INCCA-AP Café: The Conservator’s role in the acquisition process, a tale of evolving protocols?

Posted on Fri, 06/07/2024 - 11:30



Date and time


How do you manage the acquisition of artworks that are constantly evolving or that require the replication of parts? And how do you document conceptual, performance-based, interactive, environmental, or sensory-related artworks for an acquisition? 

Join us on 11th July, 4pm HKT (Hong Kong 4pm/Amsterdam 10am/London 9am/Gweru 10am/Seoul 5pm/Mexico City 2am/ LA 1am) for a peek of behind-the-scene. 

The speakers for this Café are Mar Cruz, Lisa Mansfield, Kim Hwanju, Jihyun Choi. Presentations will be followed by an open and informal conversation with all speakers and participants. Key discussion points will include artist interviews, artwork staging, supplementary information, the development of institutional protocols and the conservator's evaluation criteria. 

For better language accessibility we provide English live caption and Korean AI translation in this event.

Register here.

Speakers' bio (by presentation order)

Mar Cruz currently works as the conservator of the digital and time-based media collection at the Heritage Conservation Centre, which stores and conserves the Singapore National Collection. He completed his MA in Cultural Materials Conservation from University of Melbourne, Australia with a focus on Objects conservation. His interests include software art, installation art, conservation workflows and the potential uses of emulation. 


Lisa Mansfield is the acting Senior Time-Based Art Conservator at the Art Gallery of New South Wales in Australia, and a co-convenor of the AICCM Electron special interest group. They have an MA in Cultural Materials Conservation from University of Melbourne, and a BA focused on sound and installation art from Western Sydney University. Interests include the preservation of net art, and software-based/interactive works. They work, learn and live on the unceded sovereign land and waters of the Gadigal people of the Eora Nation. 


Kim Hwanju studied conservation and restoration of cultural heritage at the Korea National University of Heritage. He has worked in the Conservation Department of the National Museum of Modern and Contemporary Art, Korea (MMCA), specializing in oil painting conservation. Currently Kim works as a conservator at the Daejeon Museum of Art (DMA). He managed the Open Storage Project at the DMA and Nam June Paik’s Fractal Turtle Ship restoration project. He published research papers including Restoration and Replica of Contemporary Art: Focusing on Exhibition Artworks of Future Lies Ahead (2023), Acquisition and Conservation of Museum Collection (2022), Research on the conservation and management status of the Daejeon Museum of Art collection (2021). Kim is interested in the conservation of contemporary art, conservation policies, and the museum collection management.


Jihyun Choi has been a conservator of modern and contemporary art at Leeum Museum of Art since 2012. She completed her MA in Conservation at Camberwell College of Arts, UK in 2009. She specializes in the study and conservation of paper-based works and her research focuses on the materials, techniques, and production processes of modern and contemporary artists. She is also interested in how conservation decisions are made with diverse perspectives and voices in relation to artworks. She published research papers including Care and conservation of modern Paper-based works (2016), New paint, new challenges: Conservation of Roy Lichtenstein’s outdoor sculpture House I (2016), Care of artworks (2018), A Conservation and care of Lee Joong-Seop’s drawings on silver foil paper (2019), House I by Roy Lichtenstein: In Search of the Artist’s Lost Colors (2021). 

Photo: Images courtesy of M+, Hong Kong.