Reinstalling Thomas Hirschhorn’s Doppelgarage (2002): Bridging Gaps Between Theory, Practice and Emotion in the Preservation of Installation Artworks

The focus of this chapter is the reinstallation of Thomas Hirschhorn’s room installation Doppelgarage (2002) in the Pinakothek der Moderne, Munich, Germany, in 2016. Those responsible (curator and conservator) decided on a reconstruction using only conservation documentation—without the artist’s participation. This decision had several immediate consequences: the artist reacted adversely to it, while it also exposed an apparent contradiction in current conservation theory, including the risk of losing “knowing-how” (as distinct from “knowing-that”) about the reconstruction process, and led to unexpected changes in the roles of the actors involved. As the one who served as conservator managing the reconstruction in 2016, I use this opportunity to examine my actions and to embed them in the current theoretical discussion on conserving installation art. If the conservator’s feelings do not tend to be an object of professional contemplation, I explore and describe them here as indicators of potential problems in the reconstruction Hirschhorn’s work. Specifically, I argue that reflection on those issues contributes to bridging important gaps between theoretical frameworks of conservation and the methods selected for this project.