<span style="background-color: rgb(255, 255, 255); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">This workshop will be held in English.&nbsp; <a href="https://sabanciuniv.zoom.us/webinar/register/WN_mLWPXfe2TJqDenrPuLwSFw" _djrealurl="https://sabanciuniv.zoom.us/webinar/register/WN_mLWPXfe2TJqDenrPuLwSFw" style="text-decoration-line: none;"><span style="background-color: rgb(255, 255, 255); color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Registration</a><span style="background-color: rgb(255, 255, 255); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">🔗is required. &nbsp; Enacted by digitalSSM, the project entitled “VARIANT. Documenting New Media Art” offers an online workshop by Ana Riberio, Francesca Colussi and Patricia Falcão, who are conservators and researchers of time-based media at Tate Modern. PROGRAM 24 February, Friday - 17.00 (İstanbul)&nbsp; 17.00 Documentation as an Acquisition Tool for Time-based Media Artworks - Ana Riberio, Francesca Colussi and Patricia Falcão (Tate Modern) 18.30 Q + A &nbsp; In this workshop; Ana Riberio, Francesca Colussi and Patricia Falcão will discuss their experience of creating and using the documentation for conservation and display purposes in the context of a collecting institution. Based on their chapter “<a href="https://www.taylorfrancis.com/chapters/edit/10.4324/9781003034865-14/documentation-acquisition-collection-tool-time-based-media-artworks-patricia-falc%C3%A3o-ana-ribeiro-francesca-colussi" _djrealurl="https://www.taylorfrancis.com/chapters/edit/10.4324/9781003034865-14/documentation-acquisition-collection-tool-time-based-media-artworks-patricia-falc%C3%A3o-ana-ribeiro-francesca-colussi" style="text-decoration-line: none;"><span style="color: rgb(17, 85, 204); font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">Documentation as an Acquisition Tool for Time-based Media Artworks</a>” in the “<a href="https://www.taylorfrancis.com/books/edit/10.4324/9781003034865/conservation-time-based-media-art-deena-engel-joanna-phillips?refId=68d56693-81b3-489f-9b37-75a3922b4ae3&amp;context=ubx" _djrealurl="https://www.taylorfrancis.com/books/edit/10.4324/9781003034865/conservation-time-based-media-art-deena-engel-joanna-phillips?refId=68d56693-81b3-489f-9b37-75a3922b4ae3&amp;context=ubx" style="text-decoration-line: none;"><span style="color: rgb(17, 85, 204); font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">Conservation of Time-based Media Art</a>” book (ed. Deena Engel and Joanna Phillips), they will use case studies to illustrate the purpose of documentation from an institutional conservation perspective. They will further highlight how past documentation, and the absence thereof, affects current preservation decisions and how current documentation can also be a roadmap to future interventions. &nbsp; BIOS Ana Ribeiro is a time-based media conservator from Lisbon, where she studied conservation and restoration (FCT-UNL). She is currently part of the time-based media conservation team at Tate, where she works with new artworks joining the collection. Passionate about dance and theater, Ana has been focusing on projects related to the collection and preservation of performance-based artworks. She has participated in the project<a href="https://www.tate.org.uk/about-us/projects/documentation-conservation-performance" _djrealurl="https://www.tate.org.uk/about-us/projects/documentation-conservation-performance" style="font-size: 14px; font-family: &quot;Open Sans&quot;, sans-serif; background-color: transparent; text-decoration-line: none;"> <span style="color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">Documentation and Conservation of Performance<span style="color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;"> at Tate</a> and Tony Conrad’s Ten Years Alive on the Infinite Plain, a case study part of the<a href="https://www.tate.org.uk/research/reshaping-the-collectible" _djrealurl="https://www.tate.org.uk/research/reshaping-the-collectible" style="font-size: 14px; font-family: &quot;Open Sans&quot;, sans-serif; background-color: transparent; text-decoration-line: none;"> <span style="color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">Reshaping the Collectible</a> project. Her current focus is on the preservation of dance and choreographic works through the<a href="https://www.unsw.edu.au/arts-design-architecture/our-schools/arts-media/our-research/our-projects/precarious-movements-choreography-museum" _djrealurl="https://www.unsw.edu.au/arts-design-architecture/our-schools/arts-media/our-research/our-projects/precarious-movements-choreography-museum" style="font-size: 14px; font-family: &quot;Open Sans&quot;, sans-serif; background-color: transparent; text-decoration-line: none;"> <span style="color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">Precarious Movements:<span style="color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;"> <span style="color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline;">Choreography and the Museum </a>project. Francesca Colussi is a time-based media conservator at Tate Galleries. She holds an MA in Visual Arts from IUAV University (Venice) and moved to London in 2012 to work for Afterall, a research center of University of the Arts London. She subsequently worked as Studio Manager for the artist Mark Lewis, where she deepened her interest in the display and preservation of video art. At Tate, she has been focusing on the preparation and delivery of exhibitions and displays, including Mark Leckey exhibition at Tate Britain in 2019 and Steve McQueen exhibition at Tate Modern in 2020. <span style="background-color: rgb(255, 255, 255); color: rgb(36, 36, 36); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Patricia Falcão<span style="background-color: rgb(255, 255, 255); color: rgb(36, 36, 36); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is a Portuguese time-based media conservator at Tate, where she researches and develops strategies for the preservation of digital and software-based artworks. In the context of the<a href="https://www.tate.org.uk/research/reshaping-the-collectible" _djrealurl="https://www.tate.org.uk/research/reshaping-the-collectible" style="text-decoration-line: none;"><span style="background-color: rgb(255, 255, 255); color: rgb(36, 36, 36); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> <span style="background-color: rgb(255, 255, 255); color: rgb(17, 85, 204); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Reshaping the Collectible</a><span style="background-color: rgb(255, 255, 255); color: rgb(36, 36, 36); font-family: Spectral, serif; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> project, this has broadened to include the acquisition and preservation of web-based artworks. As an AHRC funded Collaborative Doctoral Student at Goldsmiths and Tate she is researching the project “Artists, Conservators and Game Developers: A Comparative Study of Software Preservation in Three Domains” comparing preservation practices in contemporary art museums, artists and the videogame industry. She has consistently published on the theme of preservation of time-based media, digital and software-based art over the last 8 years, in both the conservation and digital preservation communities.

24 February 2023, Friday 17.00 (İstanbul)

VARIANT. Documenting New Media Art