Department: Tate St Ives and Tate Liverpool Curatorial
Hosts: Sarah Matson, Exhibitions & Displays Curator, Programme Team, Tate St Ives;
Sam Thorne, Artistic Director, Tate St Ives; and Francesco Manacorda, Artistic Director, Tate Liverpool
During her Fellowship, Marina worked on a project to support exhibition research and the development of collection displays at both Tate Liverpool and Tate St Ives.
Her contributions to discussions brought fresh perspectives by stimulating debate with colleagues on the de-accessioning of collections and opening up conversations about collecting practice in museums.
Marina’s main focus was on the development of ‘100 year museum mission’ workshops, held at Tate Liverpool and Tate St Ives, where she invited participants to imagine the museum system in 120 years’ time, imagining how artworks that have survived time and space should be handled.
Installation view of New Acquisitions and Extended Loans: Cubist and Abstract Art (1942) at the Museum of Modern Art, New York.
Further collaboration with Tate
2019
Lives of Net Art, Reshaping the Collectible
Marina contributed to Lives of Net Art, a programme that sits within the wider Tate Research project Reshaping the Collectible: When Artworks Live in the Museum. This major research project, which ran from 2018 to 2022, developed innovative models for the conservation and management of recent and contemporary works of art.
Professor Pip Laurenson, Head of Collection Care Research and Principal Investigator for the project, and her team invited Marina to be part of the workshop group for the Net Art programme, as it aligned with her own research focus.
Lives of Net Art took place in Tate Exchange over 3 days in April 2019, with a programme that included a keynote talk, day-long public workshop and discussions and meetings reserved for researchers. The event served as an opportunity for Marina to exchange ideas with Tate Conservation Care Research peers and extend her networks and expertise.
In addition, Marina contributed an article offering her thoughts on the themes and discussions held throughout the event. (Net) FOREVER Art :) was published on the Tate website as part of Reshaping the Collectible.
2024
No Longer Artwork
Marina continued to explore the themes of her Fellowship in the chapter ‘No Longer Artwork’, from Conservation of Contemporary Art: Studies in Art, Heritage, Law and the Market; Bridging the Gap Between Theory and Practice (2024).
In this paper, Marina examines, from a curatorial perspective, a new approach to the lifespan of artworks in museum collections. At a time when the managing of collections is under pressure because of new theories on the conservation of contemporary art, the conventional understanding of collection management might no longer hold. The chapter aims to offer ways of engaging with objects whose changing artwork properties have been, for different reasons, regarded as impaired by their hosting institutions.
Biography
Marina Noronha is a researcher and curator. Her research focuses on the role played by the processes of accumulation and deaccessioning in the formation and mobility of collections. As an independent curator, Marina puts forward the relationships between permanent collections and temporary exhibitions, including display methods that experiment with exhibition props and environmental features, such as light, sound and plants.
Marina is currently preparing a PhD in Collecting/Curating Theory at Aalto University, Helsinki. She has collaborated with institutions such as El Museo del Barrio, New York, and Fundação Municipal de Cultura, Belo Horizonte, and has been the co-curator of exhibitions at Konsthall C and Moderna Museet, Sweden, and Fondazione Sandretto Re Rebaudengo, Turin.
More information:
ORCID academic profile