Een kennisborgingsproject bij Netwerk/en

By tapping into Artistic Director Paul Lagring’s memory, Netwerk checked whether any essential information was missing from its archive. Interviews were conducted, and the conclusions drawn from them were used to work out how to record this information in future. This practical example outlines how to tackle an oral history project, and how to enrich your archive with oral sources.

Status

• Definition of subject: January 2014 – March 2014
• Recruitment of a volunteer: February 2014
• Test case: March – April 2014
• Evaluation of first interview: May 2014
• Preparation for interviews – archive visit: May – June 2014
• Conducting interviews: June 2014
• Writing up interviews: July – September 2014
• Comparison of interviews with archive: September 2014
• Recommendations: September 2014
• Transfer of documents and files: October 2014

Issue

In two years’ time, Artistic Director Paul Lagring will be retiring. He has been involved with the art centre since 1983, and he began to organise exhibitions in 1987. Within Netwerk, the fear is that a great deal of knowledge about the organisation’s history will disappear when Paul Lagring retires. The quality of Netwerk’s archive was checked by tapping into his memory. What information is missing for a complete understanding of the files? What knowledge and insight will continue to exist without the staff? Do we understand what has taken place in Netwerk’s history without the memory of the staff? The aim of this pilot project is to identify both the missing information, and a (simple) way of recording it.

Method

1. Determining the method

2. Recruitment of a volunteer

3. Interviews

1. Test case
2. Choice of exhibitions
3. Drafting a list of questions
4. Conducting interviews
5. Making interviews accessible

4. Analysis and recommendations

1. Analysis of archive documents
2. Recommendations

5. Transfer of files to Netwerk

6. Evaluation of knowledge securement

Determining the method

In the beginning, the challenge was to find an effective way of tapping into memory. The decision was made to interview Paul Lagring about four exhibitions from four different periods in Netwerk’s history. An exhibition is a clearly demarcated unit, which makes it easier to draft an interview plan and to carry out archive searches. On the basis of these interviews, an analysis can be made as to whether the archive contains sufficient information to fully understand an exhibition from Netwerk’s perspective.

The exhibitions chosen were one from Netwerk’s early period, one from after the internal changes, one from after the move, and one that is planned for the future. At a later date, the interviews can be used as the starting point for research into the meaning of the exhibitions, in terms of the history of Netwerk, Aalst and the Belgian arts scene.

Recruitment of a volunteer

BAM recruited a volunteer for this project. The volunteer’s task was to draw up the list of questions for the interviews in collaboration with PACKED vzw, to conduct the interviews and to write them up. The volunteer was chosen on the basis of her interest in the project and her knowledge of the arts world.

Interviews

Test case

The first interview was a general interview about Paul Lagring’s career and the history of Netwerk. This was a test to check whether the composition of the list of questions was effective and whether there was a good rapport between the interviewer and the interviewee. The list of questions drawn up by CVAa was chosen as a model. You can see the list of questions that was drawn up here (only in Dutch).

After this interview, a meeting was held to discuss the whole project. The following findings emerged from it:

• The composition of the list of questions is effective. The questions are good and logical.
• The interviewer is not familiar with Netwerk’s past. This is good because it leads to some interesting questions being asked.
• Paul Lagring identified that he needed to prepare more effectively for the interviews. This time, he had the feeling that he was making too many mental leaps.

Choice of exhibitions

After the evaluation, the first interviews were able to start. Paul himself chose the exhibitions about which he would be interviewed. He opted for exhibitions that were important to him in Netwerk’s history:

These exhibitions were:

• Werner Cuvelier – A(rt)ssenede S.P.’L’ (1990): This is when the tradition of selling a multiple - a work produced in a limited edition - began at Netwerk. Werner Cuvelier and his exhibition meant a great deal to Paul Lagring at both an emotional and a professional level.
• Katleen Vermeir – Ambulante Architectuur (1999): In this project, the entire history of Netwerk came together. Paul has always pursued equality between men and women and this is why it was important to him that a female artist should be part of the mix.
• Lorenzo Benedetti – Cabinet of Imagination (2008): Based on this exhibition, it was possible to explain the strategy of staging group exhibitions in order to attract more international artists to Netwerk and to create greater international support. The passion that Lorenzo Beneditti is able to convey and the major evolution that he went through as a curator and director are also important to Paul.
• Frank&Robbert/Robbert&Frank – A Bit Beyond PINGPONG / Gerard Herman – Kalisj (2014): It was agreed to conduct an interview about a future exhibition, and these were the next exhibitions due to be staged. It was interesting to discuss these exhibitions because they are derived from a European project that was unable to go ahead.

Drafting questions

In order to ask the right questions, it is important that the interviewer be well prepared. The volunteer was provided with a bundle of reading material by Netwerk, which enabled her to familiarise herself with the arts centre’s operations. Netwerk’s website, which outlines the organisation’s vision, was also consulted. It also has an archive and documentation section featuring all past projects and events, (introductory) texts and profiles of artists whose work has been exhibited.

In addition, the interviews were preceded by a preparatory visit to the archive. Netwerk keeps a file on each exhibition it stages. The archive from 2005 onwards is still at Netwerk. A list of questions could be drawn up based on the information that was available, and on that which was missing. One general conclusion was that there is little or no information available on how exhibitions came about. Press material and administrative documents (e.g. insurance) were available in the archive.

All the interviews had more or less the same structure. First, a list of themes or topics was drawn up that would be touched on in each interview. For each theme, a series of questions was prepared. See the model document here (only in Dutch). The structure was as follows:

• The period 1990/1999/2008/2014. This part was designed to explore the general context in which the exhibitions took place: themes included Paul Lagring’s role, the arts scene in Belgium and Aalst and the climate at Netwerk.
• The following theme (“Exhibition”) explores the exhibition in more depth: The reason for staging it, the position of the artist in Belgium and internationally, the choice of artist, setting up the exhibition, a description of the exhibition, etc.
• Artist: Paul Lagring answers questions about his collaboration and contact with the artist.
• Public and press: How was the exhibition received? Did it generate press interest?
• Archive: How and why was the exhibition archived and documented? What is the importance of archiving?

Conducting interviews

For each interview, the list of questions was sent to Paul Lagring a few days in advance. This enabled him to prepare and to gather his thoughts. Before the start of an interview, there was a further run-through of the questions, and Paul was asked if all the questions were clear. Once this had been done, the interview could begin.

The list of questions was not directive. It was possible to diverge from the questions in order to explore in greater depth elements that were important to Paul, or to put things in a different light (e.g. for the Werner Cuvelier exhibition, there was an introductory text. This was unusual in 1990.) Indeed, a series of trivial elements can lead to certain (important) decisions being made. The most important thing was that all the themes were covered; the list of questions was mainly used as a guide. The interview was designed to be a discussion, not an interrogation, which also helped to put the interviewee at ease.

Making the interviews accessible

The interviews were recorded using digital recording devices. Once the project had been completed, the sound files were transferred to Netwerk to be stored in their digital archive.

All the interviews were written up:

• Transcription: The original idea was to write up a summary of the interviews, but after an evaluation of the first interview to be written up, it was concluded that the nuances had been lost and that there was too much room for subjectivity. A summary allows the interviewer to highlight elements that he or she finds important. The transcript of the text should be an objective reflection of the discussion.
• Tape content file: For every interview, a tape content file was created. This is a list in which all the topics covered are summarised and marked with a time indication. This makes it simpler to carry out a targeted search of the sound file. You will find a model document on the FARO website (only in Dutch).
• Registration of sound files: For access to and re-use of interview sound files, it is important that the contextual information be recorded in a structured way. For the registration, the descriptive model devised by PACKED vzw was used: Data Model for Oral Sources (only in Dutch).

Analysis and recommendations

Once interviews have been conducted and written up, the archive was consulted for a second time to ascertain which information was missing. The various dossiers relating to the exhibitions were examined afresh, and a more extensive search of the archive was carried out (for example in Netwerk Gallery correspondence, subsidy dossiers and press packs) to look for traces of the various exhibitions.

In the past, Paul Lagring kept every last document and every single miscellaneous item relating to all the exhibitions, out of respect for the artists. This is an important step towards preserving history and knowledge. However, what emerged from the interviews was that many of arrangements with artists were made verbally or over the phone, and that exhibitions would go off in particular directions purely as a result of chance occurrences. This was not recorded in the archive. With a series of minor interventions, the accessibility of the archive can be improved and essential information can be registered.

Read in this document about the analysis of the archive and our practical recommendations (only in Dutch).

Transfer of files to Netwerk

Once the project was completed, all the files were transferred to Netwerk. These are:

• geluidsbestanden van interviews;
• transcripties;
• bandinhoudsfiches;
• registratieformulier.

De bestanden werden in een duurzaam bestandsformaat overgedragen aan Netwerk. Duurzame bestandsformaten vergroten de kans dat ze in de toekomst geopend kunnen worden en vereenvoudigen de uitwisselbaarheid. Het zijn gestandaardiseerde, open, wijdverspreide en breed ondersteunde bestandsformaten. De bestanden werden in volgende formaten overgedragen:

• geluidsbestanden in WAV-formaat met PCM-codec: PCM is de codering die gebruikt wordt voor ongecomprimeerde audiobestanden en is de standaardopslagvorm van digitaal geluid in verschillende bestandsvormen op computer en cd. PCM wordt in windowsomgevingen meestal opgeslagen als een WAV-formaat. WAV is een breed ondersteund en ongecomprimeerd audioformaat dat ontwikkeld werd door IBM.
• tekstbestanden in PDF/A. PDF/A is een versie van PDF met een aantal beperkingen die PDF voor langdurige bewaring bruikbaar maken.

Voor Netwerk kunnen de bestanden de basis vormen voor een verder project rond de geschiedenis van het kunstencentrum.

Evaluatie kennisborging

Voor dit project, dat beperkt in tijd was, werd ervoor gekozen om Paul Lagring te interviewen over een afgebakend onderwerp, nl. tentoonstellingen in Netwerk. Dit gaf niet enkel het voordeel dat opzoekingen in het archief eenvoudiger zijn, maar het was zo ook mogelijk om meer diepgaand te werken; voor Paul was het dan weer eenvoudiger om zich voor te bereiden. De vragen bleven niet beperkt tot de tentoonstelling. Ze waren een handige insteek om te peilen naar de kunstenscène in Aalst en België, naar het klimaat in Netwerk en de relatie met de Stad Aalst en naar de invloeden en bezigheden van Paul op dat moment.

Door te kiezen voor interviews uit vier verschillende periodes in Netwerk, kunnen bovendien de verschillende periodes met elkaar vergeleken worden. Het is interessant om op deze manier bepaalde tendensen vast te stellen in Pauls manier van werken. Zonder dat hij er zelf bij stil stond, bleek hij een zwak te hebben voor kunstenaars die kunst en architectuur vermengen, die professioneel werken en zich volledig geven voor hun werk. Hij bleek ook veel belang te hechten aan goede communicatie en vertrouwen geven aan mensen.

Resultaten

Wat werd er bereikt?

• Er werden vijf interviews afgenomen en ontsloten. Deze interviews kunnen de basis vormen voor verder onderzoek rond de geschiedenis van Netwerk. De opgestelde vragenlijsten bieden een model voor nieuwe interviews over tentoonstellingen.
• De archiefdossiers van drie tentoonstellingen van Netwerk werden door een buitenstaander geëvalueerd en gecontroleerd op onduidelijkheden en ontbrekende informatie. De vaststellingen werden besproken met Netwerk. Er werden aanbevelingen geformuleerd om de toegankelijkheid van het archief te vergroten en essentiële informatie vast te leggen. Netwerk vond de aanbevelingen bruikbaar en volgt ze in de toekomst op.
• De interviews hadden als gevolg dat Paul zich opnieuw zaken begon te herinneren. Hij ontdekte daarbij dat bepaalde elementen uit de geschiedenis van Netwerk nergens op de website vermeld worden.
• Door te reflecteren zag Paul een duidelijke lijn in zijn evolutie en zoektocht. Ook kwamen conflicten uit het verleden, die een rol gespeeld hebben in de ontwikkeling van Netwerk, terug naar boven. Hij vindt het daarom interessant om dit project verder te zetten en met de stichters te praten over het begin van Netwerk.

Wat werd er tijdens dit project ondervonden?

• Zorg dat je goed voorbereid bent bij aanvang van het interview. Het is belangrijk dat je het onderwerp en het bredere veld waarover je interviewt goed kent. Dit maakt het eenvoudiger om de vragenlijst op te stellen en tijdens de interviews bijvragen te stellen. Aan de andere kant is het ook interessant om een buitenstaander het interview te laten afnemen omdat hij/zij met een frisse blik naar de organisatie kan kijken.
• Maak een interview niet te lang. Uit het traject bleek dat een interview beter niet langer dan 2u duurt. Na een uur werd er ook altijd kort gepauzeerd.
• Vergeet, als je met een digitaal opnametoestel werkt, niet op voorhand te controleren of er voldoende plaats is op de geheugenkaart en of de batterijen opgeladen zijn.
• Interviews uitschrijven en bandinhoudsfiches opstellen vraagt meer tijd dan je op voorhand verwacht. Mensen hebben de neiging om tijdens het praten veel zaken te herhalen of lange zinnen te gebruiken. Het neemt tijd in beslag om hier een mooie en vlot leesbare tekst van te maken.
• Het blijkt dat bij het uitschrijven van de interviews bepaalde nuances uit non-verbale communicatie verloren gaan waardoor de geïnterviewde in de transcriptietekst soms boos of kortaf lijkt. Het kan een oplossing zijn om die non-verbale communicatie tussen haakjes te vermelden, zoals (lacht), of om videoregistraties i.p.v. audioregistraties te maken.

De publicatie Leren luisteren: Een handleiding voor mondelinge ‘geschiedenis van alledag’ van CAG en CO7 bevat veel praktische informatie over de uitwerking van een mondelinge geschiedenisproject.