WORKS ASKING US QUESTIONS

Centre of Contemporary Art Znaki Czasu

Conservator restorer versus the matter of the object – storing/exhibiting – and (possible?) intervention

storing
Do not regret the rose when it fades, vapors, vanishes... Or maybe do regret it but also take action to prevent its distruction? What are we to do with the spirit that vanishes, with art constantly losing its power? to do with the leaving spirit, with art which ‘power” is lessening?

The liquor is stored safely in the magazine, yet tiny by tiny amount - it disappears. As we can presume, the taste changes as well, together with the alcohol content.We can’t let it continue this way!

For the conservation reasons the cap will have to be more tightly closed. Inevitably we will have to witness and accept the change – slow but inevitable – of the color, taste and of all the chemistry/alchemy, as it's an immanent feature of this seductive work.

exhibiting
Christmas tree needles sparse onto the newspapers.

But what kind of newspaper exactly? Just some random journals? Christmas dating ones? Liberal or conservative titles? With advertisements or reportage?

The news age as fast as the low quality, yellow and brittle paper. We don’t know yet whether we should keep the old ones or replace them with shiny, up-to-date ones?

Maybe the artist will know the answer. We’ll ask!

Puzzle. Wall-paper like but still – it's a puzzle. If we presented it as it was supposed to be presented – sticking it to the wall as an ordnary wallpaper – it would survive just one show.

We chose to prolong its existence. Is it acceptable to cheat and present the work as a large scale print?

Maybe it's better to print out smaller elements of the puzzle and create one large vertical, horizontal, rectangular or square composition of Bayrle's artwork?

Printing lets us use the copies within various exhibitions and keep the original safely in the magazine.

Recently we came up with another solution – we can also attach each part of the original wallpaper to some proper support in a reverisble way, so that the original is exhibited without damaging by gluing it to the wall.

Interactive work, inviting the visitor to participate. The objects enlightening the users once they come close enough, grabbing the fluorescent light in hand.

The work dates back to 1969 and the original French fluorescent lights are from this period as well. No company produces such lamps anymore, so...

We decided to use contemporary ones, just as colorful as the originals! These are kept safely in our store-room to preserve the unique interactivity of the work.

Credits: Story

Authors:
Mirosław Wachowiak Ph.D.
Katarzyna Tretyn-Zečević Ph. D.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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