Omschrijving van het project

“Digitising Contemporary Art” is een digitaliseringsproject van 30 maanden dat zich richt hedendaagse kunst, d.w.z. kunst gemaakt na 1945 – een type van cultureel erfgoed dat nog grotendeels afwezig is in Europeana.

DCA zal een digitaal corpus van hoge kwaliteitsreproducties realiseren van 26.921 kunstwerken en 1.857 contextuele documenten en zal deze ook toegankelijk en doorzoekbaar maken via het Europeana-portaal; niet alleen metadata en thumbnails, maar ook directe links naar grotere digitale reproducties van elk object. DCA verzekert dat de rechten op alle beschikbare digitale content geklaard zullen worden. De toegeleverde content, die onder meer meesterwerken van belangrijke kunstenaars uit de meeste Europese landen omvat, zal een leemte opvullen in de huidige toelevering van content aan Europeana.

De voornaamste onderwerpen van het project zijn de keuze van specificaties voor digitalisering en metadata, om deze interoperabel te kunnen maken, en de juiste aggregatieoplossing te vinden voor elk partnerinstelling. De uitwisseling met Europeana zal het voornaamste resultaat zijn van dit project. De digitalisering die gebeurt binnen DCA zal ook bijdragen tot de preservering van de kunstwerken.

Het DCA project beoogt de online zichtbaarheid van hedendaagse kunst als een essentiële uitdrukking en waardevol onderdeel van de Europese cultuur te vrebeteren, en de interesse van het brede publiek te stimuleren door een sterkere aanwezigheid van hedendaagse kunst in de Europeana-portaal te introduceren.

Het doelpubliek en hun noden

Gezien de grote interesse in hedendaagse kunst is de inhoud van DCA interessant voor een breed internationaal publiek (inclusief geïnteresseerden van alle leeftijden) en niet enkel voor specialisten terzake. De digitale reproducties en hun metadata zijn in het bijzonder interessant voor:

  • het brede publiek, voornamelijk maar niet exclusief voor diegenen met een interesse in hedendaagse kunst;
  • andere, meer gespecialiseerde gebruikers;
    • mediatoren tussen het brede publiek en het kunstwerk of de kunstenaar zelf, zoals kunstcritici, uitgevers,...;
    • gebruikers uit het educatieve veld zoals leerkrachten, studenten,…;
    • gebruikers uit het onderzoeksveld zoals kunsthistorici, filosofen,…;
    • professionelen binnen de kunstwereld zoals museumwerknemers, gidsen,…;
    • kunstenaars;
  • gebruikers binnen het bredere veld van toerisme, IT technologie, marketing, creatief design,…;
  • de collectiebeherende instituten (reproducties kunnen gebruikt worden voor onderzoek, preservering, publiciteit, educatie,…);
  • Europeana.


DCA zal de toegang tot hedendaagse kunst in andere omgevingen dan de originele context van musea en galerieën vergemakkelijken. Online vertoning via Europeana en andere aggregatieportalen vergemakkelijkt de toegang tot hedendaagse kunst voor minder mobiele personen, die nu ook van deze kunstwerken zullen kunnen genieten zonder zich fysiek naar een museum te hoeven verplaatsen.

Gebruik

Het gebruik van het DCA project door verschillende groepen varieert in aard, maar de noden zijn vaak dezelfde: iedereen wil gemakkelijke en snelle toegang tot betrouwbare, kwaliteitsvolle digitale reproducties van hedendaagse kunstwerken – en wanneer men geen commerciële intenties heeft, verwacht men dat deze toegang bovendien gratis is. Iedereen zal de mogelijkheid hebben om de nieuwe digitaal gecreëerde inhoud integraal op het Web te raadplegen. Via Europeana (en andere portalen) zal men door middel van een link doorverwezen worden naar de originele context van de gevonden items (bv. de website van het museum), om verrijkte visuele data en aanvullende informatie over het eigenlijke kunstwerk te kunnen raadplegen. Een dergelijke verwijzing verrijkt de Europeana-ervaring, verhoogt de zichtbaarheid van de website van het bijdragende museum en zal partners ook aanzetten tot het ontwikkelen van nieuwe webapplicaties (buiten de scope van het DCA-project), zoals tools die de gebruiker toelaten om eigen virtuele tentoonstellingen of collecties te bouwen. Dit zal voor het publiek resulteren in een interessantere ervaring van hedendaagse kunstcollecties uit de partnerinstellingen.

Technologie

Een deel van de technologie voor de reproductie en weergave van digitale inhoud van hoge kwaliteit is reeds beschikbaar in de bijdragende collectiebeherende instituten. Voor sommige digitaliseringsacties zullen onderaannemers externe digitaliseringsfaciliteiten ter beschikking stellen. De partners zullen zelf databases voor metadata en beelden voorzien. DCA zal de instituten helpen om hun database op te starten of aan te passen om tegemoet te komen aan hun eigen specifieke noden en state-of-the art metadataschema’s (CDWA, Spectrum, MuseumDAT…), trefwoordenlijsten (AAT, RKDartists&, ULAN…), data-uitwisseling, etc. Voor instituten die geen grote digitale videobestanden kunnen hosten, zal DCA een samenwerking opstarten met project GAMA. Om de synergie te maximaliseren zal DCA continu rekening houden met de technische specificaties van Europeana (ESE, thumbnail size, IPR, enz.). DCA zal de meest geschikte wegen identificeren om de nieuwe inhoud naar Europeana te aggregeren. Indien de content niet kan aangeboden worden door via reeds bestaande aggregatoren, zal de Nationale Technische Universiteit van Athene (NTUA) een ingestieplatform ter beschikking stellen (gebaseerd op het platform ontwikkeld in het ATHENA-project). Voor het mappen van de metadata zal DCA voortbouwen op de tools die ontwikkeld door zijn partners in andere projecten.

De digitale beelden die binnen de context van DCA geproduceerd worden, zullen deel gaan uitmaken van de digitale collecties van elke partnerinstelling. De partners zullen instaan voor de duurzaamheid op lange termijn, zoals ze dit reeds doen voor andere data en beelden. DCA zelf zal richtlijnen leveren en ondersteuning bieden omtrent hoe de digitale bestanden te bewaren en hoe ze toegankelijk te houden op lange termijn. Het werkpakket rond duurzaamheid zal volledig gewijd zijn aan het ondersteunen van de partners bij het ontwikkelen van een praktisch plan voor de toekomstige bewaring van de digitale content.

Content

Het DCA-consortium zal nieuwe content aanleveren voor Europeana: metadata en afbeeldingen van 26.921 kunstwerken en 1.857 contextuele documenten. Het corpus van DCA bevat meesterwerken uit verschillende kunstdisciplines en van belangrijke kunstenaars uit de meeste Europese landen. Sommige van de best gekende kunstenaars uit Europa zijn Marina Abramovic, Orla Barry, Christian Boltanski, Marie José Burki, Gusztáv Hámos, IRWIN, Sanja Iveković, Bjorn Melhus, Carsten Nicolai, Dan Perjovschi, Fiona Tan, Blast Theory, Luc Tuymans, Steina Vasulka, Franz West,… De kunstwerken en contextuele documenten behoren toe aan instellingen die steun nodig hebben bij hun digitalisering en bijdrage aan Europeana. De 21 collecties zijn afkomstig uit 12 Europese landen: 17 zijn afkomstig uit landen die achterop lopen op vlak van het toegankelijk maken van hun erfgoed via Europeana (10 van Tier 1 en 7 van Tier 2 landen, landen die niet ver staan in hun poging om hun cultureel erfgoed toegankelijk te maken via het Europese cultureel-erfgoedportaal). Het corpus van DCA zal naast teksten en afbeeldingen ook video- en geluidsmateriaal bevatten, twee contenttypes die ondervertegenwoordigd zijn in Europeana.

Partners van DCA

click to open/closeargos - centre for art and media (Belgium)

Argos is a platform for audiovisual and plastic arts, at which specific attention is given to the interface between disciplines and to a conscious and alert association with the information society’s evolution. The centre was founded in Brussels with the intention of promoting and archiving video art, initially within Belgium and later internationally, as well as conserving historical works. Argos’ functions include production, conservation and archiving, as well as presentation - exhibitions, film and video showings, lectures and performances.

click to open/closeARS Electronica (Austria)

Ars Electronica is an organisation based in Linz, Austria, founded around a festival for art, technology and society. The Prix Ars Electronica, the Ars Electronica Festival, the Ars Electronica Center Museum of the Future and the Ars Electronica Futurelab are the four divisions that comprise Ars Electronica Linz GmbH, the specific orientation and long-term continuity of which make it a unique platform for digital art and media culture. Ars Electronica possesses one of the world’s most extensive archives of digital media art from the last three decades.

click to open/closeEuropean Media Art Festival (Germany)

The EMAF is one of the most influential forums for international Media Art. Each April the European Media Art Festival of Osnabrück puts on an annual screening of productions by internationally recognised media artists and innovative work by talented young artists from the academies. Around 250 of the most recent contributions in all sections are selected for the festival from more than 2,000 submissions each year. These works offer a comprehensive view of current trends in international media art. The EMAF’s holdings consist of more than 4,000 films, videos, and documents.

click to open/closeFrissiras Museum (Greece)

The Frissiras Museum houses the private collection of its founder, Vlassis Frissiras and holds 3,500 works of anthropocentric painting, including important names such as Peter Blake, Frank Auerbach, David Hockney, Paola Rego, Jean Rustin, Pat Andrea, Valerio Adami, Leo Golub, Dado, Mimo Paladino, Antonio Segui and Sam Szafran. The museum also hosts other Greek and international exhibitions by established or younger artists in a fertile discourse within the context of artistic and cultural developments in Europe.

click to open/closeFundação Serralves (Portugal)

The Serralves Foundation’s mission is to raise the general public’s awareness of contemporary art and the environment through the Museum of Contemporary Art. The Museum’s collection covers a period spanning from the end of the 1960s to the present day. The symbolic start-date for the collection is 1968, but it refers specifically to the socio-cultural events of the second half of the 1960s. The collection aims to provide an exhaustive representation of the ruptures that took place in Portuguese art between the mid 1960s and the end of the 1970s.

click to open/closeFundació Antoni Tàpies (Spain)

Fundació Antoni Tàpies was created by Antoni Tàpies in 1984 to promote the study of modern and contemporary art. It aims at cooperative ventures with experts in different fields of learning to contribute to a better understanding of contemporary art and culture. It combines the organisation of temporary exhibitions, symposia, lectures and film seasons with a range of publications on Antoni Tàpies’ work. The initial core donated by Antoni Tàpies has been enlarged with recent and historical publications as well as international videos and magazines, which help to swell an ever-increasing collection.

click to open/closeiMinds (Belgium)

iMinds is an independent research institute founded by the Flemish government to stimulate ICT innovation. Formerly known as IBBT, the Interdisciplinary institute for BroadBand Technology, it comprises over 500 researchers, based on research teams from existing knowledge centres. Multimedia Lab (MMLab) is a young research group within iMinds and part of the Ghent University. It has a portfolio of basic research, applied research and contract-based research with industrial partners. The main areas of expertise of the MMLab are: video coding and compression, image/video processing and analysis, multimedia content adaptation, metadata technology and gaming technology.

click to open/closeLatvian Centre for Contemporary Art (Latvia)

The Latvian Centre for Contemporary Art is a non-governmental institution, the aim and mission of which is to promote the development of contemporary art in Latvia and to support its integration into the international art scene. The LCCA attempts to contextualize contemporary art, promote Latvian contemporary art internationally and to collect, update and disseminate information about Latvian contemporary art. The information centre has a library and artists’ works data base that has been growing since 1993.

click to open/closeLIMA (the Netherlands)

LIMA is the international platform for sustainable access to media art, founded by experts from the former NIMK. With knowledge and passion for both art and technology, these experts are insuring that video, digital and performance artworks can and will be presented well into the future. Therefore LIMA operates in three areas: preservation, research and distribution. LIMA distributes its own collection, that counts over 2,000 works, ranging from early experiments by videoart pioneers to born digital art by upcoming talent. With the storage and digitisation services it supports museums, galleries and individual artists. And in collaboration with artists and museums and universities LIMA carries out research in preservation and accessibility of this segment of cultural heritage.

click to open/closeMacedonian Museum of Contemporary Art (Greece)

At present the MMCA’s permanent collection is made up of 1,800 works by Greek and foreign artists. Apart from the permanent display, the MMCA has mounted over 100 exhibitions of works by Greek and foreign artists such as Fluxus artists, Robert and Sonia Delaunay, Matta, Viallat, Beuys, Uecker, Greenaway, Hockney, Ernst, Barlach, Beckmann, Zervos, Kaniaris, Varotsos and many others. The museum library is made up of two-and-a-half thousand books and reviews on art. All catalogues published by the MMCA, audio-visual material and the museum’s archive of artists are available to the public.

click to open/closeMu.ZEE (Belgium)

Mu.ZEE is the art museum by the sea for Belgian art, with complete openness and accessibility. Mu.ZEE creates an active space for the public and artists where art can be approached in a relaxed, free and creative way. The museum houses a valuable collection of art originating from the joint efforts of the Province of West Flanders and the City of Ostend. It’s story unfolds through a unique collection of Belgian art dating from 1830 to the present day. The collection includes works by artists like James Ensor, Constant Permeke, Léon Spilliaert, Georges Vantongerloo, Paul Joostens, Roger Raveel, Raoul De Keyser, Panamarenko and Luc Tuymans. The specific form of the collection makes it unique within the Flemish museum landscape. The collection policy and exhibition programme aim to ensure that Mu.ZEE is constantly in dialogue with the international art scene.

click to open/closeMuseum Boijmans Van Beuningen (the Netherlands)

The Museum Boijmans Van Beuningen is the main art museum of Rotterdam, in the Netherlands. The museum has a diverse collection ranging from medieval to contemporary art, with a focus on Dutch art. Among the best known artists that are exhibited in the permanent exhibition of the museum are Hieronymus Bosch, Pieter Bruegel the Elder, Rembrandt, Claude Monet, Wassily Kandinsky, Vincent van Gogh, René Magritte and Salvador Dalí.

click to open/closeMuseum of Contemporary Art Grand-Hornu (Belgium)

Located on the site of the former Grand-Hornu colliery in the Mons Borinage region, the Musée des Arts Contemporains (MAC’s) is a landmark cultural project spearheaded by the French Community of Belgium.  The mission of the MAC’s is threefold: to build a collection, stage exhibitions and related events and create educational opportunities. The museum shows art of international standing, both in its traditional forms of painting and sculpture and their contemporary counterparts: photography, installation, video, mixed media and performance.

click to open/closeMuseum of Modern and Contemporary Art (Croatia)

Muzej moderne i suvremene umjetnosti in Rijeka offers an inspired interpretation of the tradition in modernity, fused with the vibrant reality of the contemporary art production and creates a dynamic collection that encompasses over 8,000 artworks, covering periods from the end of the 19th century to the present day. As an exhibition venue and educational centre, MMSU frequently organizes thematic and monographic exhibitions of Croatian and international artists as well as various screenings, symposiums and workshops that transform it into a place of inspiration, idea exchange and active participation.

click to open/closeMuseum of Modern Art (Slovenia)

Moderna Galerija (Museum of Modern Art) is the Slovene national institution for modern and contemporary art. As a museum of Slovene modern art it explores and presents the 20th-century Slovene art tradition, while as a museum of contemporary art and exhibition venue it presents new art practices and their context. It is also a documentary, study, research and education centre, a place for discussion and reflection and for the presentation of art to a wider audience.

click to open/closeNational Gallery - Alexandros Soutzos Museum (Greece)

The National Art Gallery and Alexander Soutzos Museum is an art museum in Athens devoted to Greek and European art from the 14th century to the 20th century. The institutional role of the National Gallery consists of creating collections, maintaining and studying artworks as well as providing aesthetic information for the public. The National Gallery organizes major exhibitions consecutively, thematic or of individual artists, Greek or international, which keep the public interest alive.

click to open/closeNational Gallery of Iceland (Iceland)

The National Gallery of Iceland is the principal art museum of Iceland. Its art collection contains about 10,000 works of art and comprises a unique collection, mainly of Icelandic art from the late 19th century to the present day. In its possession are many of the keystones of Icelandic art history, as well as a growing collection of works from other countries. The National Gallery’s main role is to collect, preserve, research and exhibit Icelandic art and offer education about it. There is also a considerable emphasis on showing Icelandic art in context with international art.

click to open/closeNational Technical University of Athens (Greece)

The Image, Video and Intelligent Multimedia Systems Lab (IVML) was established in 1988, as one of the Laboratories of the School of Computer and Electrical Engineering and of the Institute of Computer and Communication Systems (ICCS) of the National Technical University of Athens (NTUA) in Greece. The members of the Lab (which are about 35, including research scientists, researchers, PhD students, programmers, and supporting staff) participate in the design and implementation of intelligent semantic analysis and retrieval of multimedia content.

click to open/closeNetherlands Media Art Institute (the Netherlands)

The Netherlands Media Art Institute (NIMk) promotes the development, application and distribution of, and reflection on, new technologies in the visual arts. NIMk supports media art in three core areas: presentation, research and collection. The presentation department focuses on showing media art. Among other tasks, this division organizes exhibitions in the Institute’s own gallery space. At present the collection comprises more than 1,500 works, ranging from early experiments by artists now famous in The Netherlands and internationally to recent productions by up-and-coming talents. As of 31/12/2012, the organisation ceased to exist. Its role in the project was transferred to LIMA.

click to open/closePACKED vzw – centre of expertise in digital heritage (Belgium)

PACKED vzw was founded in 2005 as a platform for the development and dissemination of knowledge on the cataloguing, preservation and distribution of audiovisual arts. As digitisation has been an important aspect of the overall work, PACKED vzw has increasingly evolved in relation to the procedural challenges posed by digital cultural heritage in general. Since January 2011, PACKED vzw has been recognised by the Flemish Ministry of Culture as a centre of expertise in digital heritage. The organisation is actively connected to the broader Belgian and international digital cultural heritage field.

click to open/closeReykjavik Art Museum (Iceland)

The Reykjavík Art Museum (RAM) is the largest visual art institution in Iceland. RAM presents over 20 exhibitions annually, varying from large-scale, thematic exhibitions to installations by international artists and projects by emerging Icelandic artists. The museum holdings (currently a collection of 16,000 works) consist of six separate art collections: the General Art Collection of the City of Reykjavík, the Erró Collection, the Kjarval Collection, the Ásmundur Sveinsson Sculpture Collection, the Architecture Collection, and publicly sited work.

click to open/closeRoyal Museums of Fine Arts of Belgium (Belgium)

The Royal Museums of Fine Arts of Belgium, Brussels, host a collection of approximately 22,000 artworks (paintings, sculptures, works on paper, decorative art), covering a time period that ranges from the 15th until the 21st century. The institution includes five museums: the museum of modern art, the museum of ancient art, the Magritte museum, the Constantin Meunier museum,  and the Antoine Wiertz museum. The missions of the MRBAB-KMSKB include the conservation of the collections, conducting research projects, and organising exhibitions.

click to open/closeStaatliche Hochschule für Gestaltung (Germany)

The Karlsruhe University of Arts and Design (HfG) conceives itself as an academic institution implementing a new synthesis of research, teaching and experiment in the fields of art and science, appropriate to the conditions of an advanced industrial and information society. HfG undertakes to join – under an extended definition of the term ‘design’ – the design disciplines with the new media arts, with curatorial practice and art studies as well as with philosophy and media theory. It collects relevant experiences using digital media archives in the context of art and culture.

click to open/closeTransmediale (Germany)

Transmediale pursues the advancement of artistic positions reflecting on the socio-cultural, political and creative impact of new technologies, network practices and digital innovation. As a festival aiming to define the contours of contemporary digital culture, it seeks out artistic practices that not only respond to scientific or technical developments, but that shape the way in which we reflect and experience the technologies which impact our daily lives. Transmediale also documents, discusses and develops the social, political and economical circumstances by which art is surrounded.

click to open/closeUbitech (Greece)

UBITECH is a leading, highly innovative company, established to provide technical solutions and consulting services in order to pave the way for efficient and effective access and communication with various heterogeneous information and services. In the area of digital content and more specifically e-culture, UBITECH has successfully executed the implementation of the web-portal for the ‘Centre for Asia Minor Studies’ and the design and implementation of the ‘European Cultural Centre of Delphi (ECCD)’, offering digital content management and information presentation of the organization.

click to open/closeWRO Art Center (Poland)

WRO was founded in 1989 as an international festival of media art, which has surpassed its role of just a cyclical event, and since 1998 has been operating as the WRO Center for Media Art Foundation. It is the first in Poland, and one of the largest surveys of media art in Central and Eastern Europe, taking up issues of contemporary art in the perspective of culture and communication. Since 2008, the Foundation has run the WRO Art Center, a public gallery that offers exhibitions, performances, screenings, lectures and workshops featuring Polish and international art.


 

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