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MANCHESTER ART GALLERY

Conservation Management Framework for contemporary time-based media installations:

Using case study A Sleek Dry Yell (2008) by artist Haroon Mirza

ELIANA ZARRIN URRUTIA BERNARDMA of Cultural Materials Conservation

BA of Fine Art majoring in Sculpture and Spatial Practice

30 November 2012In accordance for Manchester City Galleries,

Mosley Street, Manchester, UK. M2 3JL

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ABSTRACT

ACKNOWLEDEMENTS

Amanda Wallace (Manchester Art Gallery)

Kate Jesson (Manchester Art Gallery)

Beverly Hogg (Manchester Art Gallery)

Alan Seabright (Manchester Art Gallery)

Phillippa Wood (Manchester Art Gallery)

Sian Millar (Manchester Art Gallery)

Shamus Dawes (Manchester Art Gallery)

Robert Dingle (Contemporary Arts Society)

Ben Barwise ( Haroon Mirza Studios)

Gabriela Cala-Iesina (Haroon Mirza Studios)

Haroon Mirza (Haroon Mirza Studios)

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VERSION CONTROL

Date No. Amendment Name01/12/12 1 Completion of original plan Eliana Urrutia

20/2/13 2 Barrier & lighting Display policies & addition of Appendix I Eliana Urrutia

TABLE OF CONTENTS

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EXECUTIVE SUMMARY

GLOSSARY

1 BACKGROUND

1.1 Description

1.2 Haroon Mirza

1.3 Richard (Kid) Strange

1.4 Concept

1.5 Object Inventory

2 SIGNIFICANCE

2.1 Artist Intent Statement

2.2 Contemporary significance

2.3 Artist significance

2.4 Dedicated Component Significance

3 CONDITION

3.1 Vulnerabilities and Challenges

4 POLICIES

4.1 Documentation

4.2 Packaging

4.3 Handling & Transport

4.4 Installation

4.5 Display

4.6 On going Conservation Maintenance

5 PRIORITISED RECOMMENDATIONS & IMPLEMENTATION STRATEGY

6 REFERENCES

7 APPENDICIES

Appendix A. Operation/Installation Manual

Appendix B. Risk assessment Matrix

Appendix C. Treatment Reports

Appendix D. Persons of Reference

Appendix E. Exhibition History

Appendix F. Installation Images (On going)

Appendix G. Performance Dialog of Richard Strange

Appendix H. Conservation Consumables

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Appendix I. Image Index of Archival Box Packing

EXECUTIVE SUMMARY

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A Sleek Dry Yell (2008) is a material assemblage of found objects and multimedia platforms that have been brought together to form a contemporary art installation that functions as a fractal feat of engineering. The work was developed through the collaborative union of artists Haroon Mirza (Visual/Fine artist) and Richard (Kid) Strange (Performance artist). The purpose of the museum management plan is to address all of the areas of concern for this piece with regards to the preservation, conservation and joint acquisition issues and hereby formulate one central document that will help to facilitate a universal management understanding, strategy, and cohesive communication between all stake holders/joint-owners.

GLOSSARY

Enabling components-

Consumable Parts-

Character Components-

Dedicated- Objects within the work that have been deemed significant to the installation and shall be preserved to function as intended for as long as possible without external interference

Non-Dedicated- Objects within the installation that may be altered and interfered with or replaced in order to maintain accurate functioning of dedicated objects.

Perishable Media- Any external wires, cables, plugs as well as any internal electrical components within such as speakers, TV monitors,

Artist Intent- As described in Odegaard (1995) the artists intent refers to the works object integrity based upon the artist idea’s and contexts founded in the objects cultural development and material collection.

1. BACKGROUND

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1.1 DESCRIPTIONA Sleek Dry Yell (2008) is an installation comprised of found object and electronics that utilises audio-visual instrumentation which is interconnected through the use of cabled plugs and circuit board wirings, in order to allow each object to communicate to the next one and run in a set sequence that produces an array of unconventional sounds.

There are five key structural component arrangements that bring the work together. These five key components are: the Clock, the Scroll, the Coins, the Sewing Table and the Performance.

The ‘Clock’ element comprises of a speaker unit fixed to a small white stand which is positioned upright and has a large LED clock resting vertically between stand and speaker, this produces a patterned tone of vibrating feedback.

The ‘Scroll’ component features a horizontally laid speaker unit attached to a small white stand that has an inbuilt flap which allows the horizontal speaker to be propped up at one end. On top of the speaker is a scroll circuit board that has a small arrangement of LED lights fitted which flash concurrent with the reverbed echo’s produced by the speaker.

The ‘Coins’ refers to the tall metal stool which has the final speaker placed horizontally across the seat. On top of the speaker is a set of 1 pence and 2 pence coins which are placed in the large central tweeter to create a vibrating resonance sound when speaker plays feedback patterns.

As for the ‘Sewing Table’ unit this contains a small antique sewing table that has circuit board attached to the top of the lid which has a hose pipe flowing through a small channel section across the circuit board, the water falls back into a waste bin resting below from where it was pumped from. The sewing table lid is propped open to reveal a set of fairy lights that have been modified to function on one pattern, also inside the lid is the relay which feeds outside of the sewing table to connect to a small casio keyboard which is controlled by the flowing water on the circuit board channel, this plays random notes each time water passes through. The sewing table also has a draw which is left open to display a small set of speakers attached to a different circuit board that plays a low reverb feedback noise.

The final component of the work is the ‘Performance’. On every opening night Richard (Kid) Strange performs a specific dialog and set of actions around the viewers who are present at the opening. The performance element of Richard (Kid) Strange is then repeated and continued through the use of a film presented on either a TV monitor or projection screen for the duration of the exhibitions time in each gallery. The work is considered more a performance rather than a fine artwork as Mirza defines the installation as ‘two different generations of practitioners engaging with music of a specific type’ (Mirza, H. 2012).

1.2 HAROON MIRZAHaroon Mirza graduated from the Chelsea College of Art and Designs’ Masters program in 2007. After graduation he undertook a period of research in Pakistan then moved to Sheffield and then on to London where he currently lives and works. His practice has been documented in RADAR in Art Kunst Magasin by Felix Krämer, curator of Hamburger Kunsthalle, Germany and he is to be included in ‘More Pricks than Kicks’, Generator Projects, Dundee and the ‘2008 New Contemporaries’ to open as part of the Liverpool Biennale. Previous shows in 2007 include ‘Noise Reduction: off’, Dreizehnzwei, Vienna and ‘Working Things Out’, Spike Island, Bristol. (Cabaret Futura, 2008) Mirza’s work is significant to institutions as his pieces well express the emerging contemporary art scene of time-based media installations now salient to this decade. As Mirza’s practice grows his

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work is gathering more and more attention and Mirza has been awarded the DAIWA Foundation Art Prize in 2012 as well as a Silver Lion at the 54th Venice Biennale and the Northern Art Prize in 2010. There has also been significant media attention focusing on his practice through publications such as The Guardian, Art Review, BBC World News, Aesthetic, The Independent, Frieze and Flaskart to name but a few. (Haroon Mirza CV 2012)

1.3 RICHARD (KID) STRANGERichard Strange, actor, writer, and musician, was the lead singer of the now disbanded ‘Doctors of Madness’, one of the few British bands who could credibly claim to be called 'proto-punk'. The band’s wall of white noise and feedback were the harmonic equivalent of bare-knuckle fighting. Since the band’s break up Strange has worked with a range of acclaimed film directors and artists from Tim Burton to Marianne Faithfull, Harmony Korine to Martin Scorsese. His critically acclaimed memoir ‘Strange- Punks and Drunks and Flicks and Kicks’ was published by Andre Deutsch in 2004 (Cabaret Futura, 2008)

1.4 CONCEPTA Sleek Dry Yell (2008) was initially a commission work for the artist run space Generator Projects in Dundee, Scotland, for the group show ‘More Pricks than Kicks’ and it ran alongside works from artists Laura Buckley and Alan Stanners. This group exhibition was a reflection of Samuel Beckett’s first novel ‘More Pricks than Kicks’ a dark fantasy which depicts the progressive joys of melancholy and the insights into an idiosyncratic world. The installation magnified these nuances to their rightful importance through tenacious accounts of liaising with materials.

Mirza has also stated that a great deal of inspiration for A Sleek Dry Yell (2008) was developed from Ken Russell’s ‘Altered States’ (Mirza, H. 2012) an American science-fiction film about a Harvard scientist’s research on sensory deprivation conducted in isolation tanks under the influence of psychoactive drugs like ketamine and LSD. The film’s soundtrack was heavily distorted and can be seen mimicked through various objects employed in A Sleek Dry Yell (2008).

It may be noted that Richard Strange also came up with the title for the work and wrote the dialogue specific for opening night performances, which is also featured in the video adaptation of the performance that is replayed as part of the work on a TV monitor or projector screen when the actual performance is not taking place. It is now known that A Sleek Dry Yell is an anagram from Strange’s wife’s name, Kelly Dearsley (Mirza, H. 2012). It has also been suggested that Richards performance dialog may also be anagrams of things significant to Strange.

1.5 OBJECT INVENTORY

No. ITEM TEMP ID. NUMBER

DimensionsH X L X W cm

1. Green Bucket 2013.01.01 28x30.5x302. Hosepipe with Pump Attachment 2013.01.02 Dimensions needed3. Regular Mains Extension cable (4 way) 2013.01.034. Regular Mains Extension cable (2 way) 2013.01.045. Phono Cable (3 way) 2013.01.056. Casio Keyboard Power 2013.01.067. Control Circuit Power 2013.01.078. Cable (Top Amp Left) 2013.01.089. Cable (Down Amp) 2013.01.0910. Cable (Unlabelled) 2013.01.1011. Phono Cable (single) 2013.01.11

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12. Extension Cable with Attached Relay 2013.01.1213. Clock Power with Attached Relay 2013.01.1314. Scroll Circuit Power with Attached Relay 2013.01.1415. Amplifier Power (Amp Circuit) 2013.01.1516. Regular Mains Extension cable (4 way labelled) 2013.01.1617. Regular Mains Extension cable 2013.01.1718. Control Circuit 2013.01.18 12x 18.5 x 4.5 plus

attached cable plug 1.5 x 8.5 x 3

19. Scroll Circuit PCB 2013.01.19 2.5 x9.3x 5.520. Sleek Dry Yell DVD 2013.01.20 12.7 x 12.7 x na21. Sewing Table 2013.01.21 46 x 50.5 x 50.5

base L 31.5 x W31.522. Phono Extension Adaptor 2013.01.2223. Phono Splitter 2013.01.2324. Fairy Lights (modified to keep to one pattern) 2013.01.2425. Beta 12 VDC relay Switch 2013.01.2526 Small Speakers x 2 2013.01.2627. Brown Circuit Board (mini amp) 2013.01.2728. Circuit Board (Atop Lid) (keyboard sensors) 2013.01.2829. Casio Keyboard 2013.01.29 6.5 x 61 x 17.530. KS10 Model Speaker with Stand 2013.01.30 57 x 59 x 29.5

31. Integrated Amplifier Unit 2013.01.31 8 x 43 x 34.5 plus power plug

32. LED Light with Attached Relay 2013.01.32 Clock:14.5x43 left side 4cm sloping down to 3mmRelay:7x7.5x2

33. Kenwood 777 Speaker with Stand 2013.01.33 65.5x63.5x2934. Integrated Amplifier Unit 2013.01.34 8 x 43 x 34.5 plus power

plug35. Metal Stool 2013.01.35 Whole:102.5x65x36

Stool:69.5x32x35.5Neck&head:34x34x10

36. Kenwood 777 Speaker no Stand 2013.01.36 63.5 x 42.3 x 2937. Bag of UK Currency Pennies 2013.01.37

2. SIGNIFICANCE

2.1 ARTIST INTENT STATEMENTMirza has provided an outline for individual objects material longevity (Mirza, H 2012), this recommends that the installations functionality is overall of more importance over visual aesthetics, therefore it is the wish that dedicated objects are preserved for as long as possible, with allowance for the perishable media equipment to be replaced internally if necessary or transferred to current media of the day, however, the choice is left to the institution to do so.

An overall judgement as far as aesthetics would be concerned for conservation repairs to be rendered necessary would be for cases such as if a panel should fall off the front of a speaker or a leg fall off a stand, then the expectation is that this should be repaired.

2.2 CONTEMPORARY SIGNIFICANCE

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As time-based media work begin to make more of a splash in the underground gallery movements the importance of collecting and presenting theses work in public institutions becomes of contemporary significance to educate the masses and share the conceptual ideals that are taking hold of sculpture practices in this decade. Mirza’s work is a product of our time and demonstrates this special age of modern sculpture where not only time-based media is common place but also portrays live performance as a herald to the beginnings of contemporary art installations. 2.3 ARTIST SIGNIFICANCEBeing a new media piece Mirza bears an on going connection to the work whilst still living, as the conservation and installation of the work shall change and require assistance over the next several decades it will be Mirza’s interpretation and support that will be the guiding force to determine preservation and authentication needs. After Mirza is no longer available to provide supporting guidelines to the works preservation the integrity of the work shall become more complicated.

2.4 DEDICATED COMPONANT SIGNIFICANCE

TEMP ID. NUMBER

ITEM PROVENANCE DEDICATED PIECE

2013.01.01 Green Bucket Was retrieved from studio in Chelsea College of Art and Design, London.

2013.01.18 Control Circuit 2013.01.19 Scroll Circuit PCB 2013.01.21 Sewing Table 2013.01.24 Fairy Lights (set to normal fade mode, can

hear sound that signals change in brightness, uses LED bulbs, only had audio connector added)

Bought on ebay.

2013.01.29 Casio Keyboard 2013.01.30 KS10 Model Speaker with Stand 2013.01.32 LED Light with Attached Relay Found in back

alley in Pakistan

2013.01.33 Kenwood 777 Speaker with Stand 2013.01.35 Metal Stool 2013.01.36 Kenwood 777 Speaker no Stand

3. CONDITION

3.1 Vulnerabilities and ChallengesAs seen with all electronic media work there are many challenges associated specifically due to its lack of stability. This can be identified through 6 vulnerabilities as discussed by Bessen (2001): Lack of Fixity, Installation public boundaries, authenticity, malleability and formal elements.

Lack of fixity refers to the works online storage issues in a digital format when not on display, as electronic art is depended on the device that is used for viewing it if content is stored on disc or digital files the original can always be reproduced or even mass produced, therefore it is impossible to distinguish between that which is the ‘original’ and that which is a ‘copy’. This is a problem raised in Mirza’s work as currently his original file is stored in an online archive and as

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the work has been jointly acquired several ‘copies’ needed to be made and distributed to joint owners therefore posing a risk to the artworks originality.

It has been observed as well that issues with the Installations public boundaries need to be addressed as during exhibitions the speaker tweeters and pennies located on the ‘Coins’ unit are being damaged and stolen by members of the public which is endangering the works longevity. These issues occurred in Manchester Art Gallery despite having an invigilator in the room to monitor the installation and inform the viewer not to touch.

The malleability refers to the electronically stored file and the possibility of someone re-editing or eliminating material in one of the copies to produce an incorrect copy of the original, this also leads into issues of authenticity as traditionally the method of guaranteeing authenticity was through custodianship of the work from one trusted owner to another, as the media nature and perishable electrical equipment are in a fragile state its likely that future displays of the work will not only have certain parts replaced such as some wire and cabling which is already severed from original connection but also a ‘refreshed’ memory on the main circuit board to ensure accurate function of work therefore removing originality.

The formal elements address the works material situations of both the electronic media and physical fabric such as sequencing, film colour, aspect ratio and material deterioration. It has already been noted that due to the presence of water in the bucket both corrosion of the iron alloy present in the steel and biological growth material developing during displays is causing sealant material to flake and peel away.

4. POLICIES

4.1 DOCUMENTATIONSimilarities can be drawn between Nam June Paik’s work and Mirza’s installation, the Museum of Modern Art (MoMA) reports (London, 1996) that conservators have had to adapt Paik’s work continually from the original format as media materials used are now obsolete and will not play. A transfer of file material and significant documentation has been a prerequisite for managing that work and the same approach must be utilised for A Sleek Dry Yell (2008).

Cyr (2008) notes a preventive strategy in maintaining Paiks media information by means of ‘Migrating an artwork’ which is to upgrade its medium to a contemporary standard, this may change the look and feel of the work but has been deemed necessary in order to avoid the loss of material due to obsolescence.

DOCU1. Regular transfer of media content onto new platforms must be adapted as a preventive tool to over-come problems with material deterioration.

DOCU2. Regular standard condition reporting of every item in inventory must be conducted prior to installation and after de-installation to ensure material stability.

DOCU3. A universal numbering and/or accession system should be practiced across all joint-acquisition owners and lenders to avoid confusion over individual objects condition reports. The numbers followed are displayed in 1.5 Object Inventory of this report.

DOCU4. The component must be physically numbered according to spectrum (upper case) object numbering standards.

DOCU5. Documentation of both the installation particular visual layout via photography and live

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performance occurring on opening night via filming instrumentation must be captured and added to the APPENDIX F of this report and film clip must be email to Manchester Art Gallery to add to KE-EMu archive.

4.2 PACKAGINGThe appropriate use of archival materials is crucial to the longevity of the work to reduce the risk of chemical interactions from non-archival material sources therefore:

PACK1. All pieces are to be stored in the conservation grade archival boxing lined with plastazonte provided by Rylands Library Group from the University of Manchester

PACK2. A conservation review will be carried out annually over the condition of the boxes to be sure of box stability.

PACK3. Archival Silica gel beads or archival absorbent pads/booms must be removed and replaced periodically from the hosepipe, pump and waste bin/bucket during storage to reduce moisture levels in storage boxing.

4.3 HANDLING & TRANSPORTDue to the precarious nature of the connectivity throughout the work upmost care must be taken during the handling and transportation of the piece.

HAND1. Prior to the transportation of the work all objects must be packed in the specific custom made archival boxes as stated in PACK1 and be securely stowed in crate to ensure objects are all pump/shock proof with appropriate packing strap provided. This must be carried out by the art handler team under the supervision of a qualified conservator.

HAND2. All dedicated objects must only be handled using conservation grade archival fabric or nitrile gloves to reduce transfer of oils or foreign matter onto material surface.

HAND3. Before the transportation of the work all documentation as stated in the documentation policies 4.1 must be carried out forthwith and appendices updating with the on going references and information added.

4.4 INSTALLATION INST1. Installation of the work shall be undertaken by either an appropriately qualified

conservation technician or gallery/museum technician following the specific guidelines highlighted in the Operations / Installation Manual (Appendix A). For institutions that have no personnel with the appropriate qualifications then the Haroon Mirza Studio technician must be contacted to install work.

INST2. Regular PAT testing of all electrical media equipment shall be carried out every six months whilst on display as well as before and after long term storage of work.

INST3. For the safety of public viewers and museum/gallery staff any electrical cabling carrying over 240 volts of current must have a double insulation layer in accordance with occupational health and safety standards.

INST4. All electrical safety procedures must be followed in accordance to the electrical equipment legislation in a public space.

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4.5 DISPLAYDISP1. All institutions of the co-ownership agreement and loan requests will adhere to displaying

in appropriate conservation grade environmental conditions as agreed by the owners for the relative humidity and temperature settings

DISP2. Light level must be set at 50 lux or lower depending on the light sensitivity of the individual objects. It is advised for asthetic purposes also that the work be displayed in dimmed lighting environment to emphasize the red glowing LED lights of the clock.

DISP3. Object must at all times have protection from pollutant substances such as dust and volatile chemicals.

DISP4. Mirza has approved that for future displays of the work a subtle barrier of either white/grey tape (as seen with installations in the Tate) or other similar materials may be utilised to deter public from touching the installation objects as the work is a non-interactive “no touch” piece. It is to be noted however, that Mirza prefers no barrier, therefore only floor-tape like barriers are appropriate to safegaurd integrity of work. Rope/stanchion barriers are not acceptable.

DISP5. Unless otherwise agreed by the owners the work must permanently have an invigilator present during exhibition open hours to public to safegaurd material longevity.

4.6 ON GOING CONSERVATION MAITANENCE Due to the precarious nature of the work an ongoing support commitment will be necessary from the Haroon Mirza Studio to assist with functionality changes and installation issues

CONS1. Prior to installation of work, main control circuit must be ‘refreshed’ with arduino file to ensure accurate sequencing functions in work proceed as intended.

CONS2. Waste bin/bucket must be treated for biological growth every three months by disposal of old water, conservation wet clean and replacing with new water. Also if required the removal and replacement of sealant material may be carried out by use of alcohol curing silicone, this must only be performed by a trained conservator or other approved member of staff after discussion with Manchester City Galleries. The replacing of water present in waste bin every three months will reduce biological attack causing flaking and peeling away of sealant material inside. Water used must be tested ‘soft’ tap water.

CONS3. Should biological growth build up in pump attachment a non-corrosive anti-bacterial agent of an archival quality must be utilised to clear blockages and ensure correct flowing of water. This treatment must be carried out by a trained conservator.

CONS4. Iron corrosion present in waste bin must be treated periodically by an experienced conservator by use of an appropriate corrosion treatment/inhibitor.

CONS5. As the perishable electronic media begins to fail they may be replaced with the list provided below deemed to be the non-dedicated items. All new electrical cabling purchased must be black in colour.

TEMP ID. NUMBER

ITEM Notes

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2013.01.02 Hosepipe with Pump Attachment2013.01.03 Regular Mains Extension cable (4 way)2013.01.04 Regular Mains Extension cable (2 way)2013.01.05 Phono Cable (3 way)2013.01.06 Casio Keyboard Power2013.01.07 Control Circuit Power2013.01.08 Cable (Top Amp Left)2013.01.09 Cable (Down Amp)2013.01.10 Cable (Unlabelled)2013.01.11 Phono Cable (single)2013.01.12 Extension Cable with Attached Relay2013.01.13 Clock Power with Attached Relay2013.01.14 Scroll Circuit Power with Attached Relay2013.01.15 Amplifier Power (Amp Circuit)2013.01.16 Regular Mains Extension cable (4 way

labelled)2013.01.17 Regular Mains Extension cable2013.01.20 Sleek Dry Yell DVD2013.01.22 Phono Extension Adaptor2013.01.23 Phono Splitter2013.01.24? Fairy Lights (set to normal fade mode, can

hear sound that signals change in brightness, uses LED bulbs, only had audio connector added)

2013.01.25 Beta 12 VDC relay Switch2013.01.26 Small Speakers x 22013.01.27 Brown Circuit Board (mini amp)2013.01.28 Circuit Board (Atop Lid) (keyboard sensors)2013.01.31 Integrated Amplifier Unit2013.01.34 Integrated Amplifier Unit2013.01.37 Bag of UK Currency Pennies

5 PRIORITISED RECOMMENDATIONS & IMPLEMENTATION STRATEGY A subtle installation barrier to discourage public interaction with work A bequeath request to Richard Strange to donate megaphone to A Sleek Dry Yell collection

6 REFERENCES & FURTHER READING

Besser, H 2001, ‘Longevity of Electronic Art’, Cultural Heritage and Technologies in the Third Millennium

Cabaret Futura, 2008, Cell Project Space, London. Viewed 18 November 2012.http://www.cellprojects.org/content/cabaret-futura

Cyr, M.C 2008, ‘Conservation Issues: The Case of Time-based media Installations’, Western Association for Art Conservation (WAAC) Newsletter, vol. 30, no.2, pp. 10-15.

Haroon Mirza CV, 2012, Haroon Mirza Studios, London. Viewed 16 October 2012.http://www.clickfolio.com/haroon/

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London, B 1996, ‘Analysis and Evaluation/Cleaning and Remastering’, Transcript, Bay Area Video Coalition, March 29th. Viewed 13 November 2012.

Mirza, H. 2011, Interviewed by K. Jesson, Seminar- Radical Solutions for Conservation, Manchester Art Gallery in association with the Contemporary Arts Society, London, England. 25 November 2011.

Mirza, H. 2012, Personal Interview with E. Urrutia & R. Dingle, 15 November 2012.

Odegaard, N 1995 ‘Artists' Intent: Material Culture Studies and Conservation’, Journal of the American Institute for Conservation (JAIC), vol. 34, no. 3, pp. 187-193

Real, W 2001, ‘Toward Guidelines for practice in the preservation and documentation of technology-based installation art’, JAIC, vol. 40, no.3, Article 4, pp. 211 to 231

Sloggett, R 1998 ‘Beyond the Material: idea, concept, process, and their function in the conservation of the conceptual art of Mike Parr’, JAIC, vol. 37, no.3, Article 6, pp. 316 to 333

Tate 2012, Accessioning- Time Base Media, Tate Institutions, London, viewed 12 October 2012, <http://www.tate.org.uk/about/projects/matters-media-art/acquisitions/accessioning>

7 APPENDIXAppendix A. OPERATION / INSTALLATION MANUAL

(doc. Format need to add into this plan)

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Appendix B. RISK/ISSUE ASSESMENT MATRIX – add section break put in landscape format

Legend: C= Consequence L= Likelihood CxL= Aggregate risk (colour coded)

Risk No.

Date Raised

Date Closed

Risk Description Existing Controls

C L Risk RAG Score

Response Actions Risk Owner

1 30/09/12 15/11/12 Repeated damage to Speaker Tweeter Invigilator 3 5 15 Barrier Protection acquired

2 01/10/12 15/11/12 Electrocution to viewers/staff.240volts only 1 insu layer

1 insu layer of silicone

5 2 10 Insulated by Ben Barwise

3 26/10/12 15/11/12 Disruption to installation sequence - Missing Arduino file none 3 5 15 Collected from Harron 4 9/11/12 Disconnected wire on small speaker in sewing table drawer None 5 5 25

5 9/11/12 Disconnected wire on circuit board atop sewing table lid None 5 5 25

6 15/10/12 Missing megaphone.Performance cannot occur without megaphone

None 5

3 15 Mirza confirms was gifted to Strange

7 10/11/12 Corrosion of iron in steel waste bin – treatment required! None 0 8 0 9 0 10 0 11 0 12 0 13 0 14 0 15 0 16 0 17 0 18 0 19 0

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20 0

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Appendix C. TREATMENT REPORT 16-August-2012, Pressed in Tweeters on speaker underwent suction treatment to draw out

tweeters. Was successful but has since been pressed in again. 11-september-2012, Underwent general conservation dry clean (removing dust particles)

whilst on exhibition. Conservation Vacc used. 19-november-2012, Dust particle removal from LED light with attached relay, both integrated

amplifier units and metal stool using micro fibre cloth and fine dry brush. Undertaken during condition report examination.

Appendix D. PERSONS OF REFERENCE

Name: Ben BarwiseEmail: [email protected]: +44 (0) 203 487 0140Institution: Haroon Mirza - Technical Assistant

Name: Gabriela Cala-LesinaEmail: [email protected]: 07970459893Institution: Haroon Mirza - Studio Manager

Name: Eliana UrrutiaEmail: [email protected]: 07971087675Institution: Manchester Art Gallery, Manchester City Galleries – Conservator writing management plan

Name: Shamus DaweEmail: [email protected]:Institution: Manchester Art Gallery, Manchester City Galleries – Installation Technician

Name: Kate JessonEmail: [email protected]:Institution: Manchester Art Gallery, Manchester City Galleries – Curator

Name: Robert DingleEmail: [email protected]: 07976977110Institution: Contemporary Arts Society – Filmed interview discussing conservation aims for piece

Name: Ruby BeesleyEmail:Number:Institution: Aesthetica Magazine (wrote editorial on Mirza in issue 39, feb/march 2011)

PLEASE ADD CURRENT GALLERY/MUSEUM REFERENCES

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Appendix E. EXHIBITION HISTORY

Gallery/Museum: Generator ProjectsDates on Site: 2008 – 2008Dates on display: 2 Aug 2008 – 17 Aug 2008Address: 25-26 Mid Wynd, Industrial Estate, Dundee, Scotland, DD1 4JG

Gallery/Museum: Cell Project SpaceDates on Site: 2008 – 2008Dates on display: 6 Sept 2008 – 5 Oct 2008Address: 258 Cambridge Heath Rd, London, E2 9DA

Gallery/Museum: Lisson GalleryDates on Site: 2011 – 2011?Dates on display: 15 Feb 2011 – 19 Mar 2011Address: 54 Bell St, London, England NW1 5DA

Gallery/Museum: Kuntsverein Harburger BanhofDates on Site: 2011-2011?Dates on display: 8 Sep 2011 – 20 Nov 2011Address: im Bahnhof über Gleis 3 & 4, Hannoversche Strasse 85, 21079 Hamburg, Germany

Gallery/Museum: Manchester Art GalleryDates on Site: Nov 2011 – 27 Jan 2013Dates on display: 21 April 2012 – 30 Sep 2012Address: Corner Mosley Street & Princess Street, Manchester, England M2 3JL

Gallery/Museum: Walker Art Gallery Dates on Site: 27 Jan 2013 – Present Dates on display: 2 Feb 2013 – PresentAddress: William Brown St, Liverpool, England L3 8EL

PLEASE ADD CURRENT GALLERY/MUSEUM

Appendix F. INSTALLATION IMAGES (Ongoing)

Installation at Manchester City Art Gallery, August 2012Photograph: Eliana Urrutia 29-Sept-2012

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(Please add an image of your installation)

Appendix G. PERFORMANCE DIALOG OF RICHARD STRANGE

Appendix H. CONSERVATION CONSUMABLE absorbent pads and booms from spillcontrolcentre.co.uk for storage inside waste

bin/bucket, hosepipe and pump.

Appendix I. IMAGE INDEX OF ARCHIVAL BOX PACKING(Images to be collected from A.W)

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