4/13/2023 0 Comments Factum arte piranesi![]() The term ‘British’ has both nationalist and colonial overtones. ![]() The name ‘The British Museum’ is certainly problematic. I think being a German director of the British Museum during the time of Brexit in the time of Brexit must be a very challenging job. Factum actually recorded these in the Museum in 2004 but some things take time to find their right form. We were talking a lot at the end of last year following the donation of facsimiles of two Lamassu to Mosul University. Lowe: I am very pleased that Hartwig agreed to include his essay Collections Entail Responsibilities in the book. ![]() Hartwig Fischer’s article, ‘Collections Entail Responsibilities,’ dives into the necessity for change at the British Museum and shows how differently the Museum is working already. As soon as we had agreed on all the details, we put the book together in three months and printed it. Lowe: This is really quite a Bible – actually I think it’s an important publication. Ongoing projects include training in photogrammetry in Saudi Arabia, documentation of the Birdman cult on Easter Island, reconstructing the lost silver map of al-Idrisi, digitization of works by Diego Velázquez, a facsimile of the Djehuty Garden in Luxor, and documenting, conserving and raising awareness about the Bakor monoliths of Nigeria.Ĭultural Property News Editor Kate Fitz Gibbon spoke with founder Adam Lowe about Factum Arte, the Factum Foundation, the publication of The Aura in the Age of Digital Materiality and the varied calls to action that the book’s authors make. A short list includes past works such as the recreation of Lamassu sculptures from the palace of Ashurnasirpal at Nimrud, the tomb of Tutankhamun, and Salviati’s Ceiling at Palazzo Grimani. © Annette Gibbons-Warren (RCU)įactum Arte and the Factum Foundation for Digital Technology in Conservation have initiated and been part of numerous exhibitions, studies, conservation training, and unprecedented joint projects involving major artworks and monuments from around the world. Otto Lowe demonstrating photogrammetry at the Shaden resort in AlUla, training programme carried out in collaboration with RCU and Art Jameel. We leave the book with a broader understanding of the meaning of artworks and art scholarship as they exist within time and space, and a desire for more. An artwork, a restoration project, or specific experience shows how art has been seen by other people and cultures, sometimes over centuries, and raises surprising new questions for academics and historians. In clear, precise language, they show how relevant individual memories and perceptions are to how we see art. For many of the contributing authors, the discussion continues and expands on the issues of originality and authenticity raised by Walter Benjamin’s seminal essay, The Work of Art in the Age of Mechanical Reproduction. Rather than focusing on technical issues of preservation and documentation – although tremendously informative about those processes – the book demands that we rethink our relationship to art, art history, and cultural heritage. The book and its many influential authors go far beyond the convention-bound approaches of institutions such as UNESCO and ICOMOS to challenge how we think about monuments and objects of art – how we stockpile or share them, and how digitization and documentation can facilitate a new dialog about art across cultures. Altogether, it is remarkable work of advocacy for connecting individuals, communities and countries through art.Īdam Lowe during his talk ‘Applying Technology Preserving the Past… Informing the Present’ at the Bilbao Fine Arts Museum in June 2018. It is an extraordinary collection comprising some fifty essays by art historians and professionals in museums, architecture, the sciences, ethics, indigenous rights and other fields. The Aura in the Age of Digital Materiality is essential reading for everyone in the art, museum, and cultural heritage field. Fortunately, the book itself is available not only in hard copy, but also through a download on the website of Factum Foundation. The publication was to accompany the opening of the exhibition, La Riscoperta di un Capolavoro (The Revealed Masterpiece) originally scheduled March 12-Jat the Palazzo Fava in Bologna, but now closed due to the coronavirus situation in Italy. A groundbreaking new book has been published by Factum Foundation, The Aura in the Age of Digital Materiality: Rethinking Preservation in the Shadow of an Uncertain Future (Silvana Editoriale, 2020).
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