Hanna Hölling

Hanna Hölling
Bern University of Applied Sciences | BFH · Bern Academy of the Arts

Doctor of Philosophy

About

58
Publications
20,345
Reads
How we measure 'reads'
A 'read' is counted each time someone views a publication summary (such as the title, abstract, and list of authors), clicks on a figure, or views or downloads the full-text. Learn more
138
Citations
Citations since 2017
30 Research Items
110 Citations
20172018201920202021202220230102030
20172018201920202021202220230102030
20172018201920202021202220230102030
20172018201920202021202220230102030
Introduction
I am at home on the intersection of art history, material culture studies, museology and conservation. My primary research and teaching interests lie, among others, in the 1960s-70s art and culture, electronic, lens-based media and moving image, performance, the ethics, aesthetics, and philosophy in and of conservation and the concepts of time, change, identity, and archive (as discourse and physical space) both in artworks and in objects of material culture. www.hannahoelling.com.
Additional affiliations
October 2022 - present
University College London
Position
  • Honorary Fellow

Publications

Publications (58)
Book
Full-text available
How do works of art endure over time in the face of aging materials and changing interpretations of their meaning? How do decay, technological obsolescence, and the blending of old and new media affect what an artwork is and can become? And how can changeable artworks encourage us to rethink our assumptions of art as fixed and static? Revisions is...
Article
Full-text available
Ever since conservation emerged as a profession profoundly preoccupied with the nature of artworks, interest in the media and materials’ physical constitution has gradually moved to the center of art theoretical and historical discourse. As it became a scientifically grounded and intellectually substantiated field towards the second half of the twe...
Chapter
Full-text available
As inherently changeable artworks, computer-based installations are amongst the most demanding when it comes to the questions of their continuation, perpetuation and muzealisation. And yet thus far these topics attracted only little attention in the specialist literature essentially due to the gaps in the professional training in the area of techno...
Book
Full-text available
In Paik’s Virtual Archive, Hanna B. Hölling contemplates the identity of multimedia artworks by reconsidering the role of conservation in our understanding of what the artwork is and how it functions within and beyond a specific historical moment. In Hölling’s discussion of works by Nam June Paik (1932–2006), the hugely influential Korean American...
Article
Full-text available
Full version of this article has been published in Museum History Journal, special issue devoted to the Lost Museums Colloquium, Brown University, edited by Steven Lubar et al, 9/2 (2016): 1-15. Free copies available from Taylor & Francis Online http://www.tandfonline.com/eprint/DuwDGYcQdmRh3TVirA6K/full From the perspective of museums and conserv...
Research
Full-text available
What does it mean to conserve performance, to sustain its life into the future? This online colloquium, "Performance Conservation: Interdisciplinary Perspectives," brings together artists and scholars of performance studies, anthropology, art history, musicology and conservation to approach the question of the ongoing life and afterlives of perform...
Article
Full-text available
This is a series of brief interviews, in which Hanna Hölling, Emilie Magnin and Jules Pelta Feldman pose two fundamental questions to a variety of experts who work with, in, and on performance and conservation: 1) Can performance be conserved? If so, how? If not, why not? 2) What does it mean to conserve performance? The series contributes to the...
Chapter
Full-text available
An artist cannot work without material. Everything, including immaterial resources such as time, can be material I use to form things.—Franz Erhard Walther, “Material." This chapter thinks about a selection of Walther's works from his intricate series Werksatz. Walther conceived of fabric objects—Werkstücke —as a starting point for actions performe...
Book
Full-text available
Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators,...
Article
This chapter discusses experimental post-preservation as a way of engagement with the archive on the example of Paik's video archive held at the Nam June Paik Arts Center in Yongin, Seoul. This concept prompts us to rethink the traditional museological approaches to caring for works of art. For a considerable time, these approaches have cultivated...
Conference Paper
Full-text available
How can a work of performance – ephemeral, site- and time-sensitive, possibly tied to the body of the artist – be conserved? This question has long been answered by recourse to documentation and performance “relics,” the tangible, exhibitable and, above all, collectible remains of performances. Yet in the past decade, museums have begun to acquire...
Chapter
Full-text available
Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators,...
Article
Full-text available
Can performance art be conserved? If so, how, and if not, why not? Enhanced by short philosophical reflection surrounding conservation and its entanglement with the world, this essay reviews the debates that took place on the occasion of the international colloquium devoted to the conservation of performance, Performance: The Ethics and the Politic...
Article
Full-text available
This essay seeks to build a theory of score-based works different from traditional approaches in which the score becomes a function of the performance’s archive. At its core, there lies a deep interest in the ontology of the work, its materiality and ontogenesis regulated by indeterminacy and openness. How can we conceive of a score-based work as a...
Article
Full-text available
American-Italian multimedia artist Aldo Tambellini (1930-2020) has long remained under the artworld’s radar, known only to a small circle of appassionatos of experimental film and early electronic media. Having commenced his artistic career as a painter, only later did Tambellini shift to sculpture and become absorbed by film. But his filmic rendez...
Article
Full-text available
“What is Zen for Film?,” I was asked on the occasion of a preparatory meeting for Revisions, an exhibition to feature Zen for Film (1962–64), Nam June Paik’s “blank” film projection. Despite the many discussions that preceded the meeting, when it came to the question of what the main—and the only—artwork of this exhibition was, we felt as if we’d b...
Article
Full-text available
Can performance art be conserved? If so, how, and if not, why not? Enhanced by short philosophical reflection surrounding conservation and its entanglement with the world, this essay reviews the debates that took place on the occasion of the international colloquium devoted to the conservation of performance, Performance: The Ethics and the Politic...
Chapter
Full-text available
Paik, Musically: Fluxus- Stockhausen-Cage / 백남준, 음악적으로: 플럭서스—슈톡하우젠—케이지 National Museum of Modern and Contemporary Art: The Legacy of Nam June Paik / 백남준, 음악적으로: 플럭서스—슈톡하우젠—케이지. Edited by Eunji Park, 2020 No other media artist can claim as direct a link to music and musical performance as Paik. His artistic oeuvre and the concepts embodied in his wo...
Article
Full-text available
We Are in Open Circuits: Writings by Nam June Paik (2019) terminates a long silence in publishing primary sources related to Nam June Paik’s work. The volume sheds new light on Paik’s artistic-philosophical project which is currently on view in the traveling exhibition Nam June Paik: The Future is Now soon to reopen at Stedelijk Museum Amsterdam. W...
Article
Full-text available
Wat betekent het om artistiek werk te maken in verschillende media en genres, en met geavanceerde technologieën? Wat betekent het om werken op een 'ongewone' manier te componeren in plaats van een vooraf ingebeeld ideaal te volgen? Kan het samenstellen van de wereld uit gevonden materialen, het omarmen van toeval en falen, en knutselen met dat wat...
Article
Full-text available
New scholarship on Nam June Paik is a thematic focus of 2020 College Art Association Annual Conference session Feedback and Feedforth: New Approaches to Nam June Paik. Organized by Gregory Zinman of the Georgia Institute of Technology, with contributions by Marina Isgro, Johanna Gosse and Gregory Zinman. Response by Hanna Hölling. Thursday, Februa...
Book
Full-text available
LANDSCAPE is a new publication series by the Institute for Land and Environmental Art (ILEA) concerned with the theory, history and new tendencies in the art of the peripheric, rural and alpine landscapes. The book consists of three parts: The DOSSIER includes a collection of writing excerpts related to a theoretical and historical reflection about...
Chapter
Full-text available
The following essay provides a brief historic overview of the tendencies of the 1960s and 70s that have challenged ideas associated with art making, aesthetic categories and location. It was first conceived as a keynote address at the inaugural symposium opening the international summer school Alps Art Academy and its resulting exhibition Art Safie...
Chapter
Full-text available
Hanna Hölling’s interview with the architect, heritage scholar, and artist Jorge Otero-Pailos explores how cultural transmutations condition the presence of transitional objects that are physically unstable. The conversation, which forms Chapter 10 of the book The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultu...
Book
Full-text available
The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds-manuscripts, archaeological artefacts, video art, installations,...
Chapter
Full-text available
This book brings together a range of perspectives on material transitions, observing and explicating the myriad transformations that works of different kinds may undergo: changing contexts, changing matter, changing interpretations, and display. By making a point of the vibrant materiality of objects— their liveliness, power, and ability to change—...
Article
Full-text available
This chapter offers insights into the ways of understanding—and different modes of existence—of the archive. Being both of time and of material, as an index of evolving attitudes towards objects and subjects, contingency of time, and discourse and culture, the archive takes on an active role in creating the identity and maintaining the continuity o...
Conference Paper
Full-text available
What does time mean in conservation? Is time present in conservation as an implicit or explicit dimension and how does conservation, if at all, conceptualize time? By proposing a temporal critique of conservation, this paper argues that thinking time has been absent from the narratives of conservation, its episteme, theoretical and research-generat...
Article
Full-text available
What is conservation? Simplistic as it may seem, this question has many possible answers. Today, conservation no longer aims simply to prolong its objects’ material lives into the future. It is seen as an engagement with materiality, rather than material—that is, with the many specific factors determining how objects’ identity and meaning are entan...
Article
Full-text available
What does time mean in conservation? Is time present in conservation as an implicit or explicit dimension, and how does conservation, if at all, conceptualize time? By proposing a temporal critique of conservation, this paper argues that thinking time has been absent from the narratives of conservation, its episteme, theoretical and research-genera...
Article
Full-text available
From the perspective of museums and conservation, where does a work lie, how and where is it? This essay sets out to analyse Mark Rothko’s Harvard Murals exhibited in the form of an augmented reality at the Harvard Art Museums in Cambridge, MA. With the help of this and further examples, it argues that the changeable character of artworks does not...
Article
Full-text available
Depuis que la conservation-restauration est apparue comme une activité foncièrement préoccupée par la nature des oeuvres d'art, l'intérêt pour les médiums et la constitution physique des matériaux s'est progressivement déplacé vers le centre du discours théorique et historique de l'art. Etant donné qu'elle est devenue un champ scientifiquement fond...
Article
Fostering conservation as a discursive and contextual practice, this essay examines transitional media that necessitate new ways of thinking about continuity. It looks at two examples of artworks with the objective of unraveling the varying modes of their transition. An event score, event-performance, object, and film drawn from the artistic legaci...
Conference Paper
Full-text available
Fostering conservation as a discursive and contextual practice, this essay examines transitional media that necessitate new ways of thinking about continuity. It looks at two examples of artworks with the objective to unravel the varying modes of their transition. An event score, event-performance, object, and film drawn from the artistic legacies...
Chapter
Full-text available
Can we conceive of artworks in terms of their temporal duration – as events, performances and processes? Can artworks, including the recent portion of artistic production as well as traditional artworks, be rethought in terms of time and their intrinsic temporalities? Why and how would it matter for their conservation? This paper offers an opportun...
Article
Full-text available
Have you ever considered, or been challenged by, recent heritage and artistic production based on film, video and computer code, the so-called non-traditional media? These media are, in a sense, nothing really new, since they are already a part of our increasingly mediatized culture. Indubitably, digital media cast their shadow on every aspect of m...
Chapter
Full-text available
Czy możliwa jest konceptualizacja dzieł sztuki jako zdarzeń i procesów, to znaczy pod względem ich czasowości, ich transformacyjnej materialności? Przedstawiając tezy dotyczące względnego czasu trwania dzieł sztuki, niniejszy artykuł stwarza okazję do przemyślenia tradycyjnych paradygmatów teorii sztuki i ochrony dzieł. Zwłaszcza teoria ochrony odn...
Chapter
Full-text available
Computerbasierte Kunst hat sich seit der Einführung von Computergrafiken in den frühen 1970er Jahren entscheidend weiterentwickelt. In den vergangenen drei Jahrzehnten erfolgte eine radikale Veränderung hin zu komplexeren Anwendungen, die unser Verständnis von technologischer Grenzziehung und von Ausstellungsstandards und -ästhetiken verändert hat....
Chapter
Full-text available
Can we conceive of artworks in terms of their temporal duration – as events, performances and processes? Can artworks, including the recent portion of artistic production as well as traditional artworks, be rethought in terms of time and their intrinsic temporalities? Why and how would it matter for their conservation? This paper offers an opportun...
Chapter
Full-text available
This article dissects problems related to the conservation of computer-based art on the basis of an early example of Dutch interactive computer-based installation created for Montevideo in Amsterdam.
Chapter
Full-text available
In this short essay I strive to recover some of the multiple contexts of interactivity that originate from the history of our engagement with the interpretation of written, painted and performed media. I also discuss the ways in which interactivity is involved in the relationship between the human and the machine. Finally, I attempt to identify how...
Chapter
Full-text available
在本篇短文中,我将首先回顾从出现文字、绘画和表演等媒介演绎的历史以来,互动 性多层背景的一部分,同时也将讨论互动性如何涉及人与机器之间的关系。最后我希望说 明如何将互动性概念应用到对瑞士摄影艺术家汉内斯·施密德的作品的解读之中,特别是 他在2014年夏天将在北京今日美术馆展出的互动多媒体作品《永恒的瞬间》(2013)
Article
Full-text available
This paper discusses the problem of the maintenance of identity of multimedia works of art despite their physical change. It puts forward the term of changeability as an intrinsic feature describing their character. Observing the artworks’ changing manifestations it poses questions whether and to which degree the concepts derived from musicology an...
Article
Full-text available
Standing amidst the lively garden of the campus of the University of California, San Diego, I am looking at the many television sets, Buddhas, and elements of various electronic devices scattered around. As the first outdoor ensemble of the Korean video artist Nam June Paik (1932-2006), the installation Something Pacific (1986) was installed here a...
Book
Full-text available
This doctoral dissertation completed at the University of Amsterdam (September 2013) poses questions that consider the constitution of conservation objects in relation to our understanding of what the artwork is and how it functions within a certain historical moment. By tracing the changeability of Nam June Paik’s multimedia installations, Re:Paik...
Article
Full-text available
Computer-based art has evolved considerably since the first implementation of computer graphics in the early 1970s. In the past three decades, there has been a radical change towards more sophisticated solutions that have modified our understanding of technological borderlines and the limits of display standards and aesthetics. Although the preserv...
Chapter
Full-text available
The question of “what’s next?” has temporal underpinnings. It pertains to time and how we engage with this concept. “What then is time? If no one asks of me, I know; if I wish to explain to him who asks, I know not” confesses Saint Augustine in the eleventh of thirteen books he wrote in the fourth century titled Confessions.1 To be sure, time is on...
Chapter
Full-text available
On my last transatlantic flight from Europe to the US I was, like the rest of the cabin, staring halfconsciously at the monitors presenting a colorful set of images right above our heads. Yet instead of watching the movies, my attention was directed to the box itself, the gray casing bordering the image—to the mere objecthood of the screen, as it w...
Conference Paper
Full-text available
Rather than preserving original objects, the conservation of contemporary art should be thought of as managing change. This raises the question of how to theoretically capture the variability of the work without losing the sense of its artistic identity. The researchers participating in the interdisciplinary project New strategies in the conservati...
Chapter
Full-text available
Die zeitgenössische Kunst und ihre Produktion sind eng mit den Aspekten ihrer Präsentation, Erhaltung und Aufbewahrung verknüpft: der Konservierung. Konservierung (von lateinisch conservare = erhalten, bewahren) umschreibt alle Aktionen und Maßnahmen, die der Sicherung eines Kunstwerkes oder Kulturgutes dienen: Erhaltung, Wahrung der Authentizität...
Article
Full-text available
When I received the invitation from de Appel arts centre to take part in a two-day conference on " The Manifold (after) Lives of Performance " , I was not really aware of what complexity would unfold within two days of intensive presentations. 1 To me, witnessing the entirety of the event meant, in the first instance, posing the difficult question...
Article
Full-text available
This article addresses the challenges of conservation of Edward Kienholz's polyester paint covering the iconic environment The Portable War Memorial on permanent view at the Ludwig Museum in Cologne.

Network

Cited By

Projects

Projects (4)
Archived project
Cultures of Conservation was an Andrew W. Mellon funded curricular initiative at the Bard Graduate Center in New York. In this initiative, I served as Visiting Professor, teaching graduate courses, doing research and realizing an exhibition, Revisions - Zen for Film (September 18, 2015 – February 21, 2016) https://www.bgc.bard.edu/exhibitions/exhibitions/8/revisions-zen-for-film
Project
“Activating Fluxus” centres on the lives and afterlives of Fluxus objects, events and ephemera created in the 1960s–70s in Switzerland, Europe, the UK and the US. Fluxus transformed creative practice for good, not least by questioning the dominant preconception of the artwork as something that endures unchanged. Inherently fluctuating by definition, the creative outputs of Fluxus reject any stable, material form. While many histories of the post-war avant-garde focus on the implications of nascent conceptualism and performativity for other artistic genres, the proposed project considers the fundamentally transitory aspects of Fluxus forms not destined for preservation. By seeking new ways to engage with the legacy of Fluxus through the lens of conservation, art history, performance studies, heritage studies and museology, this project examines the possibility of activating Fluxus, challenged as it is by its paradoxical coexistence of ephemerality and materiality, with implications for how we conceive of changeable artworks that emerged after the 1960s. Methods and results: The project has three principal aims: (I) Using examples of collections and individual artworks held in Switzerland and abroad, the project reviews, catalogues, evaluates and systematises the current strategies for exhibiting, conserving and documenting Fluxus. (II) By means of a theoretical investigation of the notions of authenticity, changeability and intentionality and the role they play in the continuing life of Fluxus intermedia, (III) the project advances new strategies for activating Fluxus works through (a) the reconstruction, (b) the adaptation and (c) the artistic reinterpretation of Fluxus forms.
Project
Ephemeral and reliant on the body as medium, performance­-based artworks challenge the assumption that a work of art can be fixed, static and ‘conservable’ – an object easily constrained by established systems of documentation and archival ordering. Further, traditional conservation too often disregards the intangible aspects of heritage conveyance that are necessary to preserve performance: the transmission of memory, skill, technique, and tacit knowledge. Unravelling the complexities involved in the conservation of performance-based forms, Performance: Conservation, Materiality, Knowledge aims to expose the theoretical and practical apparatuses of conservation, its attachment to traditional paradigms, and the resultant shortcomings in the sphere of the intangible. The project reviews and systematises emerging approaches to the newly established subfield of the conservation of performance-based artworks. It also explores new methods for conserving performance-based works through: (a) forms of documentation and archives, (b) material residues, and (c) the transmission of knowledge. The project reflects on conservation as a knowledge-generating activity, and tests its potential contribution to broader discourses in performance studies, anthropology, art history and aesthetics. The project is funded by the Swiss National Science Foundation at Bern University of the Arts, Switzerland. https://performanceconservationmaterialityknowledge.com/