Through the conservator's lens: from analogue photowork to digital printout: How is authenticity served?

This paper explores the various notions of authenticity in relation to the life story of Ger van Elk’s photowork 'C’est moi qui fait la musique' (1973). The artist’s collaboration with the Stedelijk Museum Amsterdam to remake the severely discoloured hand-mounted airbrushed photo-collage from 1973 resulted in a high gloss digital printout. Questions of ethics and authenticity in the conflict of art and conservator values are explored through the conservator’s lens, as an outside witness. The reader follows the conservator’s thoughts and misgivings on the various stages of this negation. Clear communication to the audience on the artwork’s fundamental new material structure is suggested as an essential measure to maintain generation of an authentic experience of the lived artwork.