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Alfonso Baya
Additional Information
(ENG)
The following interview was conducted for the PhD research:
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
It is important to have in mind that the use of the questionnaire was part of the methodology used for this research. In the dissertation conclusions the author talks about the limitations of this methodology and recommends an open semi structured conversation.
The interview was slightly edited, we wanted to maintain the conversation character.
(If you need an English translation please contact with the author).
Entrevista Alfonso Baya para el proyecto de conservación en Cátedra Arte y Enfermedades, UPV y Perspectives- Art, Inflammation and Me, AbbVie.
(ESP)
La siguiente entrevista se realizó en el marco de la investigación de la tesis doctoral:
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
Se debe tener en cuenta que el uso del cuestionario fue la metodología escogida, aunque en las conclusiones de dicha tesis se hace notar que no es la metodología idónea. La autora recomienda una entrevista más abierta.
La transcripción ha sido levemente editada, lo necesario para ser legible, pero no se ha modificado el carácter de conversación.
DATOS DE IDENTIFICACIÓN DEL CUESTIONARIO
Artista: Alfonso Baya
Lugar y fecha de la entrevista: 1 de mayo de 2014, Granada (España).
Entrevistado por: Ruth del Fresno, en Richmond Hill, ON. Canadá.
La entrevista se realizó a través de Skype , fue grabada en audio. Duración del audio 01:02:21.
INTRODUCCIÓN:
Es importante que conteste a las preguntas pensando solo en su obra o en su producción artística. La entrevista se realiza con la finalidad de recabar la mayor información posible sobre su obra, para el estudio en el proceso de investigación del presente trabajo, de este modo es posible que se puedan mejorar las condiciones de conservación y exposición de su obra al basarnos en sus criterios e intenciones. Es un privilegio poder trabajar con Vd.
La entrevista se centra en la obra que forma parte del proyecto, Perspectives- Art, Inflammation and Me.
Título de la obra: La Rehabilitación del Prestidigitador.
Técnica: Fotografía.
Medida: (alto x ancho x profundo) 114x75´5 cm
Indicaciones mínimas de instalación sugeridas por el artista: La iluminación es muy importante ya que la obra está hecha con una gran gama de negros que con una iluminación inadecuada no se percibe. Iluminación indirecta que no genere reflejos.
Fecha de realización de la obra: 2013.
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This is the introduction of the transcript of Alfonso Baya's Interview. If you need an English translation please contact us.
Carmen Carrión
Additional Information
Carmen Carrión, in conversation with Ruth del Fresno-Guillem, is an interview that was conducted in April 2014. This interview was part of a Ph.D. research, and it was also a way to gather information to establish a series of protocols for the preventive conservation of the piece. This photography was part of the commissioned art project Perspectives- Art, Inflammation and Me.
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The artist reflects on her idea of conservation and also defines her intention. Carmen is aware of preservation because of a course she attended, which proves the idea of awareness as a tool of prevention. For her, deterioration is any physical damage caused to the piece. You can find an edited transcription HERE. The original document is in Spanish, if you need an English translation, please contact us directly.
Beatriu Codonyer
Additional Information
(ENG) The following interview was conducted under Ph.D. research:
It is essential to have in mind that the use of the questionnaire was part of the methodology used for this research. In the dissertation conclusions, the author talks about the limitations of this methodology and recommends an open semi-structured conversation.
The interview was slightly edited, we wanted to maintain the conversation character.
(If you need an English translation please contact with the author).
(ESP) La siguiente entrevista se realizó en el marco de la investigación de la tesis doctoral:
Se debe tener en cuenta que el uso del cuestionario fue la metodología escogida, aunque en las conclusiones de dicha tesis se hace notar que no es la metodología idónea. La autora recomienda una entrevista más abierta.
La transcripción ha sido levemente editada, lo necesario para ser legible, pero no se ha modificado el carácter de conversación.
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio
aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada].
Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada].
Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
Entrevista Beatriu Codonyer para el proyecto de conservación en Cátedra Arte y Enfermedades, UPV y Perspectives- Art, Inflammation and Me, AbbVie.
DATOS DE IDENTIFICACIÓN DEL CUESTIONARIO Artista: Beatriu Codonyer. Lugar y fecha de la entrevista: 20 de mayo de 2014, Valencia (España). Entrevistado por: Ruth del Fresno, en Richmond Hill, ON. Canadá.
La entrevista se realizó a través de Skype, fue grabada en audio. Duración del audio 01:17:17.
INTRODUCCIÓN:
Es importante que conteste a las preguntas pensando solo en su obra o en su producción artística. La entrevista se realiza con la finalidad de recabar la mayor información posible sobre su obra, para el estudio en el proceso de investigación del presente trabajo, de este modo es posible que se puedan mejorar las condiciones de conservación y exposición de su obra al basarnos en sus criterios e intenciones. Es un privilegio poder trabajar con Vd.
La entrevista se centra en la obra que forma parte del proyecto, Perspectives- Art, Inflammation and Me.
Título de la obra: Retrato de Mari Carmen. Técnica: Fotografía. Medida: (alto x ancho x profundo) 103x 65 cm Indicaciones mínimas de instalación sugeridas por el artista: Lo que el comisario decida. Fecha de realización de la obra: 2013.
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The artist reflects on her idea of conservation and also defines her intention. The interview is in Spanish if you need an English translation, please contact us directly.
Enrique Ferré
Additional Information
(ENG)
The following interview was conducted under the PhD research:
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
It is important to have in mind that the use of the questionnaire was part of the methodology used for this research. In the dissertation conclusions the author talks about the limitations of this methodology and recommends an open semi structured conversation.
The interview was slightly edited, we wanted to maintain the conversation character.
(ESP)
La siguiente entrevista se realizó en el marco de la investigación de la tesis doctoral:
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
Se debe tener en cuenta que el uso del cuestionario fue la metodología escogida, aunque en las conclusiones de dicha tesis se hace notar que no es la metodología idónea. La autora recomienda una entrevista más abierta.
La transcripción ha sido levemente editada, lo necesario para ser legible, pero no se ha modificado el carácter de conversación.
(If you need an English translation please contact with the author).
Entrevista Enrique Ferré Ferri para el proyecto de conservación en Cátedra Arte y Enfermedades, UPV y Perspectives- Art, Inflammation and Me, AbbVie.
DATOS DE IDENTIFICACIÓN DEL CUESTIONARIO
Artista: Enrique Ferré Ferri
Lugar y fecha de la entrevista: 28 de abril Tortosa y junio 2014, Valencia (España)
Entrevistado por: Ruth del Fresno, en Richmond Hill, ON. Canadá. /Y en Valencia en directo.
La entrevista se realizó por escrito en abril y en directo en junio, fue grabada en audio y en vídeo. Duración del audio 01:00:33.
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Enrique Ferré did not want an online interview, so we waited until we had the opportunity for a face to face interview. A video recorded document is available if you would like to watch it, please ask for it. He is not worried about durability. He accepts ageing. He trusts that the owner will take care with love and respect.
Anaïs Florín
An example of a NOT Good interview
In this interview, I (the interviewer) talk too much, not allowing the artist to think by herself or answer without my intervention. This situation causes monosyllabic answers. Even that, the artist is capable of reflecting on the crucial areas and recognizes essential concepts. She also affirms that now she is aware of conservation and obsolescence. She admits that the interview has helped her to make decisions in the future.
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We have decided to publish the entire transcription of the interview to be able to understand what is important to avoid in an artist interview. Please find here the edited and the non-edited transcription of the conversation.
Verònica Francés
The Job by Verónica Francés, 2014. Video Action. This interview was conducted to establish a series of protocols for the preventive conservation of the piece. This interview is an example of how the conversation can help to raise awareness and create strategies together. The artist is interested in obsolescence, and she agrees on a technological update for the archive.
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If you are interested HERE you can find the edited transcript of the interview. In this document, you will find an edited interview. We talked in person in Valencia at the Faculty of Fine Arts. There is an audio recording archive of 41’36’’ and a video. The original document is in Spanish, if you need any help with a translation, please contact us. This is part of a Ph.D. research.
Coco Guzmán
First interview. March 8th, 2018
This interview happened at the installation of Coco's Master graduation show. Las Cosas Que Se Quedan/ The things that remain. We talked about materials, techniques, ideas. Coco is a queer artist whose body of work talks about Invisibles. This subtle concept affects the protocols related to conservation.
Transcription and audio record will be available soon
ALEJANDRO MAÑAS
Additional Information
The artist is concern about the image of the artwork. He considers a deterioration any visual change. Therefore, He doesn't want any visual or aesthetic change. He accepts ageing as something that we can't do anything about, but he doesn't want changes in the piece related to time. He allows changes and substitutions for the electric parts. He wants everything to work correctly. The artist was not aware of obsolescence and reflected on it. Again, the interview helped to raise awareness. He agrees with a rematerialization of the piece in case of destruction, considers that an original.
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You can access the entire edited transcription HERE. The interview was conducted in Spanish. If you need an English translation, please contact us.
Olga Martí
Additional Information
During the interview, the artist realizes about obsolescence and other issues related to conservation. This interview is fascinating, where the artist has to answer questions about ephemerality (for the performance) and TBM issues (For the video). She does not consider damage if ages, but she is worried about the possibility of losing the sound.
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You can access the entire edited transcription HERE. The interview was conducted in Spanish. If you need an English translation, please contact the author.
SERGI MESA
Additional Information
Sergi Mesa is interested in painting. He likes to create his materials combining different materials, brands and techniques. He is concerned about conservation in terms of materiality and physical aspects. Sergi Mesa thinks that the piece doesn´t have to change. For him, deterioration is anything that changes or altered the original painting. He is not interested in the ageing aspect. This piece is not varnished.
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The original interview was conducted in Spanish. the goal was to establish some strategies for the preventive conservation of this painting. HERE you can read an edited version of the conversation. This document is in Spanish, if you need an English version, please contact us.
ANA PASTOR
Additional Information
Perfectly Normal by Ana Pastor, 2014. Installation. This interview was conducted to establish a series of protocols for the preventive conservation of the piece. Thanks to the generosity and open collaboration of the artist, we could work and manage unsafe situations. This interview is an example of the importance of working together with the artist and create bridges of trust for future emergencies. In this document, you will find and edited interview and a study case. We talked through Skype, and there is an audio recording archive of 58’19’’. The original document is in Spanish, if you need any help with a translation, please contact us.
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For Ana Pastor, this has to be an interactive piece. If there is no interaction, there is no artwork. The interview helped to understand Pastor's ideas and creative process, which will allow the conservator to preserve the piece. This is a study case as we had a particular situation, and thanks to the interview, the Artwork was saved.
Sergio Porlan
Additional Information
(ENG)
The following interview was conducted for the Ph.D. research:
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
It is important to have in mind that the use of the questionnaire was part of the methodology used for this research. In the dissertation conclusions the author talks about the limitations of this methodology and recommends an open semi structured conversation.
The interview was slightly edited, we wanted to maintain the conversation character.
(If you need an English translation please contact with the author).
(ESP)
La siguiente entrevista se realizó en el marco de la investigación de la tesis doctoral:
Del Fresno-Guillem, R. (2017). LA ENTREVISTA AL ARTISTA EMERGENTE COMO MODO DE CONSERVACIÓN PREVENTIVA Estudio aplicado a los proyectos Perspectives- Art, Inflammation and Me y Perspectives- Art, Liver Diseases and Me [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/90410.
Se debe tener en cuenta que el uso del cuestionario fue la metodología escogida, aunque en las conclusiones de dicha tesis se hace notar que no es la metodología idónea. La autora recomienda una entrevista más abierta.
La transcripción ha sido levemente editada, lo necesario para ser legible, pero no se ha modificado el carácter de conversación.
Entrevista Sergio Porlán para el proyecto de conservación en Cátedra Arte y Enfermedades, UPV y Perspectives- Art, Inflammation and Me, AbbVie.
DATOS DE IDENTIFICACIÓN DEL CUESTIONARIO
Artista: Sergio Porlán.
Lugar y fecha de la entrevista: 18 de diciembre de 2014, Murcia (España).
Entrevistado por: Ruth del Fresno, en Richmond Hill, ON. Canadá.
La entrevista se realizó a través de Skype, fue grabada en audio. Duración del audio 00:53:50.
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For the artist, this is an ephemeral artwork. materials are important but for their concept not for their materialistic value. He agrees on the idea of substitution if needed. The piece has an specific way to be installed which is part of the concept.
MARCO RANIERI
Additional Information
On May 14th, 2014, we had the opportunity to talk with Marco Ranieri. This interview was part of a Ph.D. research and also a strategy to create a protocol for preventive conservation. The meeting was by Skype, and there is an audio recording. The artist participated openly and became aware of conservation strategies. Most of his work is made with natural objects, plants or the landscape itself. Some of these pieces are interventions and are not meant to last. Some become subproducts of actions. His main concern in terms of conservation is related to concept and symbolism.
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Marco Ranieri doesn't care about the ageing of the materials or an inevitable natural degradation, but he is apprehensive about the original products. The piece is made with unique personal objects. Thus, it will be impossible to substitute. The artist agrees on restoration following the same steps he did when produced the Object-sculpture. to read the entire interview you can find an edited version HERE.
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BEATRIZ ROS
Additional Information
On May 14th, 2014, we had the opportunity to talk with the multidisciplinary artist Beatriz Ros. This interview was part of a Ph.D. research and also a strategy to create a protocol for preventive conservation. The meeting was by Skype. There is an audio recording. The artist was aware of some conservation factors such as Obsolescence and Time Base Media related problems.
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Beatriz Ros is concern about the concept of DETERIORATION. You can read an edited version HERE. The interview is in Spanish, if you need an English translation, please contact us.
CHIARA SGARAMELLA
Additional Information
The conversation maintained with Chiara took place in May 2014. She was concerned about some aspects of her work in relation to conservation. Her pieces are in balance with nature, and ephemeral materials are always present. In this case, there is a branch and some flowers. In October 2015 we discovered some xilofag action in the branch. Chiara decided that a natural evolution of the piece was not deterioration, moreover was not desired either. The problem was fixed but not beautified. For Chiara deterioration is related to the concept and the artist intent.
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The Case of Gemas was presented as a study case in the Ph.D. research defended in 2017. Thus, the interview published in an edited document accompanying the whole study case. The paper is in Spanish, and you can read it HERE. If you need an English translation, please contact us.
Miriam Tudela
Additional Information
Miriam Tudela's interview was part of the research presented in the Ph.D. thesis. First, we had several conversations about her idea of conservation. Her pice had to be preserved pristine and in the best of the conditions. We had to remake the exterior drawing in case of erosion. After a series of circumstances, Miriam changed her idea of deterioration, and we decided to conduct a formal interview.
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The idea of deterioration changed radically and therefore, the conservation protocols had to be adapted. Read the whole case and the interview transcription. If you need an English translation, please contact us.
PABLO VINDEL
Additional Information
Pablo Vindel is a multidisciplinary artist interested in research about textiles, ideas, words, actions. He manages an artist's space in Valencia, Spain, The Liminal. The interview was through Skype. It recorded in an audio archive, and no pictures were taken. This interview should be another example to avoid some mistakes while conducting an artist interview. The interviewer talks too much instead of listening. The discussion helped to shape the idea of Deterioration based on the artist's words. For Pablo Vindel, this piece should be in perfect condition. No physical or conceptual interruptions are allowed. Substitution is an option if the artist is involved in the decision-making process.
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The idea of deterioration is narrowed to the concept. To read the artist interview transcript, please go HERE This interview is in Spanish. If you need an English version, please contact us.
SABELA ZAMUDIO
Additional Information
Sabela Zamudio is a multidisciplinary artist interested in controversial and underground parts of society. Her work is a protest and reflection. In the interview, she is concerned about the message of the piece. Her video installation consists of material and technology, but for the artist, the main point of view is the message. In terms of conservation, this is an important aspect. The interview was in person, in a small office, at the Faculty of Fine Arts in Valencia, Spain. It was recorded in audio, and no pictures were taken. The interviewer talks too much. This interview should be another example to avoid some mistakes while conducting an artist interview
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The idea of deterioration is related to the concept. Zamudio agrees with substitution as a conservation strategy. To read the artist interview transcript, please go HERE. This interview is in Spanish. If you need an English version, please contact us.