When a renaissance
masterpiece needs restoring, simple paints and brushes can do the job. It's all
down to human skill.
The ZKM Centre for Art and Media in
Karlsruhe Germany is trying to provide an answer.
It has the world's
largest collection of digital art, with over 500 pieces in its collection. It's
also the global centre for digital art conservation.
It is a Herculean
effort to keep their artworks running in their original form on computers often
decades old.
Dump
deals
ZKM's staff try to
find as much obsolete digital kit as possible. They trawl waste dumps and the
auction site eBay in their quest for authenticity.
As part of these
efforts, they rent a warehouse outside the city where they store over 1,600
cathode ray TV sets, which are now out of production.
These old-school TVs make up
key elements of some of the art works.
For
example, Versailles Fountain by digital pioneer Nam June Paik uses about 40 CRT
TVs. They are constantly being repaired. In an unlikely alliance, curators at
ZKM foster connections with local dump managers who set aside old computers and
audio visual machines in exchange for cigarettes.
But
keeping all of this obsolete equipment in storage is just a short-term
solution.
Bernhard Serexhe is
the principal curator at ZKM's media museum and leader of a European Union
funded project on digital
art conservation. He says the faster technology develops, the
shorter the potential lifespan of the art.
"That is why we
need a second strategy which is migrating the work, migrating the data of the
work to a different platform, or even porting the programme to a different
system, to a different computer system which is quite complicated and quite
expensive," he says.
"Born
Digital"
This is precisely what
happened with The Legibile City. Created in 1989 by Jeffrey Shaw, it is
considered by Mr Serexhe to be one of the most important pieces of digital art
in the world.
When you get on the
stationary bike, you can cycle through giant 3D letters in three different
cities. The faster you pedal, the faster words describing the city appear on
screen.
The problem is it was designed
on a Silicon Graphics computer which went out of production 16 years ago. The
museum only has 10 left in storage.
The
danger is when they are gone the artwork will no longer be displayed. The
solution for The Legibile City has been to port it over to a Linux-based
operating system. This process took several years and was done in conjunction
with the artist's wishes.
"Linux was
selected as the target platform for the porting. Linux is a free Unix variant
that runs on the most diverse hardware platforms -including on Apple computers
- which is constantly being adapted to new hardware, and, current expectations
are that due to its origins [Unix], it will have a long lifespan," Mr
Serexhe explains.
Digital artworks in
ZKM are not switched off overnight to preserve the systems and try to prolong
the life of the hardware.
Not everything in the
museum is "born digital", a phrase used by Mr Serexhe to describe art
that is completely of the digital age. Digitising video art from magnetic tapes
is another important part of the museum's work.
Ancient
formats
Dorcas Muller works in
the Laboratory for Antiquated Video Systems.
Her office is packed
from floor to ceiling with ancient tapes and video equipment. She has over 300
machines at her disposal to convert about 50 different formats into digital
form.
"The most important machines which are completely
restored we keep in the laboratory for daily use and we have storage outside
the city where we have machines up to the ceiling for future years," she
says.
The market for pure digital art is very different from the
one for more conventional art. Materials and machines become obsolete while
canvas and stone live on.
"There is a certain market but normally these works go
from the artists to the collector… there are only very few collectors. In
Germany at the moment there is only one private collector of digital art,"
says Mr Serexhe in Germany.
But there is no consensus on whether repairing digital art
is the right thing to do. Some of the artists may have intended their works be
shown as a performance, and to cease existing when the technology running it
breaks down. The museum's efforts are controversial.
"Either we change our ethical aspect ideas about art,
and we would consider digital art as only 'performative', or we stick to the
originality and authenticity of the work.
"I think as an important collection we still should
preserve the work in its original form and format as long as this is
possible," Mr Serexhe says.
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