»Digitalizacija sodobne umetnosti« (DCA) je tridesetmesečni projekt digitalizacije sodobne umetnosti, tj. umetnosti, ki je nastala po letu 1945, – kulturna dediščina, ki še manjka v Europeani, skupni dostopni točki do evropske kulture.
V okviru DCA se bo oblikoval korpus kvalitetnih digitalnih reprodukcij 26.921 umetniških del (slik, fotografij, skulptur, instalacij, videov) in 1.857 dokumentov, ki dela umeščajo v kontekst. Vse gradivo bodo dostopno na Europeanii, in to ne le z uporabo metapodatkov in pomanjšanih digitalnih podob, ampak tudi z neposrednimi povezavami na večje reprodukcije del. V okviru DCA bodo urejene avtorske pravice za vse dostopne digitalne vsebine. Tako ustvarjene vsebine, med katerimi bodo tudi mojstrovine ključnih umetnikov iz večine evropskih držav, bodo zapolnile vrzel v vsebinski ponudbi Europeane.
Glavne teme, ki se jih projekt loteva, so izbira specifikacij za digitalizacijo in metapodatki , ki so medsebojno kompatibilni, in iskanje primernih agregacijskih rešitev za vsako institucijo. Glavni rezultat projekta bo objava del na Europeani. Postopek digitalizacije v okviru DCA bo tudi prispeval k ohranjanju umetniških del.
Namen projekta DCA je narediti sodobno umetnost bolj vidno na spletu kot bistven izraz in neprecenljiv del evropske kulture ter zbuditi zanimanje širše javnosti s tem, da je na portalu Europeana sodobna umetnost obširneje predstavljena.
Ciljni uporabniki in njihove potrebe
Glede na veliko zanimanje za sodobno umetnost je vsebina DCA relevantna za širok krog mednarodne publike (vključno s študenti vseh starostnih skupin), ne le za strokovno javnost. Digitalne reprodukcije in metapodatki bodo po vsej verjetnosti še posebno zanimivi za:
- širšo javnost, posebno še (vendar ne izključno) za vse, ki jih zanima sodobna umetnost,
- druge, bolj ozko specializirane uporabnike:
- posrednike med splošno javnostjo, umetnino in umetnikom, kot so umetnostni kritiki in založniki,
- uporabnike s področja izobraževanja, kot so učitelji, dijaki in študenti,
- uporabnike s področja raziskovanja, kot so umetnostni zgodovinarji in filozofi,
- strokovnjake, ki se poklicno ukvarjajo z umetnostjo, kot so muzejski delavci in vodiči,
- uporabnike s področij turizma, informacijske tehnologije, trženja, kreativnega oblikovanja,
- zbirateljske institucije (reprodukcije je mogoče uporabljati za raziskovalne namene, ohranjanje umetnin, publiciteto, izobraževanje);
DCA bo povečala dostopnost sodobne umetnosti tudi v drugih prostorih poleg izhodiščnih muzejskih in galerijskih okolij. Spletni prikaz na Europeanii in drugih portalih bo omogočil dostop do sodobne umetnosti tudi manj mobilnim ljudem, ki bodo lahko uživali v umetninah, ne da bi fizično morali v muzej.
Različne skupine uporabnikov bodo imele razne pristope do projekta DCA, vendar bodo njihove potrebe vseeno lahko pogosto enake: vsi bodo želeli preprost in hiter dostop do zanesljivih in kvalitetnih digitalnih reprodukcij sodobnih umetniških del – in če jih ne mislijo uporabljati v komercialne namene, bodo prav tako pričakovali, da do vsebin lahko pridejo brezplačno. Novoustvarjeno digitalno vsebino si bo na spletu v celoti lahko ogledal vsakdo.Europeana (in drugi portali) bodo uporabnike napotili na originalni kontekst predmetov (npr. na domačo stran muzeja) s povezavo, da si bodo lahko ogledali boljše vizualne podatke in dobili dodatne informacije o posameznem delu. Te povezave bodo doprinesle k boljši uporabnosti Europeane, povečale vidnost spletne strani sodelujočega muzeja in tudi spodbudile partnerske institucije, da razvijejo nove spletne aplikacije (poleg DCA), npr. orodja, s katerimi bo uporabnik lahko oblikoval svoje lastne virtualne razstave ali zbirke. To bo javnosti dalo bolj zanimivo izkušnjo zbirk sodobne umetnosti posameznih institucij.
Del tehnologije za reproduciranje in prikazovanje kakovostnih digitalnih vsebin je že na voljo v sodelujočih zbirateljskih institucijah. Za del digitalizacije bodo zunanji izvajalci zagotovili potrebno opremo. Partnerice bodo zagotovile baze podatkov z metapodatki in vizualnim materialom. DCA bo institucijam pomagal vzpostaviti ali prilagoditi baze podatkov, da bodo lahko zadostile lastnim potrebam in najnovejšim metapodatkovnim shemam, slovarjem, izmenjavi podatkov, itd. Tistim institucijam, ki ne morejo gostiti velikih video datotek, bo projekt omogočil sodelovanje z GAMA portalom. Za čim večjo sinergijo bo DCA upošteval tehnične specifikacije Europeane in poiskal najustreznejše poti za agregacijo novih vsebin v Europeano. V primerih, ko vsebin ne bo mogoče vnesti z obstoječimi agregatorji, bo za to na razpolago agregacijska platforma (ki bo temeljila na platformi, razviti v projektu ATHENA). Za mapiranje metapodatkov bo DCA nadgrajeval orodja, ki so jih razvili partnerice.
Digitalne podobe, ki bodo nastale v okviru DCA, bodo postale del digitalnih zbirk sodelujočih institucij. Te bodo skrbele za njihovo dolgoročno hranjenje. DCA bo nudil smernice in pomoč pri tem, kako ohranjati digitalne dokumente in skrbeti, da ostanejo dostopni daljše obdobje. Delovni paket bo v celoti posvečen temu, da bo pomagal partnericam oblikovati izvedljiv načrt za ohranjanje digitalnih vsebin v prihodnosti.
Konzorcij DCA bo zagotavljal nove vsebine za Europeano: metapodatke in podobe 26.921 umetniških del ter 1.857 z njimi povezanih dokumentov. Med njimi so tudi mojstrovine, ki so jih v različnih umetnostnih zvrsteh ustvarili ključni umetniki iz evropskih držav. Med najbolj znanimi umetniki so Marina Abramović, 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 … Umetnine in dokumenti pripadajo ustanovam, ki rabijo podporo pri digitalizaciji in sodelovanju v Europeani. Zbirk je 21, prihajajo pa iz 12 evropskih držav: 17 zbirk je iz držav, ki zaostajajo pri omogočanju dostopa do svoje dediščine na Europeani. DCA bo vseboval besedila in slikovni material ter tudi video in zvočno gradivo – ki sta v Europeani premalo zastopana.
argos - 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.
ARS 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.
European 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.
Frissiras 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.
Fundação 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.
Fundació 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.
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.
Latvian 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.
LIMA (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.
Macedonian 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.
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.
Museum 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.
Museum 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.
Museum 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.
Museum 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.
National 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.
National 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.
National 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.
Netherlands 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.
PACKED 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.
Reykjavik 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.
Royal 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.
Staatliche 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.
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.
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.
WRO 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.
- Work package 1: Project Management
- Work package 2: Partner coordination and technical specification of collections
- Work package 3: Metadata requirements for digitising and archiving contemporary art
- Work package 4: Digitisation (supervision)
- Work package 5: Preparation, aggregation and ingestion of content
- Work package 6: Long-term sustainability (guidelines for long-term preservation of digital files)
- Work package 7: Dissemination
- APEnet aggregates content from Europe’s national archives.
- ASSETS aims to improve the usability of Europeana
- ATHENA aggregates museum content and promotes standards for museum digitisation and metadata.
- BHL-Europe brings biodiversity heritage into Europeana.
- CARARE aggregates content for the archaeology and architectural heritage.
- ECLAP will build a digital performing arts library.
- EURO-Photo digitises photographs from news agencies.
- European Film Gateway (EFG) aggregates cinema related material.
- Europeana Connect adds sound material to Europeana.
- Europeana Local brings content from regional and local content holders.
- Europeana Regia is digitising royal manuscripts from Medieval and Renaissance Europe.
- Europeana Travel will bring material associated with travel,trade,tourism and migration in Europeana
- EuropeanaPhotography will bring photographic collections online.
- EUscreen contributes television material to Europeana.
- HOPE aims to improve access to digital social history collections.
- JUDAICA Europeana looks at the Jewish contribution to Europe’s cultural heritage.
- MIMO will create a single access point to digital content and information about musical instruments.
- Natural Europe connects the digital collections of natural history museums.
- The European Library aggregates the content of national libraries.
- thinkMOTION gathers content from the field of motion systems.