Preventive Conservation: People, Objects, Place and Time in the Philippines

Tse, Nicole; Labrador, Ana Maria Theresa P.; Scott, Marcelle; Balarbar, Roberto

doi:10.1080/00393630.2018.1476963

Cited by 7 publications

(2 citation statements)

References 11 publications

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“…as such, conservation as a practice evolves over time and place and is shaped by inter-regional dialogue (tay 2015); regionally relevant preservation solutions; access to conservation grade materials and culturally embedded ways of knowing. However, ways of knowing and understanding the artistic process are not fixed, and there are multiple perceptions that rely on the phenomenological experience of the viewer and sources that inform them (Eastop 2006;tse et al 2018). this research draws on an interdisciplinary methodology for building material knowledge to inform the treatment process and the artist record.…”

Section: Methodology: Building An Artist Recordmentioning

confidence: 99%

Materiality, Making and Meaning: Building the Artist Record through Conservation in Indonesia

O'Donnell¹,

Tse²

2018

IJCAS

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Ways of knowing and understanding the artistic process are not fixed, and there are multiple perceptions that rely on the experience of the viewer and sources that inform them. this paper presents a case study of a conservation residency and collaborative treatment of indonesian artist Entang wiharso’s ‘landscaping My Brain’ (2001) oil on canvas triptych painting, to examine how we understand the artistic process from a conservation perspective and how this material knowledge contributes to the artist record. an interdisciplinary methodology for the conservation treatment of wiharso’s painting relied on technical and visual examination of the artwork in partnership with artist interviews and archival research. the residency concluded with an exhibition of the painting in an ‘active state of conservation’, highlighting the conservation decisionmaking process as value based and culturally grounded, leading to questions of authority, the role of technical-conservation expertise, what approaches work best, who should do the work and what knowledge informs it. in considering how we understand the artistic process, this paper will draw on the importance of practice-based interdisciplinary learning between conservator, artist, collector, curator and students, and the potential for collaboration and knowledge building at the intersection of these disciplines.

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Section: Methodology: Building An Artist Recordmentioning

confidence: 99%

Materiality, Making and Meaning: Building the Artist Record through Conservation in Indonesia

O'Donnell¹,

Tse²

2018

IJCAS

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“…Hal ini juga didukung oleh Scott (2015) melalui idenya dalam konservasi pasca normal dan model people-centred. Tren ini kemudian juga didukung oleh Tse et al (2018) dengan argumen bahwa saat ini konservator secara aktif lebih melibatkan publik, komunitas, dan individual serta kelompok yang dapat membantu untuk memahami dan melestarikan koleksi. Tse et al (2018) dalam artikelnya memberikan contoh di Filipina, yang secara umum juga ditemukan di negara-negara Asia Tenggara lainnya, bahwa tradisi tidaklah hanya berasal dari masa lalu, tetapi dapat ditemukan masih dipraktikkan hingga masa kini.…”

Section: Konservasi Pasca Modernunclassified

Konservasi Di Indonesia

Bakhri¹

2021

jkcb

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Indonesia, sebagai negara dengan ekonomi yang berkembang cukup pesat, menyaksikan berkembangnya iklim pasar karya seni dan pengelolaan pusaka/cagar budaya. Fakta ini memunculkan pertanyaan di manakah posisi konservasi karya seni dan pusaka/cagar budaya sebagai sebuah disiplin ilmu, profesi, dan praktik profesional dalam mendukung pelestariannya di Indonesia. Untuk mendalami hal ini, diperlukan pembahasan terhadap definisi konservasi yang berlaku dan/atau dipahami di Indonesia serta mengeksplorasi kebutuhan konservasi yang secara khusus dibutuhkan oleh Indonesia. Didasarkan pada penelitian kualitatif, pendekatan yang digunakan dalam artikel ini adalah tinjauan literatur dan arsip, analisis kebijakan, wawancara semi terstruktur, dan beberapa studi kasus. Hasilnya menunjukkan bahwa kebijakan saat ini mendukung konservasi karya seni dan pusaka/cagar budaya, namun, tidak mendukung berkembangnya konservasi sebagai sebuah disiplin ilmu dan profesi. Di samping itu, terlihat jelas perbedaan antara praktik konservasi karya seni dan konservasi pusaka/cagar budaya.

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