The Ludwig Museum celebrates the Media Art Preservation project in 2020 with a two-day MAPS 2020 conference on 13–14 February 2020. The conference continues the work which revolves around the conservation and the preservation of media art, started in 2015, involving international conservators, art historians and experts.
Among contemporary art practices there are those that are linked to technological developments and which have been designated, with varying degrees of distinction, as “media art”, ”new media art” or “digital art”.
The rapid aging and changing of technology is accepted as a part of life today. In comparison to older technology, such as VHS tapes, the deterioration of digital content happens at an even faster rate, therefore their long-term preservation creates a constant challenge.
With an exhibition called The Dead Web – The End, Canadian, Swiss and Hungarian artists whose practices can be situated in media art will start a conversation about the obsolescence of internet. The project and the exhibition deal with the possibility of a collapse of the World Wide Web.
WHY IS IT IMPORTANT?
A Public Collection digitalisation strategy is being developed
After university, there is no further opportunity for professional training in the Hungarian museum field
There are constantly new challenges emerging in the cultural environment, on which the changing of digital technology has an effect on
There is no current training focussed on contemporary conservation and preservation of media artworks in the central European region
Museums create independent digital content, as having an internet presence is essential in order to attract visitors into the exhibitions.
DIRECT QUESTIONS – MODULES
Museum collections in the 21st century
Real and / or virtual collections
Changing processes, variable collection forms, changing researchers’ and service needs
Integration of digital contents in museum collections
Digital Strategy: collection, social media, preservation and database systems
KEYNOTE SPEAKERS
International keynote speakers are invited to hold lectures on the preservation of media art. They are prestigious academic experts and conservation professionals researching sustainable preservation. With international experts from the Brooklyn Museum (New York), Victoria and Albert Museum (London), National Trust (London), M+ (Hong Kong), LIMA Amsterdam, or conservators and professors from the York University (Toronto), the MAPS 2020 conference concentrates on the practical side of the topic, while a related exhibition entitled The Dead Web - The End tries to open up further questions regarding the conservation of media art.
REGISTRATION
Conference Pass:
Early bird | 25 EUR (available until 31 January 2020 )
Full price pass | 36 EUR (from 1 February 2020)
Student pass | 12 EUR
You can reserve a ticket and apply for the MAPS 2020 workshop online and at the ticket office of Ludwig Museum. You will pay in the local currency (HUF). The displayed amount (in €) is indicative and based on the exchange rate at the time of booking.
Please note that registration is limited to 100 participants.
WHAT IS INCLUDED IN THE CONFERENCE PASS?
- Two-day access to MAPS 2020 conference (13-14 February 2020)
- Snack during the lunch break
- Access to all keynote presentations
- Free access to the exhibitions of Ludwig Museum Budapest
For more information please visit the MAPS 2020 website:
www.maps2020.ludwigmuseum.hu
Supported by:
Photo: Projet EVA (Etienne Grenier & Simon Laroche), L’Objet de l’Internet, 2017. Photo Credit: Olivier Miche
Please be informed that our events will be recorded by sound and video, from which the Ludwig Museum may use details to promote the museum and its programs and for other promotional purposes. By participating in our events, you agree that you may appear on the recordings, but you may not make any claim against the use of the recording with the Ludwig Museum or third parties authorized by it.
Related content
The Dead Web - The end 24. January, 2020 – 26. April
How will the at once dematerialized and delocalized dynamics of power structures be impacted in both their evident economic and inevitably political manifestations if the network is disconnected? But also, what can still be said or done in the meantime? How does one occupy—or not— what is essentially borrowed time and space, a space-time henceforth to be shared between digital and physical realities.