Cooperation between conservator and artist during the development of the creative process and the exhibition installation. Sheela Gowda at Bombas Gens Centre d’Art

DOI: https://doi.org/10.37558/gec.v20i1.1065
Keywords: Sheela Gowda, site-specific, preventive conservation,, exhibition assembly, mediation, Bombas Gens Centre d’Art

Abstract

For decades, critics and specialists in the world of art and conservation have been concerned with theorizing about the passage of time and its consequences on the state of artworks. The transformation of the materials used in artistic creation, interpreted as deterioration or alteration, but also as natural and desirable evolution, will occupy the constant debates around this question. The case of the exhibition Sheela Gowda. Remains, at Bombas Gens Center d’Art, presented us with a great example of this choice. Accompanied by the artist in every step, we carried out conservation work in which we were forced to realise various tasks to guarantee the stability and readjustment of her installations, understanding conservation at this point as an act of participatory creation with the artist, to deepen its intention, function of the work and integral composition.

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Author Biographies

Antoni Colomina Subiela, Universitat Politècnica de València

Licenciado y Doctor en Bellas Artes por la Universitat Politècnica de Valencia (UPV). Profesor Ayudante Doctor en el Dpto. de Conservación y Restauración de Bienes Culturales e investigador del Instituto de Restauración del Patrimonio de la UPV.
Sus líneas de acción e investigación se centran en los procesos de limpieza de superficies pictóricas; las industrias creativas al servicio de la cultura festiva y sus valores específicos como patrimonio inmaterial; y la intervención curativa y restauración de la escultura en soporte orgánico y el arte contemporáneo.-

Carmen Pereira Avelino, Bombas Gens Centre d'Art

Licenciada en Historia del Arte por la Universitat de Valencia (UV). Ha desarrollado su carrera en diferentes instituciones como la Kunstbibliothek - Kulturforum, Museos Estatales de Berlín, el Museo Nacional de Cerámica y Artes Suntuarias González Martí, el Museo Valenciano de Etnología o el MuVIM. Actualmente ejerce como Coordinadora de Exposiciones y de la Colección en Bombas Gens Centre d’Art.

Priscila Lehmann Gravier, Bombas Gens Centre d'Art

Conservadora y Restauradora de Bienes Culturales por parte de la Universitat Politècnica de València. Como becaria ha participado en diversos proyectos en el Área del Fondo de Arte y Patrimonio de la UPV, el Instituto Universitario de Restauración del Patrimonio y en Bombas Gens Centre d’Art. Actualmente ejerce como profesional autónoma, colaborando en diversos proyectos para diferentes instituciones como el Instituto Universitario de Restauración del Patrimonio y Bombas Gens Centre d’Art.

References

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HUMMELEN, I., SILLÉ, D. & ZIJLMANS, M. (eds.) (1999). Modern art: who cares?: an interdisciplinary research project and international symposium on the conservation of modern and contemporary art. Ámsterdam: Foundation for the Conservation of Contemporary.

HUYS, F. (2011). “The artist is involved! Documenting complex works of art in cooperation with the artista”. In Inside installations. Theory and practice in the care of complex artworks, Scholte, T. and Wharton, G. (ed.). Amsterdam: Amsterdam University Press, 105-118.

LLAMAS, R. (2014). Arte contemporáneo y restauración o como investigar entre lo material, lo esencial y lo simbólico. Madrid: Editorial Tecnos.

MAYTHÉ, A. (2014). “El trabajo con artistas: conocer la intencionalidad de los materiales con el fin de garantizar la correcta conservación de sus obras”. En Conservación de Arte Contemporáneo, 15ª Jornada, Madrid: Museo Nacional Centro de Arte Reina Sofía, 31-36.

MORGAN, J. (2013). “Material concern: the art of Sheela Gowda”, Artforum, 51 (9): 302-309.

WIELOCHA, A. (2018). “The Artist Interview As a Platform for Negotiating an Artwork’s Possible Futures”, Art and Documentation, 17: 31-45. http://www.journal.doc.art.pl/pdf17/Art_and_Documentation_17_wielocha.pdf. [consulta: 13/09/2021].

Published
2021-10-27
How to Cite
Colomina Subiela, A., Pereira Avelino, C., & Lehmann Gravier, P. (2021). Cooperation between conservator and artist during the development of the creative process and the exhibition installation. Sheela Gowda at Bombas Gens Centre d’Art. Ge-Conservacion, 20(1), 139-145. https://doi.org/10.37558/gec.v20i1.1065
Issue
Vol. 20 (2021): Ge-conservación Nº20
Section
Artículos
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