1st Edition

Documentation as Art Expanded Digital Practices

Edited By Annet Dekker, Gabriella Giannachi Copyright 2023
    216 Pages 30 B/W Illustrations
    by Routledge

    216 Pages 30 B/W Illustrations
    by Routledge

    Documentation as Art presents documentation as an expanded practice that is radically changing the ways in which to look at, participate in, and generate art.

    Bringing together expertise from different disciplines, the book provides an in-depth investigation of the development of documentation as a set of production, circulation, and preservation strategies. Illustrating how these are often led by artists, audiences, and museums, the contributions offer new insights into digital art and its history, curation, and preservation, through documentation. Considering documentation as the main method of preserving these art forms, the book analyses how it can address the inherent challenges of capturing live events, visitor experiences, and evolving artworks. Showing how documentation itself can become (part of) an original artwork, the book discusses ways in which these expanded practices can impact the value and experience of the documented event or artwork, giving consideration to how this might affect the traditional authority of the museum as creator of documentation used for future reference, historical relevance, or cultural memory.

    Documentation as Art demonstrates how the curation and preservation of documentation and the introduction of audience-generated documentation are radically changing exhibition and visiting practices in which documentation is becoming a significant and emergent cultural form in its own right. The book will appeal to researchers and students engaged in the study of museums and curation, art and art history, performance, new media and digital art, library and information science, and conservation.


    Annet Dekker and Gabriella Giannachi

    Part 1: Production

    1. The Tension Between Static Documentation and Dynamic Digital Art
    2. Annet Dekker

    3. Documentation in an Age of Photographic Hypercirculation
    4. Katrina Sluis

    5. Fifty-Two Weeks: A Year of El Paquete Semanal, the Cuban Offline Internet, and the Two Artists who Archived It
    6. Orit Gat

    7. In-game Photography
    8. Annet Dekker in conversation with Marco de Mutiis

    9. Documentation as a Creative Act
    10. Annet Dekker in conversation with Matt Adams

      Part 2: Circulation

    11. Challenges in the Creation, Perception and Distribution of Documentation 
    12. Sandra Fauconnier

    13. Leaking Lands: Museum Documentation without Digitization
    14. Ofri Cnaani

    15. Digital Culture: Heritage, Social Media and Documentation Practices
    16. Nour A. Munawar

    17. Step-And-Repeat: The Feed as The Great Flattener
    18. Gaia Tedone in conversation with Dena Yago

    19. One Terabyte of Documentation. The Circulation of GeoCities
    20. Annet Dekker and Katrina Sluis in conversation with Olia Lialina

      Part 3: Preservation

    21. The Use of Documentation for Preservation and Exhibition: the Cases of SFMOMA, Tate, Guggenheim, MOMA, and LIMA
    22. Gabriella Giannachi

    23. Rendering the Moment. Virtual Reality as Documentation Tool for Spatial Kinetic Artwork
    24. Yuhsien Chen and Tzuchuan Lin

    25. Collecting Social Photo. A Nordic Project in the Search of Sustainable Methods for Preserving Social Media as Cultural Heritage
    26. Anni Wallenius

    27. In Between Performance and Documentation
    28. Dragan Espenschied

    29. How a Guitar Started to Self-Document its ‘Identity’. The Future of Art Documentation

             Steve Benford and Gabriella Giannachi


    Annet Dekker is a curator and researcher. Currently she is an assistant professor of Archival and Information Studies and Cultural Analysis at the University of Amsterdam and a visiting professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. Her monograph, Collecting and Conserving Net Art (Routledge 2018), is a seminal work in the field of digital art conservation.

    Gabriella Giannachi is a professor of Performance and New Media at the University of Exeter, UK. She has published a number of books including Virtual Theatres (2004); The Politics of New Media Theatre (2007); Archaeologies of Presence, co-edited with Michael Shanks and Nick Kaye (2012); Histories of Performance Documentation, co-edited with Jonah Westerman (2017); and Technologies of the Self-Portrait (2022).