ABSTRACT

Museums are increasingly responsible for the care of highly complex artworks that are often co-produced, co-curated and co-conserved. The preservation of many artworks no longer hinges solely on the endurance of original materials, and as such, conservators are compelled to embrace the active life of these works. This paper studies Thomas Hirschhorn’s ongoing involvement with his work Intensif-Station (2010) over time and assesses the collaborations between artist and museum staff through the eyes of the conservator. By investigating the biography of this immersive artwork composed of rapidly degrading materials meant not to decay and perish but to persist, tangible material questions prompted conservators to probe “the artist’s intent.” Could the much-problematized notion be reframed as an open-ended process?

摘要

博物馆越来越多地负责照顾高度复杂的艺术品，这些艺术品通常是共同制作、共同策划和共同保存的。许多艺术品的保存不再仅仅取决于原始材料的耐用性，因此，保护​​人员不得不拥抱这些作品的活跃生命。本文研究了 Thomas Hirschhorn随着时间的推移持续参与他的作品Intensif-Station (2010) 并通过保护者的视角评估艺术家和博物馆工作人员之间的合作。通过调查这种由快速降解材料组成的沉浸式艺术品的传记，这些材料意味着不会腐烂和消亡，而是会持续存在，有形的材料问题促使保护人员探究“艺术家的意图”。能否将问题重重的概念重新定义为一个开放式过程？