My Bundgaard explains her profession as sculpture conservator for Moderna Museet in Sweden. She discusses the research findings on the history, art making process, and technicalities of Robert Rauschenberg’s kinetic sculpture 'Mud Muse' (1968-1971) from the collection of Moderna Museet, Sweden. The gradual change in technique of the sound activated sculpture is discussed in the light of institutional responsibilities, including possible future display options for the obsolete equipment, as it was originally operated by a four track open reel tape recorder. The interview was held in the context of a Research Ethics seminar as part of the first year of the MA of Fine Arts in Artistic Research (MFAAR) at the Malmö Art Academy / Lund University, focusing on oral history, organised by Sanneke Stigter.

Interviews in Conservation Research is a growing oral history collection to inform research in conservation, restoration and presentation of works of art and cultural heritage in the Netherlands and beyond. Generally conducted by museum professionals and relatively inaccessible, such interviews with artists, assistants, conservators, curators, collectors, designers and material specialists are now being made available, supported by research through the Interviews in Conservation Initiative. The interviews focus on the art-making processes in relation to underlying ideas and the socio-cultural context as well as cultures of conservation. The collection is ongoing and additions are welcome to build a rich collection of unique source material to help sustain our cultural heritage for future generations.

My Bundgaard explains her profession as sculpture conservator of Moderna Museet in Sweden. She discusses their research findings on the history, making process, and technicalities of Robert Rauschenberg’s kinetic installation 'Mud Muse' (1968-1971) from the collection of Moderna Museet, Sweden. The gradual change in technique of the kinetic sculpture is discussed in the light of institutional responsibilities, including possible future display options for the obsolete equipment, as it was originally operated by a four track open reel tape recorder. The interview was held in the context of a Research Ethics seminar as part of the first year of the MA of Fine Arts in Artistic Research (MFAAR) at the Malmö Art Academy / Lund University, focusing on oral history, organised by Sanneke Stigter.