The Embodied Mind: engaging with subjective documentation in the conservation of time-based artworks

The Embodied Mind: engaging with subjective documentation in the conservation of time-based artworks.

Introduction The documentation process is fundamental to conservation practice in order to enhance the interpretation and preserve the significance of cultural materials (AICCM 2002, pp. 9-10). Conservation has historically had a Classical positivist focus on objective observation, equating the integrity of the artwork with the materials chosen to convey artistic intent, (Dykstra 1996, p. 200; Wharton 2005, p. 164; Muñoz-Vinas 2005). This objective approach has influenced documentation centred on a discrete object. Such models of documentation may prove to be insufficient when contending with time-based art, many of which visitor interaction, unique spatial relations and the experience of intangible phenomena are integral components (Wharton 2005, p. 163; Jadzinska 2011). Documentation of Ryan Gander’s installation work, Ampersand, 2012 is discussed, highlighting the inadequacy of established documentation models and the benefits of considering viewer experience in assessing the work defining properties. It is proposed that documentation of time-based art not eschew objective material-based observation, but instead an accumulative methodology be adopted that incorporates subjective experiential analysis. Particularly as these artworks are predominately ephemeral and performative, accurate documentation is crucial for the reinstallation of these works. Capturing complex spatial relationships requires multiple nuanced communication modes, compelling conservation practice to be multi-disciplinary. By reflecting the diversity of time-based artworks, widening the variety of documentation modes can attempt to preserve the integrity of these works.

The experiential character of time-based art Time-based art is often understood to be a combination of meanings, ideas and form that employ a wide range of media, technologies, space and sensory phenomena to communicate a specific conceptual unity. The term ‘time-based art’ is often applied to contemporary works that include film, video, installation, sound, performance, software and multimedia art. Activation of these works is often dependent ‘… on time for the maturation or completion of the experience’ (Smithsonian Institution 2010, p. 5), ‘…which unfolds over time, within the context of a prescribed environment’ (Laurenson 2005, p. 1). Time-based artworks evoke ‘…the physical and psychological involvement of the viewer through the use of various senses’ (Jadzinska 2011, p. 21).

The inherent experiential nature and dependence on spatial relations intrinsic to time-based art obligates conservators to preserve not only the object but also the experience that it provokes.

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The importance of the viewer and spatial context can potentially be attributed to the shift to subjective models of space in early twentieth-century Western thought influencing modern artistic practice. Newtonian reductionist homogeneous space and time were being reconceptualised in light of Einsteinian models of heterogeneous space-time of potential relations (Wetheim 1999). Time was conceived as relative to the motion of an observer in space with ‘…every reference body [having] its own particular time’ (Kern 2003, p. 19). Giedion describes this malleability of space: ‘The essence of space as it is conceived today is its many-sidedness, the infinite potentiality for relations within it. Exhaustive description of an area from one point of reference is, accordingly, impossible; its character changes with the point from which it is viewed’ (Giedion 1982, p. 436).

Maholy-Nagy’s The New Vision (1928) described this fluidity of space as a continuum: ‘Boundaries become fluid; space is conceived as flowing…. Openings and boundaries, perforations and moving surfaces, carry the periphery to the centre, and push the centre outward. A constant fluctuation, sideways and upward, radiating, all-sided, announces that man has taken possession… of… omnipresent space’ (Forty 2000, p. 267).

Concepts of porous space alludes to the fluctuating movement of the components that constitute space, its experience reliant on various elements being temporarily arrested in catalytic immobility to form relationships in sublime unity, ‘… produced and experienced by the events of two bodies meeting’ (Theodorou 1997, p. 34).

According to this conceptual model of space, production of space relies on the potentiality of encountering things, objects and surfaces to produce a space of experience (Theodorou 1997; Gibson 1979).

The visualisation of space as created by relations and the changeability of the experience space have influenced the development of modern art, and ultimately the manifestation of contemporary art today. The historical context of avant-garde artistic practice of contending with relational Modernist space-time has informed the practice of contemporary art. This acknowledgement of the impermanent nature of space generated by relationships has informed time-based artworks from performance art of the 1960s onwards to the interactive new media works of today, which has further expanded concepts of relativistic space to cyberspace, a spatiotemporal entity where space and time emerges in the process of engaging with it (Wetheim 1999; Mihalache 2002). The idea of relativity is a characteristic feature of time-based art, whereby the artist plays with ‘…the relativity of the elements with regard to space, the inner relations of elements of a given work and its external relationship with the viewer’ (Jadzinska 2011, p. 24). The temporary activation of the artwork by the presence of the viewer and their subjective experience of phenomena and space are not just considered in time-based works, but are seen as belonging to the art object.

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The conceptual nature of time-based art The role of materials and objects often has a subservient role in time-based art with ephemeral media often employed to communicate concepts and meanings. Traditional primacy of the object is often subverted resulting in an artistic shift to dematerialise and decentralise the art object in time-based art practice. This move to dematerialise art can be thought to have its origins in Conceptualism of early twentieth-century art whereby ideas were emphasised and ‘low’ value and decaying materials where often used to service artistic meaning.

From this conceptual milieu, contemporary art practice has progressively re-territorialised materiality, actively incorporating deteriorating media and/or intangible materials to communicate meaning in time-based art practice. ‘Through the lack of boundaries defining the form and choice of material, the emphasis is placed on the artist’s concept’ (Jadzinska 2011, p. 24). No longer is the art object’s value embodied in its material manifestation, but instead, the artist evaluates diverse materials and techniques for their ability to convey their conceptual intent.

The embodied mind --- a dialogue between experience and concept Simultaneously engaging with experience and concepts may seem dichotomous but it is this nexus of sensation and thought that time-based artworks reside. To engage with experience is to emphasise the response of the body, an active viewer that interacts with various phenomena within the environment through the senses.

Sensual responses are instantaneous as the moment of meeting between two interfaces, the body and the artwork, construct moments of intense interior ‘presentness’. Conversely, to appeal to the realm of ideas is to take the viewer outside of their bodies as they are compelled to travel to schematic structures of the mind: memory, knowledge, cognitive patterns. The incoming stimuli are coloured by these conceptual constructs that inform the viewer’s interpretation of the work (Hudson 2012, p. 287). Experience compels the participant to occupy an interior, subjective and present space, whilst concepts obligate the viewer to travel to an external, objective space of the past. However, time-based art dispels the false duality between experience and thought, subjectivity and objectivity. The embodied mind is activated when encountering time-based art, the viewer’s body experiences the artwork compelling them to recollect and activate their knowledge to analyse the multiple components of the work. In turn, cognitive structures are transformed by the viewer’s present experience in a two-way dialogue, as the past is folded onto the present, present onto the past and back again, in a discontinuous flow of various durations of time in a sublime event. The experiencing body is not an extension of the thinking mind, but instead, arrested in an ephemeral synergetic ecosystem with each informing the other (Hudson 2012, p. 287; Gibson 1979, p. 41). The embodied mind is actively engaged in the appreciation of timebased artworks and therefore, it implores conservators to use similar approaches in their preservation.

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Objectivity in existing conservation practice Philosophical ideals during the development of the conservation discipline during the nineteenth-century have influenced professional practice. According to Muños-Vinas (Muñoz-Vinas 2005), Neoclassical ideals of the time have informed conservator’s relationship to the art object: ‘In the nineteenth century, the ideas of the enlightenment gained momentum and wide recognition: science became the primary way to reveal and avail truths, and public access to culture and art became an acceptable idea: romanticism consecrated the idea of the artist as a special individual and exalted the beauty of local ruins: nationalism exalted the value of national monuments as symbols of identity. As a result, artworks --- and artist --- acquired a special recognition, and science became the acceptable way to analyse reality’ (MuñozVinas 2005, p. 3).

The classicist pursuit of truth and objectivity framed the conservator’s role as a ‘…’truth-enforcement’ operation… to maintain or reveal an object’s true nature or integrity’ (Muñoz-Vinas 2005, p. 65). Traditionally, conservation has associated integrity of the work to both the ‘artist’s intent’ and the original and authentic appearance of the work. Wharton (2005) summarises Cesare Brandi’s concepts of authenticity in Theory of Restoration (1963), whereby the uniqueness of the artwork is contained in the material and can only be restored through an aesthetic approach. Conservation has focused on enforcing the integrity of the artist’s intent by preserving the materials chosen to embody those intentions and therefore, the artist’s intent is served without interpretation or distortion. The pursuit of objectively derived truth motivated the emphasis on positivist scientific inquiry: ‘The use of scientific procedures promised relief from confusion and criticism caused by idiosyncratic or arbitrary restoration practices of the past…. In the positivist’s view, intuitions, impressions, insights, suppositions, feeling, and the like are questionable and uncertain ways of understanding. ‘‘Positive’’ knowledge depends on empirical science’ (Dykstra 1996, p. 200).

The emergence of the ‘hard’ sciences in mid-twentieth century conservation practice was a significant development by legitimising the practice and defines conservation science today (Muñoz-Vinas 2005).

The historical relationship with the art object steeped in classical thought and emphasis on materials has influenced collection methodologies of the museum and conservation. The primary organisational structures established in collections is based on the classification of works according to their media, forming the basis for curatorial and conservation activities. This approach is problematic when contending with time-based art, especially as they often employ diverse and intangible media. Lev Manovich outlines in Program for Post Media Aesthetics (2001) that ‘…despite the obvious inadequacy of the concept of medium to describe contemporary cultural and artistic reality, it persists’ (Almeida 2011, p. 4). It is in light of this museological context whereby new

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documentation methodologies for time-based art have developed from. Particularly as art institutions are now acquiring these types of works and initiating research into time-based art, documentation has been influenced by institutional agendas and existing conservation practice.

Objective documentation of time-based art The ephemeral nature of time-based art requires that documentation dominate conservation activity, particularly for the purposes of re-installation and continued accessibility. Recently, documentation standards established by institutions have focused on systematic approaches that include artist questionnaires and interviews; documentation the installation process through drawings, video and models; decision-making checklists; and templates that describe the technologies and equipment involved. Programs such as the Variable Media Network (Variable Media Network 2003), Matters in Media Art (Tate 2015), DOCAM (DOCAM 2010) and Electronic Arts Intermix (Electronic Arts Intermix 2013), to name just a few, have proposed methods to document contemporary time-based works. Though they have proposed new documentation methods to contend with this emergent art form, they have been informed by the Classical tradition of the art museum and conservation.

A meditation on current time-based art documentation practices is detailed in Heydenreich’s text, Documentation of Change --- Change of Documentation (2012). According to Heydenreich, many of the documentation templates focus on gathering technical data for operational reasons; collecting artists’ statements to define significance, materials and technique; and to assess obsolescence risks and condition (Heydenreich 2012, p. 159). Where possible, most of these projects have sought objective data for systematic documentation (Heydenreich 2012, p. 166). A common thread of many of these models is a focus on identifying the display components of the works (the ‘material’) and the artist interview (the ‘artist’s intent’). In this respect, the approaches appear to be an adaptation of traditional Classical objective thinking. Conventional emphasis on material has shifted to documenting of technical components essential to operation. The search for the inherent truth or integrity has now been made more explicit with the artist’s intent concretised in the artist interview.

It may be argued that the approaches advocated by these documentation strategies are a manifestation of the Classical notion of space as neutral receptacle that limits movement or change. Newtonian space is ‘…an absolute, independent, infinite, three-dimensional, eternal, fixed, uniform ‘‘container’’ into which God ‘‘placed’’ the material universe at the moment of creation’ (Theodorou 1997, p. 34). The documentation templates similarly compel the conservator to provide a fixed itemisation of the artwork’s anatomy, placed in discrete identifying ‘containers’. The relationships between the components essential to experiencing the work are not necessarily emphasised. Rather it is the components themselves that are the focus, by maintaining original components in MULTIMEDIA ESSAY CUMC90021 DOCUMENTATION AND DISPLAY

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the hope that the relationships are also preserved. However, relationships are experienced and felt by the participant, which documentation models do not appropriately accommodate. Additionally, the transformative passing of time is not necessarily acknowledged in these documentation methods. Key milestones in the lifetime of the artwork have framed the remit of documentation: production, acquisition, loans, conservation and research (Heydenreich 2012, p. 162). Therefore, what the work was meant to be (artist intent), what the work has become (current condition) and what the work needs to be (conservation treatment) have been considered. What is missing is a picture of the work becoming, which can only be experienced. What is evident is the absence of the conservator/viewer’s presence in existing documentation models, compelling the conservator to view the work from the outside from an objective viewpoint. Experience of spatial relationships playing over time is an essential component of time-based artworks and subjectivity needs to be revaluated in conservation documentation.

Personal experiences: Ryan Gander’s Ampersand, 2012 Through participation in the University of Melbourne subject, CUMC90021 Documentation and Display, I was asked as part of a group to conduct an acquisition assessment of Ryan Gander’s Ampersand, 2012 at the Australian Centre for Contemporary Art (ACCA), 4 June 2015 --- 2 August 2015 (Ho, Roberts & Young 2015). The installation work consisted of a walled-off area with a viewing window, behind which a conveyor belt on a continuous cycle presented sixty-six everyday objects selected by the artist. In the darkened gallery, the viewer seated in an Eames lounge chair could peruse the items whilst reading the accompanying book, Ampersand: Notes on a collection (Gander 2012), where the artist’s personal musings on the objects are contained. Gander is ‘…interested in stories, and in the way that objects can act as vessels for these stories…’ (Chaillou 2012).

Therefore, the sixty-six objects act as a fragmented story that the viewer is compelled to make sense of. By presenting the objects with ‘…no hierarchy, no beginning and no end’, (Australian Centre for Contemporary Art 2015), Gander has enacted the way narratives can be constructed through a process of accumulation. To initiate this analysis, the curator and installer were interviewed, photographs and spatial diagrams were taken and Gander’s intent was ascertained through video interviews and the ACCA catalogue. During the following extended visit, observations of the objects were noted, video footage was obtained and the work’s duration was timed. Utilising the guidelines provided by the Media Matters in Art project (Tate 2015) and by the Guggenheim (Guggenheim 2015), documentation was produced to ascertain the integral components. Documentation of Ampersand was produced that integrated text, drawings and video that informed the main acquisition assessment format developed by the group that produced assessment matrices of the work’s components.

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Immediately, the inadequacy of existing documentation models in capturing the viewer’s experience of Ampersand became apparent, particularly as the work was contingent on the viewer to synthesise numerous components into a cohesive narrative. The documentation templates compelled me to objectively deconstruct the work into its components and provided limited opportunities to contribute my reflections of any perceived spatial relations and intangible phenomena as I was experiencing them. This proved problematic when reconstructing the work in my mind to contribute a cohesive acquisition analysis, as an essential component was not explicitly documented: viewer experience. Ultimately, I drew from my previous practice in architectural discourse and I was able to describe a condition of ‘intimate distance’ that we had experienced, influenced by the spatial and historical context established by the artist (Ho, Roberts & Young 2015, p. 12). In the acquisition assessment, the physical objects, the equipment required for display and the viewer experience were all assessed equally important to faithfully convey the meanings of the work.

By attempting to accurately document Ampersand, the ‘embodied mind’ was engaged to critically analyse experience and intent of the work. The main contributors in producing this type of thinking were: ----- Impressions of increased agency: Explicitly instructed by the artist (Australian Centre for Contemporary Art 2015), the viewer was ‘allowed’ to interpret the disparate objects to construct a subjective narrative, reflected in the resulting documentation; ----- Initial objective observation: Without initially engaging with the work through the objective lens of the documentation templates, a cohesive critical understanding of the spatial experience could not have been attempted; ----- Extensive time spent experiencing the work: The quantity of objects, equipment complexity and the running time of the piece (28 minutes) required prolonged observation resulting in the formation of an intimate attachment and increased agency; ----- Diversity of communication mediums: Video, drawings, text and photographs were integrated in the report to attempt to accurately describe subjective experiences of sound, light and duration that could not be conveyed using only text, and; ----- Multi-disciplinary thinking: Architectural language, modes of thinking and documentation methods was used to help communicate experienced spatial relationships.

An impression of personal agency was the most crucial condition that could allow the embodied mind that intertwined objective and subjective thinking to be engaged. Once experiential observations were permitted as valid, multi-disciplinary thinking and diverse documentation mediums were pragmatically required to accurately communicate the complexity of the qualitative experience. However, without engaging with objective observation at the outset, such agency and critical subjective analysis could not have been conducted.

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Activating the embodied mind by artist’s sanction Particularly in contemporary time-based art where experience is integral, the need to incorporate subjective thinking in conservation documentation is more apparent (Heydenreich 2012, p. 166). This progression requires a different conceptual framework to reconceptualise traditional paradigms of material-based authenticity to permit conservators agency (Laurenson 2006, p. 9), to be ‘allowed’ to engage their embodied mind. Wharton suggests a potential solution: the abandonment of the artist’s intent and instead to adopt Irvin’s concept of the artist’s sanction (Moody 2015). Irwin (2005) states that actions the artist has sanctioned can be ascertained by ‘…the artist’s publicly accessible actions and communication, the contexts, in which they are delivered, and the conventions operative in those contexts…’ (Irvin 2005, p. 315). The sanction may include presentation context, giving the work a title and instructing curators about conservation or conditions of display. Irwin determined the sanction only fixes the features of the work but does not possess an authority of how the work should be interpreted: ‘The only role the artist’s sanction plays in constraining interpretation, on my view, is an indirect one, mediated by its role in determining certain of the work’s features. The sanction does not establish the ultimate meaning of those features or of the work itself’ (Irvin 2005, p. 320).

Particularly as the concept of ‘intent’ is ambiguous (Dykstra 1996), rethinking artist intent as sanction seems legitimate and may be valuable in providing agency to conservators to engage subjectivity, experience and interpretation in the documentation of time-based art. Recording the artist’s intent occupies the majority of timebased art documentation and it implores the discipline to question its authority on their conservation.

New accumulative models for archiving documentation Documenting subjective experience requires rethinking of archival structures to incorporate the diversity of communication modes required to articulate experience that can also accommodate existing objective thinking required to initially to understand the work. To disregard existing objective documentation would theoretically be reiteration of Newtonian dialectical thinking by reinforcing the subjectivity-objectivity duality and not conducive to activating the ‘embodied mind’. Instead, accumulative models of archiving multiple documentation forms to simultaneously overlay objectivity and subjectivity may be more appropriate. Similar to the interpretative mechanisms of Gander’s Ampersand, 2012, documentation could also enact the way narratives can be constructed by the viewer through a process of accumulation. The capability of digital space to synthesise complex information may provide a solution.

Mike Jones’s research on the Museum Victoria collections computer database is attempting to manifest this accumulative approach. In Jones’s lecture (Jones 2015), he advocates rethinking traditional archives that ‘pile on MULTIMEDIA ESSAY CUMC90021 DOCUMENTATION AND DISPLAY

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discrete packets’ of authoritative information, but instead, to make explicit the relationships between various pieces of documentation and dissolve the object-focused hierarchy of existing catalogues. Jones promotes open user contribution to the database to democratise authority, and representation flexibility in the database structure that can reframe information according to the user’s research focus. Jones goes on to encourage engagement with concepts of time and space; to not only capture what the object is now but to aggregate and accumulate data when changes occur to track its status over time. Such fluid archive structures, nonhierarchical authority and the acceptance of change advocated by Jones may allow for the legitimate inclusion of subjective documentation but also involving subjectivity in the representation of data that focuses on the database user. This accumulative archive model may be an appropriate structure that can accommodate diversity of communication mediums required to express experience and to articulate maturation over time central to understanding time-based artworks. By adopting accumulative and adaptive models for archiving, subjective documentation may be incorporated alongside objective thinking without judgement on its value whilst also embracing the duration of time important to these artworks. A new biographical approach to contemporary art documentation has been discussed in conservation literature (Van de Vall et al. 2011) with the need to ‘…capture a history to these works as they shift’ (Laurenson, in Rivenc 2010, p. 11), and accumulative archiving models could provide a valuable method of capturing the documentation of time-based artworks.

Conclusion Time-based artworks reside in the nexus between objectivity and subjectivity; past and present, and; concept and experience. Documentation methodology must reflect the ways time-based art is created and operates to truthfully present a narrative of these works unfolding over time. In order to do this, the conservator must engage with an ‘embodied mind’ that can analyse through sensation and thought. Agency must be made fluid to allow the embodied mind to speak and it may be through re-framing artist’s intent to sanction that may give voice to interpretation and experience in conservation documentation. Accumulative database models may allow for multi-modal experiential documentation to be archived alongside objective data to present a more complete picture of artwork and track its progression over time. Conservation has a responsibility to preserve an artwork’s legibility into the future (Muñoz-Vinas 2005, p. 99), and for complex time-based artworks, it requires a reevaluation of objective documentation to incorporate subjective experience intrinsic to these works, to engage the embodied mind.

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