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|Practical case|



In the installation Faraday’s Garden, from Perry Hoberman, visitors find themselves amidst a collection of household appliances, office assistants, electronic tools, projectors, radios and other such recording devices and domestic electronics objects. Pressure-sensitive sensors are installed under the installation’s carpet, which control the devices’ power supply.
Once entering the installation, the machines spring to life, and greet each visitor in this unusual parcours with the corresponding noise and mechanical movements. The longer visitors linger in Faraday’s Garden, the greater the volume of noise and power supply, such that the apparent independent life of the thing-world increases. Whereas the visitors trigger the electronics, the purposeful and intended method of control and steering finally escapes human influence.
For his work of art, Perry Hoberman collected the objects from department stores, from household trash and from flea markets. The entire history of electronics for private usage in the twentieth century can be read by way of these readymades, whereby entering the installation also represents a journey through time.

Treatments/actions (in collaboration with Mirco Frass):
. Documentation of the installation (from scratch)
. Inventory of the equipment (around 200 devices)

. Creation of an wiring diagram

. Installation and dismantling of the work

. Creation of a set up template
. Interview of the artist
. Conservation decision-making (e-bay research for spares, reparation of the originals, media management)

. Purchase of spares for the media (Vinyl, 8-track tape, VCR, K7, 8mm film, Super 8, Dias)
. Creation of conservation boxes for storage (media and equipments)

. Replacement of slide frames

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