档案新馆布展协作联动机制研究

档案新馆布展是一个系统完整、复杂渐进的过程,需要多方共同参与。文章对我国档案新馆布展工作现状进行了分析,总结出档案布展人员在积极争取馆房规划建设、档案接收征集、档案信息化、档案保护、档案编研等馆内相关部门支持,建立共赢机制的同时,还应充分利用外界资源,寻求档案馆际间,档案馆与图书馆、博物馆、展览公司、宣传部门及展览"受众群体"之间的长期合作,建立多方参与的联动机制,以提高档案展览质量,使展览在更广的领域内发挥作用。     

The Artist Initiative at San Francisco Museum of Modern Art

The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print.     

高校干部人事档案管理 应打造数据平台 加强数据建设

干部信息系统建设的一个重要内容是数据建设,数据建设的关键是数据管理。只有强化数据意识,加强数据建设,明确数据规划,构筑数据平台,规范数据管理,确保数据质量,紧抓数据源头,规范采集数据,采取多种措施,检查维护数据,开发数据资源,拓展数据应用,加强数据防护,确保数据安全,才能打造出成功高效的数据平台,全面推进高校干部人事档案信息系统建设。     

Autoethnography as a new approach in conservation

This paper proposes autoethnography as a new approach for conservators. It allows for a process-based assessment that foregrounds the conservator's personal input during conservation treatments and installation procedures. It addresses the cognitive processes that steer towards the desired result in a chain of micro-level decisions. Two examples relating to the work of conceptual artist Jan Dibbets illustrate the approach. One provides insight into the conservator's deliberations during a conservation treatment, the other demonstrates the co-constructed nature of the artist interview as a negotiated text. These conservator's testimonies include and enforce the reflexivity that is needed to remain critical, not only when managing complex artworks. The methodological approach of autoethnography enriches the conservation of cultural heritage in general.     

Values,ideas, and practices in social representation of the subject: A possible dialogue between artist and conservator on contemporary art

This poster presents the results of an investigation carried out to assess the different possibilities that a discipline belonging to the field of social psychology, and defined by the social representation of the subject and thus different from the conservation/restoration field, could contribute to the study of the relationships between those involved in the production and preservation of contemporary art, the artist and the conservator-restorer.     

社区档案服务的行动逻辑:一个过程、主体和价值的三维框架

城市管理体制的变革和信息技术的发展,带来了社区治理的诸多挑战。社区档案资源的利用、管理和服务等过程分别指向社区档案资源的行政价值、社会价值和人本价值目标,并由其构成了社区服务治理的框架结构。从社区档案的三个过程到档案资源的三种价值传导,需要建构由政府主导的档案利用、馆社共建的档案管理和公众参与的档案服务等为核心内容的社区档案管理行动逻辑。     

Finding common ground and inherent differences: Artist and community engagement in cultural material and contemporary art conservation

Comparisons are often made between the conservation of cultural material collections, often described as ethnographic, and contemporary art collections, and indeed there are significant parallels. The stewardship of both of these types of collections can challenge traditional tenets of conservation, requiring conservators to ask themselves ‘What are we preserving?’ as preservation extends beyond the physical. The work must be placed in a broader conceptual context and the conservator must seek out those who are deemed to have the most authority – whether it is the artist, the artist's assistants and estate or the source community – to establish this context. Engagement with constituents creates valuable reciprocal relationships, which can benefit the artist, community, and museum. The relationships and the parallel practice of two seemingly disparate fields are examined using examples from the National Museum of the American Indian (NMAI) and the Yale University Art Gallery (YUAG). Conservators at NMAI, a living culture museum containing archeological, historic, and contemporary art collections, are in the unique position of working with community stakeholders with direct ties to historic collections and contemporary artists whose work is actively acquired by the museum. Conservators at YUAG, an encyclopedic museum with a pedagogical directive, are attempting to establish a more rigorous program of artist engagement to direct preservation and understanding of contemporary art collections.     

政务抖音档案化:价值、主体与路径

在短视频爆发式发展的背景下,政务抖音异军突起,成为公共管理部门提供政务服务和与民众互动交流的重要平台,产生了大量数字信息资料。政务抖音是否需要档案化和如何档案化成了档案馆亟待解决的问题。鉴于此,文章阐述了政务抖音档案化的概念和价值,梳理了政务抖音档案化的主体及其关系,并提出政务抖音档案化的路径。     

Preserving the Open Form. The Oskar and Zofia Hansen House in Szumin: Between architecture and contemporary art

A wooden summer house in Szumin, built between 1969 and 1970, is a spatial manifesto for the Open Form — a theory formulated by Polish architect, artist, and educator Oskar Hansen (1922–05). Oriented towards participation, process, and change in the hierarchy between the architect and the user, or the artist and the spectator, Hansen's theory formed a strong conceptual basis for his architectural, artistic, and pedagogical practice. Being a faithful expression of these ideas, the house is a spatio-temporal, transitional object, defined by constant adaptation to the changing needs of its users. In 2014 the property came into the custody of the Museum of Modern Art in Warsaw, Poland. A conservation strategy was developed to preserve both the idea and the physical aspect of the site. With its dominance of concept and artist's intent, this house has a stronger resemblance with a work of art than with built heritage. Therefore, the procedures developed for the conservation of contemporary artworks have been applied. These tools help to evaluate the range of necessary interventions and to set up a conservation programme.     

用户画像视域下档案馆精准服务:内涵、机理及实现策略

充分挖掘档案用户数据价值有助于档案馆开展精准服务,而嵌入用户画像则进一步满足了档案用户需求,为优化档案服务提供新方法。通过梳理当前档案馆精准服务研究成果,探究用户画像服务内涵及功能,从而探析用户画像视域下档案馆精准服务的运行机理及应用前景。结合档案馆应用用户画像的进展,就用户画像视域下的精准服务核心难点提出了相应策略:增强档案用户数据扩展与融合、强化用户画像实时变化中的隐私保护、完善精准服务反馈评价体系,以实现精准化档案信息检索、信息推荐及知识服务。     

信息时代图书、档案、情报一体化管理在欧美的新趋势

文章就政府管理、国际专业协会的尝试与实践、美国的教学实践、一体化的成功之路——EAD技术四个方面介绍了图书、档案、情报一体化管理几年在欧美的发展趋势。     

Conserving contemporary artworks: perspectives of artists and curators at the National Art Gallery of Zimbabwe

In fine arts, contemporary artists seek to showcase their artistic skills and concepts. There is very little awareness by most artists on the quality of materials they use in art production and the conservation needs of contemporary artworks which pose conservation challenges as materials used and the physical quality of artworks produced are secondary to what the artists seek to express. Of prime interest to them is the expression of concepts through various genres of art creation. However, the quality of material used by most artists is largely affected by their financial situation and inadequate knowledge on the durability of such materials. Artworks created using recycled materials such as found objects and cheap materials like poor quality paint on paintings, low grade paper in artworks, or poor quality wood present conservation challenges to professionals in galleries. The end product are artworks made from composite materials, some stable and unstable. Thus professionals are faced with a dilemma to reconcile the conservation needs of these artworks and the artists’ expression of their concepts. Moreover, in the absence of remedial conservation measures, artworks are prone to deterioration. This is worsened by dwindling donor and government funding which negatively impacts on the gallery's capacity to conserve the art. Additionally, conceptual expression, artistic creativity, and commercialisation of the art are of priority over conservation. Therefore there is need to maintain a balance between the need to express concepts and commercialise the art on one hand and to conserve the contemporary artworks on the other hand.     

档案资源在创伤记忆国际认同中的建构作用及实现路径探析

文章以南京大屠杀事件为主要分析对象,主要探讨的是集体语境下的创伤记忆。首先,对创伤记忆国际认同的意义以及国际认同面临的困境加以探讨;其次,指出档案资源在创伤记忆中的建构作用及其作用机理,详尽阐释创伤记忆的延续传承直至国际认同离不开档案资源的建构;最后,从档案的视角探讨促进创伤记忆国际认同的实现路径,将创伤记忆的研究引申至档案学领域,以期在丰富档案学理论的同时让集体创伤记忆得到更大范围的认同。     

Conservation and authenticity: Interactions and enquiries

Abstract

The possible meanings in conservation of the word authenticity are discussed and some different definitions are briefly evaluated. Recent research showing the brain reacts differently to the concepts of copy and authentic is reviewed. The relationship between cultural heritage charters and how authenticity has been employed in them is explored with examples from the Athen's Charter, The Venice Charter, The Nara Document, The San Antonio Declaration, and the UNESCO World Heritage Documents. Several examples are discussed in the text concerning the interactions between authenticity and restoration, employing the examples of ancient buildings and old master paintings. Some of the important writings on the subject of authenticity by scholars and art historians are reviewed. Criteria which could be used to evaluate the concept of authenticity in different cultural settings are discussed and these are illustrated with case studies taken from restoration carried out on ancient marble sculptures, the Sistine Chapel frescoes by Michelangelo, and the artwork of several prominent forgers. Given that concerns about the authenticity of art are multi-dimensional, it is important that the present fragmentation of the arguments concerning authenticity across the disciplines properly take into account the conservation field and are aware of the debates within conservation concerning this topic. The questioning of the relevance of authenticity is a healthy process, and may now be framed quite differently from the way in which it was discussed even 20 years ago.     

Conserving a boundary: The conservation and management of a Berlin Wall mural

In 1991, five segments of the Berlin Wall, first painted by renowned contemporary artists Thierry Noir and Kiddy Citny, were bought at auction, transported to the USA, and placed in an outdoor environment that severely advanced the deterioration of the painted surface and reinforced concrete substrate. This paper discusses aspects of the conservation treatment and management plan for these painted segments of the Berlin Wall. The strategy and criteria for the conservation program were defined by a multidisciplinary team that comprised conservators, concrete specialists, and engineers; the deliberations of this team also led to an appropriate treatment and management plan. The choice to intervene at a minimal level meant treatment was restricted to stabilization rather than restoration or reconstruction of deteriorated areas. Additionally, the team decided to reinstall the pieces indoors to reduce future deterioration.     

从“拒绝”订单看档案利用预约平台的使用——以郑州大学档案馆为例

对郑州大学档案馆"档案利用预约平台"上产生的订单数据(时间跨度为2018年11月至2019年12月)进行统计分析,得出平台在使用过程中,存在档案利用者对档案馆工作职能存在认知偏差、主动拒绝和被动拒绝影响使用体验感、业务类型设置不合理的问题。从宣传普及、平台优化以及业务逻辑三方面提出相对应的解决建议,并针对下一步高校档案信息化工作提出了设想。     

Conservation from conception: Commissioning an installation by Cai Guo-Qiang

Over a period of six years, the Queensland Art Gallery / Gallery of Modern Art and Chinese artist Cai Guo-Qiang developed and realized the major art installation Heritage (2013). The artwork comprises 99 life-sized imitation animals congregating at a waterhole and covers 1104 m² of floor space. This paper reviews aspects of the commission, construction, and completion of Heritage – a very large-scale, technically complex contemporary installation. From commission to acquisition, the project was a highly collaborative undertaking and is an interesting example of unconventional conservation. This paper, written from curatorial and conservation perspectives, describes this cooperative endeavour.     

2004-6-16 to 2014-8-15: The birth and death of a work by Gu Dexin

Conservators who work with contemporary materials are experiencing a paradigm shift that affects not only their role, but also the decision-making process associated with each unique work. Importantly, such actions sometimes contradict established preservation doctrine. This paper describes the challenging preservation efforts associated with a large-scale sculpture/installation produced in 2004 by Gu Dexin. Those efforts contradicted many of the standards and ethics of conservation, particularly considerations related to compromising the life of a given work. Ultimately, the decision made in this case led to the demise of that object. This paper will include information obtained from the various stakeholders — including the donor and the artist — and a compendium of the exhaustive considerations that facilitated the final decision.     

浅析少数民族地区高校科研档案管理——以右江民族医学院为例

本文以右江民族医学院为例,描述高校科研档案的归档范围以及目前科研档案管理的现状,阐述在管理过程中存在的问题,并且针对本单位地处少数民族地区的具体情况,提出了相应的应时措施。     

社会治理视域下公众参与档案资源建设的内涵与模式

公众参与档案资源建设既是新时代社会治理赋予的必然权利,也是公众参与社会治理的实践表征.界定社会治理视域下公众参与档案资源建设的概念内涵,厘清三者之间的互动关系,归纳总结国内外公众参与档案资源建设的既有模式,对于明确当下公众参与现状和面临的困境并针对性地提出对策具有先导意义,进而有效凸显社会治理中的公众角色和档案力量.