AIC's 52nd Annual Meeting

Sarah Sze’s Timekeeper (2016) is a multifaceted installation work consisting of 46 video projectors, 38 video files, 3 computers, live access to the Flickr photo-sharing platform, 6 loudspeakers, 6 Arduino microcontrollers, and 7 servo motors—in addition to more than 1,000 different sculptural components such as tables, chairs, ladders, powered household objects, books, rocks, food, inkjet prints, tape, and paper. These elements are assembled through the aid of a 525-page installation manual that details over 375 independent attachment points and follows a numbering and tagging system developed by the artist’s studio to track each element. The complexity of Timekeeper’s preservation needs, and installation parameters were difficult to fully anticipate at the time of acquisition. The more staff investigated the work, the more questions surfaced. This necessitated multiple in-depth, cross-departmental research projects and continual dialog with the artist.  
Beginning at the time of acquisition in 2017, a broad group of collections care staff at the Guggenheim Museum evaluated the material components of the work and developed solutions for the short- and long-term viability of its technologies. This work was carried out by conservators in objects, time-based media, and paper; art handlers; registrars; media arts staff; and included invaluable contributions from graduate student interns, fellows, and other staff within the museum. Through a six-year process, this work culminated in the exhibition Sarah Sze: Timelapse (March 31 –September 10, 2023) at the Solomon R. Guggenheim Museum, NY. 
 
Even with a meticulously well-documented installation manual and direct communication with the artist and studio staff, it became clear that the artwork would need to be fully installed in order to make necessary repairs and modifications, and to complete a comprehensive documentation of all the elements of the work. A month-long treatment installation in 2022 allowed time for staff to rework the software-based elements; service, repair, or replace video projectors; re-print or replace paper elements; develop a new way to attach these elements to prevent further damage; replace unstable food elements that are part of the work; leverage new single board computer hardware; build a multi-channel open-source playback system and network-based projector control; and further articulate the installation manual with greater detail. 
 
For staff involved in the preservation and installation of Timekeeper, it was the invaluable time spent learning the artist’s language that was most unexpected and rewarding. The participation of the artist and her studio throughout these activities taught the team her visual and conceptual language, which was translated into documentation resources. The installation of Timekeeper provides a model for the collaborative and multi-faceted effort needed for the preservation of complex installation works and demonstrates the need for flexibility when faced with unfolding questions.