A hybrid conference taking place on Saturday 13 July, exploring the benefits and drawbacks of high-resolution "master replicas" in museums, discussing how modern replication technologies enhance public engagement and accessibility.
Walter Benjamin (1892-1940) introduced the concept of mechanical reproduction, arguing that replicated artworks lack the ‘aura’ of the originals, an essence tied to their specific time and place. Despite this, he noted that even the most impeccable copy cannot match the unique qualities of the original. Traditionally, art replicas have served as mere substitutes in museums and galleries. However, “master replicas,” produced with high-resolution reproduction technologies, enable a more detailed examination of the originals' essential features than previous methods like photography or cast-making.
By leveraging these high-fidelity reproductions of 2-D and 3-D artworks, local museums can enhance public engagement through diverse experiences, such as tactile aids, catering to various learning preferences and needs. Additionally, these master replicas accurately capture the colours, textures, and dimensions of the original artworks, allowing for a deeper appreciation of traditional craftsmanship and its conservation requirements.
Modern technologies in art replication open up exciting possibilities for studying art. Some artworks, which cannot be physically relocated from their original sites, can be exhibited through replicas, making them accessible to a wider audience. Master replicas help transcend the limitations of time and space, redefining authenticity in educational and display strategies within museums.
This hybrid symposium will explore the benefits and advancements these reproductions can bring to museums, as well as the potential drawbacks of their use.
Programme:
Saturday 13 July at Wells Maltings and online.
09:30: Venue Opens
10:00-10:05: Opening Remarks. Simon Kaner
10:05-10:45 – The New Reproduction/ Fukusei 「新しい複製. Yasumura Toshinobu [in Japanese, followed by an English translation].
10:45-11:25: The New, True Reproductions of Paintings「シン・フクセイガ. Kubota Iwao [in Japanese, followed by an English translation].
11:25-11:40: Break
11:40-12:20: Ukiyo-e Originals and Reproductions — From Edo to Modern「浮世絵のオリジナルと複製―江戸から近代―. Asano Shugo [in Japanese, followed by an English translation].
12:20-12.50: The digital turn in Japanese archaeology and heritage. Simon Kaner.
12:50-13:45: Lunch Break
13:45-14:15: What to Document? – Digital Archiving of Japanese Traditional Crafts. Matsuba Ryoko.
14:15-14:45: Digitisation practices and pedagogy at UCL: Bridging the gap between academia and industry. Jin Gao.
14.45-15.00: Break
15.00-15.30: Manga: Mass production, evolving technologies and the role of the original. Nicole Coolidge Rousmaniere.
15:30-16:15: Discussion: Rethinking Re/Production. Moderator: Rosanna Rios Perez.
16:15-16:20: Closing remarks. Yasumura Toshinobu [in Japanese, followed by an English translation].
Speakers
Yasumura Toshinobu (安村敏信). Director of both the Hokusai-kan Museum in Obuse and the Seikado Bunko Art Museum in Tokyo.
Asano Shugo (浅野秀剛). Director of both the Abeno Harukas Art Museum in Osaka and The Museum Yamato Bunkakan in Nara.
Kubota Iwao (久保田巌). President of Ars Techne.
Matsuba Ryoko (松葉涼子). Lecturer in Japanese Digital Arts and Humanities at the Sainsbury Institute.
Jin Gao. Lecturer in Digital Archives Department of Information Studies University College London.
Nicole Coolidge Rousmaniere. Research Director of the Sainsbury Institute.
Simon Kaner. Executive Director and Head, Centre for Archaeology and Heritage of the Sainsbury Institute.
Rosanna Rios Perez. Robert and Lisa Sainsbury Fellow 2023 – 2024, Sainsbury Institute.
Arai Miyuki (荒井美礼). Curator of the Hokusai-kan Museum.
This symposium and accompanying exhibition is part of the anniversary programme celebrating 25 years of the Sainsbury Institute for the Study of Japanese Arts and Cultures.
This symposium is organised by The Hokusai-kan Museum and the Sainsbury Institute for the Study of Japanese Arts and Cultures.
Special Support: The Ishibashi Foundation. In cooperation with NTT ArtTechnology / Arstechne.
Published: