TY - JOUR
T1 - Balancing Conflicting Types of Authenticity in the Reconstruction of Sound and Music in the Installation Work Blikk (1970)
AU - Rudi, Joran
N1 - Funding Information:
The research for this article was financed by a Leverhulme grant at the University of Huddersfield. I extend my thanks to Curator's associate editor and reviewers for their insightful comments and suggestions in the final preparation of this manuscript. The reconstruction of was initiated and funded by the National Museum of Art, Architecture and Design, Norway, and the restoration project was led by curator Randi Godø. I am grateful for discussions about restoration issues with the entire team during the collaborative process, including Irma Salo Jæger, one of the original artists who set it all in motion. I also extend my thanks to the Berge family for their good will in providing access to crucial and authentic source material. Finally, I thank my previous NOTAM colleagues Cato Langnes and Thom Johansen, who most generously contributed their sound and programming expertise to the project. Blikk Blikk
Publisher Copyright:
© 2023 The Authors. Curator: The Museum Journal published by Wiley Periodicals LLC.
PY - 2023/1/1
Y1 - 2023/1/1
N2 - This article describes the quest for authenticity in thereconstruction of music, sound, light and logic in the installation workBlikk(The Gaze)by Irma Salo Jæger, Sigurd Berge and Jan Erik Vold. My work onthis installation was undertaken at the behest of the National Museum forArt and Architecture in Oslo, Norway, who planned for the installation to bepart of the exhibition when the doors opened to their new building in June2022, following several years of construction.Blikkis described here incontext with other works from the same period with which it shares somecharacteristics, and also with a view on the commissioning institution thatrepresented and promoted radical artistic and curatorial innovation at thetime. This frames my discussion of the different authenticity concerns thatemerged during the restoration and reconstruction process. In fact, as theproject grew from relatively trivial restoration to more involvedreconstruction, weighing different authenticity types became the centralelement of the effort. I have used written, visual and sounding sources indescriptions on how I have balanced these concerns, and the discussion hasbeen supplemented with information on the music technology available tothe artists in 1970.
AB - This article describes the quest for authenticity in thereconstruction of music, sound, light and logic in the installation workBlikk(The Gaze)by Irma Salo Jæger, Sigurd Berge and Jan Erik Vold. My work onthis installation was undertaken at the behest of the National Museum forArt and Architecture in Oslo, Norway, who planned for the installation to bepart of the exhibition when the doors opened to their new building in June2022, following several years of construction.Blikkis described here incontext with other works from the same period with which it shares somecharacteristics, and also with a view on the commissioning institution thatrepresented and promoted radical artistic and curatorial innovation at thetime. This frames my discussion of the different authenticity concerns thatemerged during the restoration and reconstruction process. In fact, as theproject grew from relatively trivial restoration to more involvedreconstruction, weighing different authenticity types became the centralelement of the effort. I have used written, visual and sounding sources indescriptions on how I have balanced these concerns, and the discussion hasbeen supplemented with information on the music technology available tothe artists in 1970.
KW - Authenticity
KW - Sound and Music
KW - Blikk (The Gaze)
UR - http://www.scopus.com/inward/record.url?scp=85147419665&partnerID=8YFLogxK
U2 - 10.1111/cura.12539
DO - 10.1111/cura.12539
M3 - Article
VL - 66
SP - 85
EP - 106
JO - Curator
JF - Curator
SN - 0011-3069
IS - 1
ER -