tv Doc Film Deutsche Welle December 17, 2019 2:15am-3:01am CET
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. from giant rats made of polyester. to lashings of synthetic resin. the big name contemporary artists are radical purveyors of pushing back the boundaries of convention. very early on i was using the term also were not encumber a large news motor or a or der does actually. how do you deal with unstable materials. i'm not talking to christian about how to conserve my work. i'm talking about how i making it. today the entire art world faces a huge challenge in how to preserve contemporary masterpieces many of the un or 3rd . materials used are not designed to last forever. german conservator christian
shine a man is the go to man in this field. his new york studio deals with many of the most important works of our time. leading galleries multimillionaire collectors and many of the world's top living artists all seek his help. christian chinaman opened his new york studio in 2002 but his career started in the german city of hamburg his 1st restoration studio was on the flight and an island surrounded by canals in a beautiful old building. on november 9th 1909 the same day the berlin wall came down a huge new exhibition space open and home. the dash to holland became a leading center for contemporary art. that's just suddenly we have these 2 halls
in hamburg that were dedicated to large scale exhibitions of contemporary art and art restorers found themselves facing new demands like how can i conserve a loaf of bread that's part of an exhibition what do i do when i need candy that always needs to look original even 300 years from now and what we did not always didn't let all know in the aisle and. christiane was the right man at the right time with his natural curiosity and nothing stated on old techniques and ways of thinking. there was one tragic mishap involving a washbasin by a hole but. the child evidently thought it was a real sink and wanted to swing on the edge of it so it ended up broken and christiane was called and he went to go bare studio in new york and i think that was his 1st foot in the door to the new york art world's. majok a quince to vote tory but my work at the top holland in hamburg brought me into
contact with a range of artists it was very inspiring and these artists would ask me questions that no one in hamburg had ever asked before. like how do i conserve bananas. i found it really interesting. so through dr harlan i got to know a lot of artists and the wider art scene i mean i remember going along the street in hamburg one day and getting a call from david. and he said we need someone like you in new york. do you fancy coming to america at this one exists now i mean it was about. 71 after obviously it's wonderful to visit all the art studios here in new york and to be involved in the production of these works of the research for them and ultimately conserving them too. i don't know but. christian chinaman loves getting on his bike and writing to his studio in chelsea
but these days he's often traveling the globe advising artists during the creative process or seeking to rescue a piece that's been damaged. or construct generally artworks come to our studio just before they're about to change hands. so we have to be very discreet because obviously no collector or auction house wants to see their works in a restoration studio in a mycelium studio as in. these days art is often produced in a very short space of time but conserving it is painstaking work that requires a lot of devotion schneiderman works with a team of highly specialized conservators. it's a really amazing place to be work comes here to the studio was not just a monetary value but it's also got an emotional value as far as monetary value we try to remain on the sly as much as possible because for conservator to do their
work properly it doesn't matter if the work is from a junkyard or if it's worth $10000000.00 you still have to execute the same sort of treatment. today a work by on vogue american artist way gotten has arrived at the studio. he creates his large scale works using inkjet printing. many are displayed in art museums. came from germany and the great was never opened apparently and then this happens to. be on the 5 ends. of the thing it looks pretty severe to me someone inside the crate i can fix it. then i. feel all these flesh is part of it yes the. it's mostly in the right. of the work on the top. was in
a unstable climate or so so you'd make some kind of step in terms of. there's also this misconception too that things come here only if they're broken and that's not the case often things come here just for a condition part are things come here to be cleaned or you know just to be fresh and up which isn't necessarily. a definite you know so it's a one stop shop here. we do it up it is it's like no i've done this drawing that illustrates the path taken by an artwork from the artist's studio to the museum. it includes the individual stops which usually involve a freelance conservator at some stage so ardor of. the work is born in the artist's studio. many contemporary works comprise experiments with untested materials. the artwork then leaves the studio.
for the 1st time it's now in the hands of people outside the studio presenting a high risk. at this stage changes can still be made. the photo for a catalogue then documents its original condition. whichever gallery puts the work on the market decides its future fate. it might find a permanent home in the house of a collector but often artwork. bought as an investment and spend their lives in storage. storage with display for art experts. if the work gets purchased by a museum the museum's own restorers take care of it. if an accident at any stage causes irreparable damage the work and up an insurance company storehouse ending its life. the stations that an artwork passes through from artist studio to museum or
a source of danger but also of joy for the artwork some artists say their works get better treatment than they do 0. for the museum of modern art in new york the ephemeral nature of many contemporary art works is a major challenge. it's thrown up new questions for the museum's chief curator for painting and sculpture and. whole new phenomenon over these last couple of decades which christian represents absolutely. close collaboration in the creation of the artwork many artists really are consulting with conservators before or during their making work. and in the olden days that would not have been true. christian chinaman is a frequent visitor to los angeles an important center for arts. today he'll be
working for paul mccarthy. his task to conserve desert dust on a sculpture by the american post pop artist mccarthy rose to fame through his provocative performance art. at the not so i 1st met mccarthy in 1903 during the post-human exhibition in hamburg in the dive to holland i'm amazed at the creations that he and his sizeable team come up with and be here on zion moses team. this is paul mccartney is a version of a pirate ship made and here he's created a traumatized version of disney's 7 dwarves. they have a somewhat demented look as they stare back at their observers. this culture references westerns again he distorts the myths of american movie making. mccarthy's numbers up to 40 people and includes sculptors
engineers and carpenters who turn his visions into reality here a group of experts are working on a silicon replica of mccarthy's own body. will you use the perfect knowledge part of that motion picture industry also all 3 parks all those kind of stuff it really functions work on the people and ball. sympathy and interest in art. what. is so great. that has to do with obstructing the more mild. a day or flipping head of the form an expression about over the absurdity of existence. one of
the pieces i just made this is a film that i have from a life cast and cast them and silicone and then put skeletons in them so they can move and we use them in the film as a sort of film doubles for certain actions and especially actions involving amputation in that process we filmed in the desert and dust gets all over touchups all over your fake blood the question then began to be as objects the solar columns could last words platinum silicone feel rather clay should have a really indefinite life but the dirt would get in the dirt in the dust. became like do i try and preserve this. fizzle he had said so if the money just as you can conserve mat surfaces on paintings we're trying here to conserve that surfaces on sculptures and there are ways of doing that. and here i know the whole
thing reminds me of eve klein paintings which often have very powdery surfaces. here we're trying out a medical nebulizer house or in this case we're putting in sturgeon glue dissolved in water in the that will be vaporized in the air and then very slowly settle on the grains of dust and link them with each other so that they don't immediately fall off and you might even be able to touch them and it was the 1st conservator i ever really approached who was a conservator there was interest a lot of the issues that were being brought up by contemporary art of the road to the boys in flux or some of the things that and materials that were being used. in a way and come out of that tradition to. turn
privilege. to see. our. next christian chinaman had to brooklyn to visit. up and coming artist ryan sullivan. for the 1st time he's going to be on hand as sullivan creates a new artwork allowing him to study how the materials behave during the process. ok willing you should just go. get the molds ready and i'll put it into a purse that will take it from there. ryan sullivan turned to him and to get a better understanding of the chemical reactions involved in his paintings. he's left a number of works to dry overnight. using paint brushes he applied resin mixed with color pigments into silicon molds. every morning we take them out of the molds and slip them over and so that's the 1st time that we see the face of the
painting. i'd used home a big is the rez it is toxic. or like i'm in it silent and when i start working yes the machines start the fans the machines come on and i don't think it's. intentional. thing that i've added but may be subconsciously these things become part of. the head space that. is my working since one.
is for the column and goal of monks painters the late sixty's to assert the relevance of painting and power. more of painting despite the fact there's been a lot of criticism about whether painting is still a valid medium to use. this was a tactic trick. so you directed it but then it did something so little doubt that drips they all but this is going to really dance over the city and they said so it was because of electricity but is that in the beginning of the calendar i say they do that meeting up and they move around a little bit but it's almost like my theory being that dumb to know that 2 that is about this yeah it's coming out. 'd
when work such as those by sullivan are transported special attention has to be paid to the materials they contain. the crows your company is a specialist in this area and like shot him in studio it's based in the new york art district of chelsea. most accidents occur during transport because of the size of the works there are enormous value and the delicate materials involved transporting them as a major operation. by one of the people that goes out on the trucks and 1st here in texas artworks installs the tags the condition reports that we meet with clients and problems all the difficult things out there and come up with trying to move something really valuable and difficult to handle.
many contemporary art works to bury shergold foot they won't fit in the majority of their calls for international travel they sometimes turn fits him. even the launch of trucks that we use so we often look to other industries to learn lessons where the routes and extreme trey should look to hell not so move some of their large truck i change around whether it's up to lights or whether it's for rockets. i have studied sculpture but i do photography and performance based on. my vocation is to be an artist you know for now and just to create a crozier for of people or artists because then they already have the experience with handling work. once these objects give parents away into their boxes i always kind of wonder when what we want to see will be. a gallery shows the artwork in perfect condition and
ideal surroundings. in order for that to work the artist and the gallery have to trust each other. the divots gallery which operates on 3 continents represents british artist chris ofili. he was the 1st black artist to win the prestigious turner prize. ofili became famous for using elephant dung and his paintings shine him and has been advising him for years on how to work with this organic material and oh feelings exhibition paradise lost takes visitors on a journey through lost innocence alienation and desire. a little bit of a new direction in the work and in terms of black and white power. they seem very abstract and. you can't really enter the cage so we're looking from the outside and we have these beautiful murals that are behind us but they somehow
mirror some of the imagery that we see within the sounds and therefore individual works and ultimately will probably make their way to my walls through. the actual explosion of the art market has made conservators in particular christian increasingly needed as a conservator he's in demand now all over the world and so many years now working with a number of collectors who really want him to have a look at anything they buy before they actually make the final commitment and he maintains advises them on the storage and transport and also work philosophical intellectual aspects belated artists intentions. and this is a watercolor by chris ofili that he gave to me. and. it's
very nicely frame from the back with a dedication. to mine thanks chris tell all who continue to support. what chris. and doctors have basically travelled all over the world visiting various collectors to stabilize their pictures because everywhere there was elephant dung that was slowly coming away from the layer of paint and causing breaches. will hit it was a tough and easy and the pictures are propped up against the wall standing on elephant dung that has been soaked in resin. it's between is. this is from think the sand for chris it's important that it's not just any elephant dung but specifically from elephants in london zoo. and once when he was here he wrote down the names of the elephants that he collaborates with as it were. long.
money. and of course that creates a personal link with this dung. chris doesn't see it as excrement at all. but as an important means of orientation for nomads in the desert refigure is. little or no martin and no use to this is also the money for those it's also an important building material for nomads and it's used for making a fire too you know. in a way he's almost like a fashion country doctor who makes house calls he likes to touch the object is not afraid of the object i've noticed that when he is shown something that for which you know we we need his opinion help touch it he's not going to focus finger on it but he wants almost like someone a good medical examiner will will touch and and really feel the patient.
in her work strange fruit named after the song by billie holiday installation artist zoe leonard explores the fleeting nature of life following the tradition of vanita still life paintings in the early ninety's she scooped out the flesh of $300.00 pieces of fruit and then sew them back together with needle and thread. and the bodies of the original banana skins that she stitched back together. is it and this is an orange. the work was inspired by her friend david voight norwich who had died of aids. and then she heard they were able to conserve food so she got in contact. as. cons of. limited we did all kinds of tests and after 2 years of correspondence she decided to just leave it instead. leonard informed christian chinaman of her decision in
a letter. as for the fruit i did sleep on it and i reached a decision i'm very pleased about it i decided that the fruit should be left to disintegrate slowly. i thought of many other things about saving the skin after the fruit is gone decorating death. that there is something pathetic and something beautiful in our need to preserve. private art collectors also faced the question of what to do about perishable materials. jill krauss and her husband are collectors of contemporary art she doesn't seek expert advice when buying her work preferring to follow her own intuition instead. she says her
artworks are like members of the family. this is their call i assume men what i love about this piece is that it's bringing the artist's studio into our apartment this is issues that are difficult to deal with as a collector i mean these steps like the tube of paint. goes through the hole in the floor and lots of organic materials and things that over time will definitely have its challenges we have a lot of things in our collection that are definitely major materials that are not . conservation happy christian and i have really bonded every 3 years over things that are difficult we're going to walk into the living room and i'm referring to this room is my garbage trim all the artwork is made with detritus
so things that have been sort of thrown away and bring used by the artist there are problem children and and i you sort of refer to the earth whose children because they are temperamental like little kids start now on to another possible step in the process. and basel switzerland. run by the hare talking tomorrow on architecture firm it has a unique concept it's a storage place for art but here the works are not stowed away in boxes they're put on display in rooms offering the ideal climate conditions. this allows experts to study the originals and observe any changes. to show number is the show naga is an open storage space for art unlike other storage options the art here is not packed away but unpacked one problem that a lot of museums face is having to lock away many of their works. the advantage
here is that you can constantly work with the collection even if it's not being made accessible to the public to. sit and want to get off this is i'm on a graphic storeroom for matthew barney barney works with a lot of new materials so enabling the works here to be studied intensively and checked regularly represents huge progress. and this 2nd often matthew barney is often inspired by materials that are intelligent or that have certain abilities that makes it really interesting for the conservator so. he's a real master of the linguistics of materials. the darling of the new york art scene plays the leading role in his famous film project the cream master cycle. it's a mixed media project involving
a suite of 5 feature length films with related sculptures photographs and drawings . is of fear maybe because i think he produced about 10 copies of the film series. everyone who buys the films gets a glass showcase which i think is wonderful. to showcase with this sculpture and this d.v.d. . this one is aqua plastic each crema star has a different material as the protagonist. so the protagonist is not a human being but immaterial. as to d.v.d. this is the d.v.d. case for cream master 2. and here you see the artificial honeycomb made of wax. you can see there are some darker things and a collector asked recently whether it ought to be cleaned. then i had lunch with
matthew and he said oh yes i remember we put nutmeg in there to simulate the pollen collected by the bees i mean it's all day and. duchamp evaded the history of modern art away from some kind of insistence of the role of the artist's own hands in the making of the object still today there's somehow a premium put on something coming from the 2 hands of the artist and this is very very very old fashioned at this point you could have the artist studios. which really don't need to even be anything because the artist could be on his or her laptop on a bus and then you have also artist studios that are full of rows and rows of workers as if it were a bank on their computers figuring out sketches diagramming looking up things on
e bay so there is no one. artist's studio. i know it was always one of my dreams to be able to work on pop art so i was very happy to be asked to work with james rosenquist and his the state stage. rosenquist was one of the great protagonists of the pop art movement his widow mimi thompson is now responsible for the many works he left behind works dominated by the themes of advertising and the american dream. we have a lovely team that works together and try it we try to imagine what jim would want to do as far as exhibition and selling more and. storing where and everything so. i don't think we can actually be his voice but
the next best thing which would be some you know somebody who cares about the worth and really tries to imagine what he would do if he were in our situation so. it's. is that that's not an easy role. mimi thompson pays a visit to what used to be her husband's favorite diner. the walls are adorned with a number of rosenquist paintings in tribute to the great artist. in 2017 shot him in studio prepared a large selection of rosenquist paintings for a retrospective in germany. penya was charged with cleaning the works. without making them look new again so as to retain the sense of history. i haven't seen this beautiful glowing story because i mean this so this edge here
is not yet cleaned and you see the thing of mars and the abrasion of the different panels and. and we clean this site. and overshadowed by. the opposing conditions at the moment the nice thing about all these words is that you still see the history if you didn't educate the history it would have lost aura of this is from the seventy's and we all know different pieces of information so it's great when we all get together and talk to everybody yes. which is so important that would be a great thing we haven't done that. much. jim would love to see them. right now they are looking so good and. you know it's just you know you know. we've been talking to you. every day
and. accidents can be extremely expensive especially if the work is damaged beyond repair. but then a virus is an art expert and legal consultant. if a piece of art gets damaged she liaises between the collector and the insurance company. she works closely with christian chinaman and his team. today she's coming to the studio to assess the way guyton work that was damaged. one of the things that is very difficult in art market is it's not fair. carol so you have to look at multiple markets it's kind of like corning actually it's being traded and there's a black market which is kind of like the private dark matter so are collectors trading it amongst themselves there's no records there's the dealer and so we work
with the dealers and talk with the dealers and trying to figure out especially if it's an iconic work you know there's this irrational kind of element like what could this work be worth so it's very abstract and then there's the kind of transactional element what's happening at auction every day and globally and you have to combine all of that data the camel lies and most importantly look at the work right before was the average and the condition of the work right before it was damaged so that's that's one element i'm not swine discussion and that is totally of fiduciary responsibility as it is static one is more about you know what does it represent and what have we lost in terms of make our material culture and our history and the 3rd is really about the artist to talk about whether it should be considered a total loss or not but. over here you can see 5 finger marks. ok then over here you know this has
a different sheen i think someone cheated it probably was this looks like a big cloth. and raking lead you can see this pattern of saying what happened is that morris tree was perhaps wrapping the painting in a plastic wrapping and must have just you know because it's patterned very actually although they are all the way down you know such as showing that it's a shame it's an awesome paint is an amazing painting because this is really one of the breakout 2008 radios yeah and it documents the beginning. of his work you know and that and there aren't that many of us who are it was in the. a long line of. blacks unfortunately this farm really is the death of the playground so i guess they can get a commission report from your leader was already telling us it's tragic it's a tragic death it's like watching a you know fatal car act and so after
a total loss you know the artists they vary every artist has a different approach they have a different working process some artists are you know everything they want to have and preserve and so they take the death very very very hard and there's a long mourning period and there's a long discussion and other artists who may war more prolifically or federally they may be. more open to it and then there's a kind of 3rd artist who is like those suicide artists who you know. there are all the in the collectors they don't think the damage is a big issue but the artist is ready is going to kill their own their own object. christian chinaman maintains close links with many of the artists he works with. the late karalee schneeman was one of them. he would travel to upstate new york
every 2 months to visit her. she led the way for an entire generation of female performance artists and yet only achieved global fame herself late in life. we filmed him visiting shimon to discuss preparations for an exhibition. he brought a few delicacies from manhattan for the 2 of them to share over a leisurely chat. karalee schneeman struggled with the fact that once her work was sold it wasn't clear what would happen to it. many of her works were highly personal and radical experimenting with the issue of the female body in 2017 she received the golden lion at the venice pm. ali for her life's work that same year the museum of modern art in new york presented the 1st comprehensive retrospective of her work spanning 6 decades and so she needed chinaman's help. you know when you come into the studio is that because you are you already have is
that it is like owners are laying eggs of oh i have a big problem for you waiting in the big studio. and this problem one is the big broken favor is the same kind of photographs 7 feet long and now they wanted in the museum at p.s. one 0 yeah there is still very soon so we'll look at that today and they're very excited that you can give me some advice. and maybe we can fix it. i think you can fix it but you don't have much time oh believe the shoes you know the work is somehow separate from the appreciation that's coming from the world the people who take the work they just i it. and certainly all my early most significant work is gone. and then what do the do with it we don't know i put it in
storage could be you know now they know that i don't know is it mostly in museums no mixed private people or some of them donated to a museum you know rehab or is not locked away or for some investment in the future and actually throw the switch and you'll see them go up and down. and then give it a minute it warms up. is it plugged in. yeah. i think sometimes through the way they're not stiff and so it's very very they can i think i should defend the posture. and i passed a. very. it's ok they don't they just. how could that happen.
in her performance piece interior scroll and stood naked on a table with dark paint on her face and body and slowly to a narrow strip of paper from her vagina. it was over the image over extracting the text from my vagina was a source of interior. male does not make himself honorable he always orchestrate something for nude women. to accrue to his sexual dynamic and so my intention was that i would never have any participant do something for work of mine that i wouldn't do myself so i had to try everything on myself and i had to be within it to take 7 rubinar need to take the energy to take the.
surprise of what it would be. one of the reasons that all this has been happening at the end of the 20th century and in the beginning of the 21st century is that we don't have these methods of forever in these myths of immortality and so why does the work need to be somehow outside of that cycle of birth and death that's why the work that christian and his colleagues to touch is there was a focal questions that are at the root of why artists make car and why people come to museums to see at the very end of the park we're often asked whether we work for
take. 30 minutes to double. since the nation emits a d w exclusive 20 years ago 3 prominent members of the bella roost in opposition disappeared without a trace now a key witness has come forward to reveal what he knows that meeting in the process that he was an accessory to murder his information leaves little doubt the orders to kill came from the highest authorities a close a big source of 90 minutes on d. w. no. show and flings this is not a ball speaking when i come to the show with a ding dong xoai and concerts with the mistress guests.
knocking sounds. credible location. welcome tonight. every week on w. this is news and these are our top stories. u.s. plane maker boeing is suspending production of its 737 max from next month to fatal crashes in 5 months that claimed nearly $350.00 lives and forced the grounding of the previously successful aircraft. a breakthrough in the trade war between the