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Video Art Preservation
Since the 1970s, media art has become a category in itself, with a growing number of artists experimenting with technology. Video art is the most well-known example here. Initially started as an experiment, today video art is integrated in major contemporary art exhibitions and collections.
Video art is, however, one of these media art forms with specific preservation needs because of
- a short life,
- technical, or otherwise variable nature,
- rapid obsolescence of the formats.
Main questions are: How to take care of the different vulnerable parts and how to maintain video signal, carriers, computers, monitors, software, and projectors? The ability to play back a tape in the future depends on the existence of functional play-back equipment. As new recording technologies and tape formats emerge on the market and gain popularity among consumers, equipment manufacturers discontinue the production and support of older, superseded equipment. On the other hand, the video artist makes use of a ‘reproducible’ medium, with survival of the work of art ensured simply by the possibility of copying the tape. Video art, installations and live installation performances evolved out of a multidisciplinary practice: conceptual art and performance. Sometimes the technology used is simply the vehicle, which makes it all technically possible. The technology used is always part of a larger (social) context and is subdued to the artist’s intention which can be conceptual or materialistic. These are the starting points to consider in relation to the preservation of video art and electronic art in general. Without strategies for preservation many of these artworks will be lost to future generations. The early works are already under threat.
Since the early 1990s the Netherlands Media Art Institute has mapped out various aspects and formulated guidelines to find its way in this unsure technical environment, where it seems that tape has no future and distribution patterns are changing (streaming, e-cinema).
Many people think of preservation simply as the transfer of a tape to a newer, more stable format. This is also important, but a preservation program can/must begin better with protecting the tapes from damage or deterioration and contacting the artists about what is available and how to handle and access it.
Preservation of video art is in need of
- documentation
- storage of tapes and/or equipment
- migration of media elements
- cooperative projects
- contact with the artist
Proper preserving starts always with documenting/cataloguing the work: artist, title, length and year of production, followed by format (DVD, Betacam etc.), system (PAL, NTSC etc.) and status (number of copies of a work and which one you have). It is very important to know who owns the copyright and what rights are available to the institution.
The videotape has known over 50 different analogue registration systems, the oldest of which dates back to 1965. About ten of these systems are still being used. For optimal conservation and control, the videotapes would be ideally stored under continuous conditions; preferred temperature 18ºC (+/- 1ºC) and humidity level 40% RH (+/-5%). Moreover, tapes will wear when they are used, and copies should be used for presentation purposes. Also take care of preventive routine maintenance of all the components of the apparatus, such as guides, pinch rollers, scanners and read/write heads. Not only climatic conditions, but also dust, dirt, ultraviolet radiation, heat and magnetic fields can affect a magnetic tape. For optimal preservation, the information stored on tape should be transferred to another carrier within seven, at the very most ten years. To prevent the tapes from blocking and oxidation, they should be wound and rewound once a year.
The source, as starting point for the digitisation, may raise several questions about the form in which a work manifests itself. Also the importance of the technology used may raise questions. To get closer to answers for all those it is important to return to the source of an artwork: the artist. He may have opinions on, interest in and rights to preserving the work.
The preservation of media art in general and video art specifically is a complex issue. Next to all mention above the development of specific criteria for successful conservation and judgements and decisions to make the active conservation of is important. Multidisciplinary tasks related to visual arts preservation practise, library science, Information and Communication Technology a.s.o. Carried out by curators, conservators, artists and technicians.
The starting point for documentation and preservation is a knowledge about the artists’ intention and opinion which is needed to make suitable decisions, as well as focussing on the scale of acceptable variability.
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To extend the lifespan of video tapes, they often get → digitised. To maintain as much information as possible and not to alienate the work, it needs special attention and care.
Digital rendering → formats usually condense the image information. You can find general information → here.
The internal algorithms involved in the process of digitisation and condensation can lead to image modifications. We tested a series of → Codecs and condensation methods.
Visit the → HfG Codec Test Site.
→ Sustainable Storage is directed at institutions that would like to build up a digital media archive, and are looking for a financially and ideally appropriate storage solution.
Back to → OASIS Platform
Additional resources:
AktiveArchive
The Conservation Awards
DOCAM | Documentation and Conservation of Electronic Media Arts Heritage
IMAP | Independent Media Art Preservation
Montevideo Guideline
EAI Online Resource Guide for Exhibiting, Collecting & Preserving Media Art
→ Curatorial Tools
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