during an informal morning conversation, neither recorded nor documented, that we shared and talked through our ideas, personal histories and notions of care. We discussed points of convergence between caretaking and caregiving from our different perspectives and cultures, and how our personal histories expanded the practice of transmission of cultural<br>heritage. <\/p>\n\n\n\n<p>This presentation will be held in the form of a conversation between the artist and myself navigating matters of care, our roles within the ecosystem of knowledge dissemination and how our conversations have mutually informed our practices.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-5a5dbb45429965be86607264a7f25a4a\" style=\"color:#7e9b86\"><strong>About <\/strong>Flaminia Fortunato<\/h2>\n\n\n\n<p>Flaminia Fortunato is a contemporary art conservator based in Amsterdam, the Netherlands. Currently coordinating the time-based media conservation-restoration team at the Stedelijk<br>Museum Amsterdam and interested in politics of care, oral history and tech-archeology.<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-97d4c2e3c1698fc36082c01c33f39094\" style=\"color:#7e9b86\"><strong>About <\/strong>Simnikiwe Buhlungu<\/h2>\n\n\n\n<p>Simnikiwe Buhlungu (1995) is an artist from Johannesburg, South Africa. Interested in knowledge production[s] \u2014 how it is produced, by whom and how it is disseminated \u2014 Buhlungu locates socio-historical and everyday phenomena by navigating these questions and their inexhaustible potential answers. Through this, she maps points of cognisance, i.e. how do we come to know?, as syncopated and reverberated ecologies. Lately, she has been listening to some maskandi music, thinking about apiaries and scanned publication contributions to Simunye Resource Works, a publishing house that is forever yet-to-exist.<\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-columns-46c95697\" class=\"wp-block-themeisle-blocks-advanced-columns has-2-columns has-desktop-equal-layout has-tablet-equal-layout has-mobile-collapsedRows-layout has-reverse-columns-mobile has-vertical-unset\"><div class=\"wp-block-themeisle-blocks-advanced-columns-overlay\"><\/div><div class=\"innerblocks-wrap\">\n<div id=\"wp-block-themeisle-blocks-advanced-column-ca876d36\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<h1 class=\"wp-block-heading\">Cat Auburn and Tynan Kyle Lewis<\/h1>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-32dcdb3bdb819d1d9635efeea274a119\" style=\"color:#7e9b86\">NFTs as a potential tool to safeguard tangible and intangible cultural heritage<\/h2>\n\n\n\n<p>Artist\/filmmaker Cat Auburn and artist\/architect Tynan Kyle Lewis are creators of thought experiments at the intersection of contemporary art, culture and digital collectibles. NFTs (non-<br>fungible tokens\/unique digital asset), and the cryptotechnologies they are built upon, are quickly being adopted by mainstream cultural institutions. This research paper (Day 1, people) explores<br>our collaborative, expanded contemporary art practice within the archive, in particular the potential for NFTs to both benefit and complicate cultural heritage collections. This proposal addresses the UN\u2019s SDG 16 to \u201cbuild effective, accountable and inclusive institutions at all levels\u201d.<br><\/p>\n\n\n\n<p>Knowledge and culture are under threat from multifaceted, often interrelated circumstances, such as war and climate change. This research paper considers NFTs as a potential tool to safeguard both tangible and intangible cultural heritage from such threats, and the associated ethical implications. We explore the abilities and limitations of cryptotechnology to address issues of collections at risk, particularly the dissociation of objects from their contexts of origin and associated narratives. We also reflect on the implications NFTs have for the relationships between cultural heritage, authorship, ownership, stewardship and accessibility.<br><\/p>\n\n\n\n<p>Importantly, this paper is focused through the lens of our collaborative art practice. We introduce alternative forms of knowledge production within the archive as we consider the ethical and practical landscape of NFTs and cryptotechnologies through experimental digital-based art practices.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-546fb20c0d770e13ebc001a6764c3efc\" style=\"color:#7e9b86\"><strong>About <\/strong>Cat Auburn<\/h2>\n\n\n\n<p>Cat Auburn (she\/her) is an Aotearoa New Zealand artist living in Scotland. At the heart of her interdisciplinary practice is an exploration of how culture is constructed, reinforced, and<br>strategically employed. Cat is currently an AHRC Northern Bridge Consortium PhD candidate at Northumbria University (UK). Her doctoral research is a practice-based, auto theoretical exploration of how authorship and ownership of collective memory transforms as narratives oscillate between personal and collective modalities. Cat is co-editor of a Special Issue of the journal Arts, titled \u2018Autotheory in Contemporary Visual Arts Practice\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-color has-link-color wp-elements-6d605afb5bf785a4ff9bb517b05e6a13\" style=\"color:#7e9b86\"><strong>About <\/strong>Tynan Kyle Lewis<\/h2>\n\n\n\n<p>Tynan Kyle Lewis lives in the woods of Vermont, USA, directing an international architecture practice called Working Name Design. His art practice (photography, digital art) explores perspective, consciousness and the cycle of rot and renewal. He draws from his cross-disciplinary studies in psychology, computer science, economics, architecture, and biomimicry.<\/p>\n<\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-column-a5f22aa3\" class=\"wp-block-themeisle-blocks-advanced-column\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"nv-iframe-embed\"><iframe loading=\"lazy\" title=\"The Damned - Dr Jekhyll &amp; Mr Hyde - Cambridge Corn Exchange - 16.12.24\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/vjND983ldAE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n<\/div>\n<\/div><\/div>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":832,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"on","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-440","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/pages\/440","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/users\/832"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/comments?post=440"}],"version-history":[{"count":6,"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/pages\/440\/revisions"}],"predecessor-version":[{"id":515,"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/pages\/440\/revisions\/515"}],"wp:attachment":[{"href":"https:\/\/sites.dundee.ac.uk\/sustainingart\/wp-json\/wp\/v2\/media?parent=440"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}