AIC's 52nd Annual Meeting

This presentation will present the results of the thesis research, concerning itself with the considerations of replication as a tool for the preservation of an integral hologram, focusing on a case study Angel (1976) by performer Simone Forti and holographer Lloyd Cross. Angel is an installation, the main part of which is a 360° integral hologram, showing a recording of Forti’s choreography - movement of breath and flight. Angel is one of the few collectible works by Forti, embodying high performativity, and a playful spirit, characteristic of the artist’s oeuvre. The light and heat exposure during the display is of concern, as it accelerates further deterioration of the materials, jeopardizing the image’s quality and longevity. There is not many interventive treatment options, emphasizing the need for preventive care. Angel’s susceptibility and intriguing appearance lead to higher safety display policies, limiting the recipient’s accessibility to the work. The owner’s initiative was to try to look for alternatives that would enable longer and safer display, considering replication as one of the options.

The research investigated the problematics from both technical and ethical sides, considering the features defining the work’s identity. According to the artist, the hologram was determined as a vital part of the work, accentuated by its characteristic nature inviting the recipient to move and interact. To achieve this, it is essential for the work to be freely exhibited in space, to invite the viewer to an interaction, orbiting around it on a loop and performing unusual and repetitive movements. This ‘hologram dance’ hologram is meant to metaphorically reflect the repetitiveness of a movement, which is strongly related to Forti’s studies of movements of animals in captivity – and their repetitiveness. Based on that, Simone Forti marked the correct presentation of the work in space as essential for shaping the work’s meaning. Thus, any precautions muting the performativity and interactivity of the work, vital for its metaphorical and expressive nature, are contrasting the work’s intended identity.

It was found the replication can be executed by photochemical means, though there are only a few specialized studios left capable of making an integral hologram copy. As there is no other known existing version of Angel, it is suggested to be referred to as a master hologram. In the past, Forti expressed her concerns about the future display of one of her holograms, consenting to the creation of an exhibition copy. This evidence suggests that material authenticity and/or singularity can be assessed as auxiliary to conceptual authenticity. Considering practices with masters in other conservation fields, the suggestion is to approach the holographic film in the same manner, presuming the presentation of an exhibition copy would not diminish the recipient’s experience, nor decrease the original’s value. Replication can therefore be seen as a tool for the preservation of master holographic film, enabling longer display without compromising its longevity, and an option for looser display policies helping to regain the work’s interactivity.