Abstract

In the artist’s absence, a work’s reinstallation can become far more complex as there is no longer a single centralised reference point. Instead, there is a form of distributed memory that depends on the communication and negotiation between the various stakeholders responsible for the work’s conservation. As such, conservators and curators act as part of a larger network of agents, which includes the artist’s estate, gallerists, artist’s assistants, technicians, collectors and others, all with interests and expectations which influence the work’s trajectory. This article discusses the reinstallation of Art of Escape (2016) by the Portuguese artist Ana Vieira (1940–2016). The article asks what is it that makes the work Art of Escape and what does it mean for that work to change? We use Art of Escape to explore the reinstallation process for a work by analysing the perspective of various stakeholders while highlighting the conservator’s role in the decision-making process.

摘要

在艺术家不在的情况下，一件作品的重新安装可能会变得更加复杂，因为不再有一个单一的集中参考点。相反，有一种分布式记忆形式，它依赖于负责保护作品的各个利益相关者之间的沟通和协商。因此，保护​​者和策展人作为更大的代理人网络的一部分，其中包括艺术家的遗产、画廊主、艺术家的助手、技术人员、收藏家和其他人，他们的利益和期望都会影响作品的轨迹。本文讨论了葡萄牙艺术家安娜·维埃拉（Ana Vieira，1940-2016）重新安装的《逃生艺术》（2016）。文章问是什么使作品艺术逃脱改变这项工作意味着什么？我们使用Art of Escape通过分析各种利益相关者的观点来探索作品的重新安装过程，同时强调保护者在决策过程中的作用。