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About INCCA-AP

INCCA-Asia Pacific is a regional group of the International Network for the Conservation of Contemporary Art (INCCA). INCCA is an international network of professionals connected to the conservation of contemporary art. It offers platforms for information exchange and a unique database of records where INCCA members can upload and access unpublished information about artists and artworks. It also provides programs for creating new knowledge for the field. Information about other INCCA regional groups can be found here.

As a regional group, INCCA-Asia Pacific aims to draw on existing INCCA experience to promote the specificity of Asia Pacific regional practice. It also aims to encourage regional input into the INCCA database and projects. In particular, INCCA-Asia Pacific aims to encourage communication and mutual assistance through the sharing of knowledge and skills in the region. It aims to develop a local network to document and address common concerns, and to communicate specific regional issues and challenges of contemporary art conservation in the Asia Pacific.

OBJECTIVES

  • To become a regionally relevant network for artists, conservators, curators, archivists, collectors, educators and other practice related professionals in the Asia Pacific region.
  • To share knowledge as means of mutual assistance and support including adding content to the INCCA website.
  • To investigate specific issues and challenges of the region. This includes issues of climate; material culture; availability of materials for creative and conservation practice; documentation; fusion creation - traditional and contemporary art practices; conservation awareness; and education and training opportunities.
  • To promote awareness, build relationships and explore similarities in the roles and working practices of art professionals in the region.

GOVERNANCE

The International Network for the Conservation of Contemporary Art – Asia Pacific (INCCA-AP) was founded in 2014 by Diana Tay, Anne Carter, Sabine Cotte, Sarah Hillary, Bettina Ebert and Selina Hallim  in-kind support from the Australian Institute for the Conservation of Cultural Materials (AICCM) and the Queensland Art Gallery|Gallery of Modern Art (QAGOMA).

INCCA-AP COMMITTEE

ANNE CARTER
Anne is a paintings conservator working at the Queensland Art Gallery|Gallery of Modern Art (QAGOMA) in Brisbane, Australia. Anne studied conservation at the University of Canberra before undertaking a two-year internship in paintings conservation at the Museum of Modern Art, New York. Anne has been working at QAGOMA for almost 20 years, with research and treatment interest in modern and contemporary paintings and has published on the work of Australian artists and the Australian house-paint industry. Most recently Anne has been involved in a collaborative project with the Heritage Conservation Centre Singapore investigating the materials of contemporary pre-primed artist canvases. 
DIANA TAY
Diana is a paintings conservator currently undertaking her PhD at the University of Melbourne. Her research hopes to generate a knowledge base of technical data of Singaporean paintings (1940s - 70s) through multispectral imaging and material analysis. She holds a Master of Cultural Materials Conservation (2014) specializing in paintings and contemporary art conservation of Southeast Asian artworks. With ten years of experience, Diana has worked with international institutions such as the National Heritage Board Singapore, National Museum of Philippines, TATE Britain as well as with contemporary artists and private collectors to conserve, preserve and better understand their collections. 
ALESSANDRA GUARASCIO

INCCA-AP CO-ORDINATOR

Alessandra has been the Conservator of Installation Art at M+ since 2018, where she is responsible for the documentation, preservation, and presentation of the installation art collection. Alessandra was also the lead conservator for the South, West, Courtyard, The Studio and Found Space galleries in preparation for the opening of the museum in November of 2021. Prior to her current appointment, she spent six years working on all phases of conservation and collections care at ArtScience Museum and National Gallery in Singapore. Alessandra also collaborated with Museo del Novecento, Hangar Bicocca, and the Italian Design Museum in Milan from 2009-2012. Alessandra obtained her master’s degree in Conservation of Contemporary Art from Brera Academy of Fine Art in Milan, with a thesis on the documentation and rearrangement of a complex video installation by John Bock. Alessandra is focused on developing her know-how through professional courses and workshops, keeping abreast of innovation in the field of Time-Based Media Art Conservation. 

ASTI SHERRING
Asti is a time-based media conservator and digital humanities researcher located in Australia. She has completed a Bachelor of Media Arts (honours) from Sydney University and a Masters of Materials Conservation at Melbourne University. Asti held the position of senior time-based art conservator at The Art Gallery of New South Wales between 2015-2020. She has also worked at institutions such as Los Angeles County Museum of Art, Australian Museum, National Archives of Australia and Museum of Contemporary Art, Sydney. Asti is a sessional lecturer at University of New South Wales, Masters of Curatorial studies and Charles Sturt University, Information Management. Asti is currently in private practice and undertaking doctorate research at Canberra University, which explores contemporary conservation theories and practices of objects that are digital, ephemeral and technological in nature.
SABINE COTTE
Sabine Cotte is a French-Australian private conservator, based in Melbourne (Australia) since 2001. She holds conservation degrees from Institut National du Patrimoine (Paris), ICCROM (Rome) and a PhD from University of Melbourne, Australia, on the materials and techniques of contemporary artist Mirka Mora. Her PhD led to a book for the general public: Mirka Mora, a life making art, published by Thames and Hudson Australia, in 2019. She has participated in several workshops in the Himalayan region for UNESCO, ICCROM and private NGOs, focusing on training local people in conservation and in disaster recovery. She has published many articles and given many talks in professional journals and conferences. She is an Honorary Fellow of the Grimwade Centre for Cultural Materials Conservation, a casual lecturer in the Masters of Cultural Materials Conservation and a tutor in the Masters of Curatorship, University of Melbourne.
GENEVIEVE SYLVESTER
Genevieve is a paintings conservator Auckland Art Gallery Toi O Tamaki, contributing to the safe stewardship of the collection of the Gallery by promoting and facilitating the care of the painting collection as well as long- and short-term loans for temporary exhibitions. Genevieve has a particular interest in technical analysis for the investigation of artists materials, techniques and aging phenomena. She began training with a pre-training practicum in Kassel Germany, and received a PgDip at the Courtauld Institute, London and interned with the Guildhall London and Hamilton Kerr Institute, Cambridge.

AND LIA SUMICHAN who holds a Bachelor of Commerce from the University of Melbourne and completed her Master of Cultural Materials Conservation in paintings conservation from the University of Melbourne in 2020. She is particularly interested in conservation in the tropics, preventive conservation and materials science. She hopes to further contribute to the development of the conservation field and profession in Indonesia with recent engagements including a preservation needs assessment survey project with Jakarta Museum of Fine Arts and Ceramics in 2018, presented the work at the AICCM Environmental Risk Conference in Melbourne in February 2019 and minor thesis topic on the technical art study of Affandi’s painting materials and techniques. As an emerging conservator and together with INCCA-AP, she is excited to keep on learning while further unravelling and sharing the beauty, revelation and excitement that conservation has to offer.

ACKNOWLEDGEMENTS

INCCA-AP gratefully acknowledges in-kind support from the Australian Institute for the Conservation of Cultural Materials (AICCM) and the Queensland Art Gallery|Gallery of Modern Art (QAGOMA).