Aspects of Contemporary Visual Arts Ageing
ABSTRACT BOOK
November 26-28 2014, Bucharest, Romania
AGE 2014
The Studio as a “lieu de mémoire”: Artistic and Scientific Perspectives
Ruxandra Demetrescu
National University of Arts in Bucharest
I would like to present the VISART project by focusing on the interdisciplinary approach which
subsumes various types of research, from the art practice based to laboratory science. Dive rse as
they may seem, artists, curators, gallery owners, art critics, historians, restorers, physicists meet on
the common ground of contemporary art: through their respective disciplines they all try to decipher
the mechanisms behind experiments that differentiate various aspects of contemporary art.
Predictable perhaps, the first stage of the project focused on painting and the preferred media
primarily but not exclusively employed on paper (oil, acrylic, but mainly mixed media and out of -theordinary mixes). I will remember the exhibition we organised two years ago, in order to focus on the
its very particular character, which is, in my opinion, the “double reality” of the image: on one hand the works as such, on the other - the virtual doubles generated through lab investigations. A
surprising effect was thus generated as art works revealed their ‘invisible’ face.
To support a ‘vertical’ research one need to narrow down the area of investigation by limiting it to
contemporary painting and issues pertaining to its conservation. Even such an approach already sets
numerous challenges before the scientist and offers the chance for a fruitful, mutually beneficial
dialogue between scientist and artist. The lab specialist analyses working techniques, physical and
chemical data, makes specific measurements, defines risk and perturbation factors, and takes into
consideration preventive conservation measures and/or improves those already in place. The person
in the studio (the artist) can learn important things from the one in the lab: things that concern the
micro-structural level; things about the technical experiments he/she undertakes or the many
different new/novel materials, technical or material mixes he/she makes or employs.
The study of the aging phenomenon is also relevant. The very dynamics of contemporary art is
particularly stimulating for the scientist and the evolving technology he commands. To this extent the
‘studio’ should be regarded both as a space of creation and as a scientific research laboratory: both
produce ‘histories’ and become ‘places’ of a common memory.
The preservation and/or conservation of contemporary art raises not only genuine technical
difficulties but also ethical (self)-interrogations. Preservation and conservation methods need to
develop and diversify so as to cover the varied and often experimental means of expression which
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are accessible and specific to contemporary art; they also need to keep up the pace (if not supersede
it altogether) with the idioms, materials and media employed by contemporary artists in order to
anticipate, quantify and, if possible, improve the life expectancy of an art work. Beyond obvious
technical and technological challenges, preservation and conservation practices can interfere at an
ethical level with the very data that generated a work of art and its underlying concepts.
It is at this ethical level that methodological precaution requires that all possible implications be
taken into consideration. The first question to be asked is: Does contemporary art wish to be
preserved, both as a collective, abstract entity and as an artistic paradigm? Does it want to be
preserved and restored? Whatever the case be, such analysis needs to be carried out within a very
well-defined frame in order that we know precisely what type of contemporary art is envisaged,
given the huge difference between a contemporary painting and a perishable installation, a sitespecific piece or a performance. Before initiating any procedure, the conservator/ restorer must know
up to where and how he/she is allowed to intervene/ interfere, if he/she is allowed to recover a work
of contemporary art when the artist wanted it to have a time-bound character, to disintegrate
naturally or disappear once it served its purpose and fulfilled its destiny.
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AGE 2014
AGE – Aspects of Contemporary Visual Arts Ageing –
Transdisciplinary Research Initiative for Conservation
Roxana Radvan
National Institute of Research and Development for Optoelectronics INOE 2000, Magurele, Romania
New and more inspiring materials, new accesible technologies, free styling and artists’ infinite
imagination are obviously enough reasons to be sure that near future will bring a revolution in
artwork restoration, and implicitly in conservation science. If we will reconsider the environmental
dramatic changes and amplified anthropic risk factors, it is evident that each case will claim complex
investigation association, strong knowledge in physics and chemistry, perfect trained restorers.
Validated protocols, certified procedures, almost classic “ways to do”, even advanced scientific
tested methods and old set-ups are very often helpless [1]. A permanent creative attitude is claimed
in our laboratories. The contemporary artwork will open a complex campaign of investigation. The
relevance of the scientific investigation will be determinate by the applied i ntelligent query.
VISART [2] is a project that helps us to have a dialogue with contemporary artists, a chance that
scientists and restorers do not have when about old art. It is first time when scientific instruments for
investigation/diagnostic/intervention are related to extract information about unpredicted
structures.
General objective of the project is to create a new scientific approach in contemporary visual art and
to start up an advance form of specialization in restoration/conservation based on rigorous organized
information about new materials and techniques, all with full and deep respect for contemporary
artists and their production. The general objective is absolutely thought not to constrain the artists’
practice, but to inform them and to create necessary set ups and information database as decisive
information for the restorers’ community of tomorrow [3,4].
VISART is talking for the very first time in Romania about the support of visual arts in this way,
preventing unwished degradations, eliminating - at least partly – the risk factor, and mainly thinking
the project results for future use. Of course, the project results will help any restoration intervention
of already existing artworks in need, but especially it is a project that support visual arts’ creators to
increase their products value including material quality beside priority aesthetical values.
AGE is created as a forum for new topics and for reinterpretation of existing results in the context of
new materials and complex structure.
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Studied subject is of high interest and of high complexity, as long a severe inspection of material and
immaterial factors will be developed. Does not matter how much patience exists, in front of a too
complicated mathematical equation, the main mistake is to try to solve it with classic methods. The
solution for the very complicate equation of all aggressive factors over a contemporary artwork – most
probably- will be unrealistic one. This is why the present project is trying to simplify the equation working
on removing as many stressing factors as possible.
Scientific approach focused on the artwork body is just a part of the AGE topics. The artists’ presence and
their involvement are crucial. Their “products” evolution in time must follow as close as possible their act
and their vision. The system created by art cultural institutions, art dealers, insurance firms etc. is also an
important and active part of the event.
Certainly, in the prefigured new field of research there is no room for routines, but an enormous need
of knowledge and experience [5].
Acknowledgements: This work was supported by a grant of the Romanian National Authority for
Scientific Research, CNDI–UEFISCDI, PN-II-PT-PCCA-2011-3.2-0342.
References
[1] Contemporary histories in the studio: Artistic and sci entific perspectives, R. Demetrescu
(coord.), I. Beldiman, S. Gheorghita, A. Guta, D. Dochia, R. Radvan, A. Radvan, Ed. UNARTE, 2012
[2] http://certo.inoe.ro/visart
[3] Preliminary results of accelerated ageing tests on acrylic art paints, I.M. Cortea, A. Radvan, C.
Vasiliu, N. Pușcaș, Scientific Bulletin Series A - Applied Mathematics and Physics, 76(1), 215-222
[4] The unknown Face of the Artwork, Eds: R. Radvan, S. Akyuz, M. Simileanu, ISBN: 978-605-423394-6, Istanbul Kultur University, 2012
[5] Lasers in the conservation of artworks VIII, R. Radvan, J.F. Asmus, M. Castillejo, P. Poulli, A. Nevin
(Eds.), CRC Press, Taylor & Francis Group, 2009
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Exhibiting and preserving contemporary art
Diana Dochia
ANAID Art Gallery
In the last years the discussion regarding contemporary art are more related with the idea of exhibiting and
preserving contemporary art. New ways of exhibiting art in different spaces or mediums opens new discussions
about how to preserve the artwork and for how long. The using of unconventional materials in the artwork
process goes to new ways of evaluating an exhibiting an art project.
These days an artwork is not just an art object, it is in the first time an idea, a process and in the end a new
way of conceiving and designing an exhibition. The artwork can be interpreted differently each time it is moved
in another context. When you change the context you change the meaning and also the condition of
preservation of the artwork.
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The qualitative and quantitative scientific investigation of artworks materials evolution is revealing
information. Without a proper interpretation of the data, the collection of experimental data will be
in fact a simple data mining. Based on long experience accumulated on cultural heritage
preservation, restoration and conservation, scientific investigators are now trained to make relevant
interpretations and are challenged for the next tremendous step: simulation and prediction in
relation with contemporary art physical evolution.
AGE 2014
Wavelength and pulse duration effects on laser cleaning of paints
M. Oujja, M. Castillejo
Instituto de Química Física Rocasolano, CSIC, Serrano 119, 28006 Madrid, Spain
e-mail: [email protected]
Abstract
The application of laser cleaning methodologies on light-sensitive cultural heritage substrates
(paintings, documents on paper and parchment, textiles, etc.) requires the study of the
physicochemical effects that may be induced upon laser irradiation on the constitutive materials. In
this study, we report on the influence of laser wavelength and pulse duration on the modi fications
induced on paint constituents by using pulses of femtosecond, picosecond and nanosecond duration
and wavelengths in the ultraviolet and the infrared spectral regions (213, 266 and 1064 nm) [1-6].
The study was carried out on aged model samples consisting of shellac varnished and unvarnished
traditional artist's pigment temperas. A multianalytical approach was chosen to assess possible laser
induced physicochemical changes, based on the use of optical microscopy, colorimetry,
spectrofluorimetry, laser induced fluorescence, Raman spectroscopy and X-ray photoelectron
spectroscopy. Comparison of the obtained results using different pulse durations and wavelengths
illustrates the participation of mechanisms of diverse origin according to the pigment, binding media
and varnish chemical composition, and highlights the importance of the optimization of the laser
parameters by using laser wavelengths efficiently absorbed by the varnish and the binding media in
combination with ultrashort pulses.
References
[1] M. Castillejo, M. Martín, M. Oujja, D. Silva, R. Torres, A. Manousaki, V. Zafiropulos, O. F. van den
Brink, R. M. A. Heeren, R. Teule, A. Silva and H. Gouveia, Anal. Chem., 74 (2002) 4662-4671.
[2] S. Gaspard, M. Oujja, P. Moreno, C. Méndez, A. García, C. Domingo and M. Castillejo, Appl. Surf.
Sci., 255 (2008) 2675-2681.
[3] M. Oujja, P. Pouli, C. Domingo, C. Fotakis, M. Castillejo, Appl. Spectrosc. 64 (2010) 528-536.
[4] M. Oujja, A. García, C. Romero, J. R. Vázquez de Aldana, P. Moreno and M. Castillejo, Phys.
Chem. Chem. Phys. 13 (2011) 4625-4631.
[5] P. Pouli, M. Oujja, M. Castillejo, Appl. Phys. A 106 (2012) 447-464.
[6] M. Oujja, M. Sanz, E. Rebollar, J. F. Marco, P. Pouli, S. Kogou, C. Fotakis, M. Castillejo,
Spectrochim. Acta A 102(2013) 7-14.
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Analytical characterisation and laser ablation treatments of modern easel
paintings
Salvatore Siano
Instituto di Fisica Applicata “N. Carrara”, Consiglio Nazionale delle Ricerche, Florence, Italy
The artificial pigments and binders introduced along the last two centuries extended the expressive
possibilities of the modern painters and allowed them to execute complex artworks and
masterpieces. Nowadays, such a technical and artistic evolution poses difficult characterisation and
conservation problems. The materials mixing and superposition, as well as the deterioration
phenomena usually encountered in modern easel paintings are less predictable than in previo us
artistic productions and then need significant diagnostic insights and very controllable treatments.
In the present work the conservation problems of two female portraits dated 1910 and around 1930,
respectively, were investigated. These artworks were almost completely disguised by thick layers of
overpaintings, which did not have any artistic relevance. In particular, the former painting was found
on the backside of a signed artwork by Giacomo Balla, one of the founding members of the Futurist
Painters, and was covered by broad brush strokes. The other artwork was of unknown origin and
disguised by overpaintings depicting an abstract vegetable theme, which was executed some
decades after the underlying portrait. Thorough characterisation of the original pigments, binders,
and overpaintings were achieved using Raman and FTIR spectroscopy, along with stratigraphic
examinations by means of optical and ESEM-EDX microscopy. All the paint layers were oil binder and
included several modern pigments, such as phthalocyanine green, Ba, Zn and (Ca)-based pigments,
white anatase and lithopone, red quinacridone and synthetic azo, and other, which were commonly
used during the last century. The characterisation of the original and undesired paint layers allowed
identifying the pigments mixing and pointing out peculiar deterioration mechanisms.
LQS Nd:YAG (1064 nm) laser uncovering was successfully tested for both the mentioned easel
paintings. This allowed performing the complete restoration of that from Ball's studio , which
returned an unknown Pre-Futurist artwork, and to plan that of the portrait by anonymous. At the
same time, a systematic laboratory experimentation on prepared samples has been carried out.
These samples simulated the present uncovering problems encountered in the real cases, in order to
investigate the laser interaction phenomenology for the different paint layers and then achieve
general information on the potential of the laser approach to the removal of undesired layers.
The results reported contribute to the knowledge of the deterioration mechanisms of the paint
layers and disclose a significant application perspective for Nd:YAG laser ablation in conservation of
modern easel paintings.
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Laser Cleaning and Diagnostics of Polymers in Contemporary Art
Wolfgang Kautek*, Ulrich Pacher, Saira Arif, Oskar Armbruster, Tristan Nagy
Technical University of Vienna, Department of Physical Chemistry,
Währinger Strasse 42, A-1090 Vienna, Austria
* Correspondence: [email protected]
Laser cleaning of materials in contemporary art is a challenge. Laser-induced separation of dust
particles from biogenetic and synthetic polymeric materials common in technical cultural goods and
also in modern and contemporary art are very involved and are rarely understood up to date [1,2].
Polymethyl methacrylate, polycarbonate, and polystyrene served as model substrates whereas
graphite powder and polystyrene beads as transparent and opaque model particles, respectively [ 35]. Visible 532 nm radiation with 7 ns pulse duration was employed in order to guarantee minimum
substrate interaction, and thus, no material damage. Evaluations were performed by electron
microscopy, optical microscopic evaluations of modification areas, and a light scattering technique.
Besides the thermo-mechanical mechanisms occurring within the irradiated spot, a separation
process in the proximity beyond the laser spot could be related to high-amplitude surface acoustic
waves.
Adhesion forces have to be overcome in laser-induced separation from surfaces. In order to
understand and model such laser-induced thermo-mechanical processes not only relative surface
accelerations of either particles or substrates but also adhesion strengths have to be quanti fied.
Adhesion force measurements of polymer micro-beads attached to scanning force microscope
cantilevers from various polymers, such as polymethyl methacrylate, poly carbonate, polyvinyl
chloride and polystyrene are reported and discussed.
References
[1] W. Kautek, Springer Series in Materials Science 130 (2010) 313.
[2] M. Forster, S. Arif, C. Huber, S. Bushuk, A. Kouzmouk, H. Tatur, S. Batishche, W. Kautek,
in “Lasers in the Conservation of Artworks”, R. Radvan, et al. (eds.), Taylor & Francis Group, London
2011, p. 79.
[3] S. Arif, O. Armbruster, W. Kautek, Appl. Phys. A 111 (2013) 309-317.
[4] S. Arif, O. Armbruster, W. Kautek, Appl. Phys. A 111 (2013) 539-548.
[5] S. Arif, W. Kautek, Appl. Surf. Sci. 288 (2014) 9–14.
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Similarities in laser-plasma-surface applications;
A bridge between Art conservation and High-technology
Joost van der Mullen
Université Libre de Bruxelles (ULB), Bruxelles, Belgium
[email protected]
In this presentation we address similarities between various laser-plasma-surface applications.
Attention will be paid to, among other things, laser ablation, laser induced breakdown spectroscopy
and laser induced (LIF) fluorescence. Case studies will be presented of the generation of (Laser
produced) extreme UV as used for the lithographic fabrication of future small structured computer
components and the application of plasma torches for the treatment of biofilms; bacterial colonies
like those responsible for the bio-deterioration of paper artifacts of cultural interest.
Regeneration of ancient bast textiles for complex Cultural Heritage
preservation applications
Monica Simileanu1, Roxana Rădvan1, Clara Hortensia Rădulescu2, Georgeta Roşu
1
The National Research and Development Institute for Textiles and Leather
2
National Institute of Research and Development for Optoelectronics
3
The National Museum of Romanian Peasant
The investigations and analyses comprised in the current paper are part of a complex national
research project (MYTHOS) that is focused on development of new materials for conservation and
restoration of bast European artifacts using biotechnological tools, namely - to produce textile
reference materials that have the strongest biological and/or technical similarity with the Cultural
Heritage objects. Three types of textile structures are investigated: the textile material which is part
of the Cultural Heritage artifact, the textile material obtained from contemporary fibres and the
regenerated textile material that has the same characteristics as the Cultural Heritage one.
Acknowledgements: This work was supported by a grant of the Romanian National Authority for
Scientific Research, CNDI–UEFISCDI, PN-II-PT-PCCA-2011-3.1-0408.
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FTIR Studies on the Kinetics of Polymeric Resins Degradation via Induced
Oxidative Reactions
Ioana Maria Cortea
National Institute for Research and Development in Optoelectronics - INOE 2000
Physico-chemical stability of various synthetic resin materials dedicated to the art market are being
discussed in relation to their long term behavior as an analytic response under induced artificial
ageing. On the basis of an extensive kinetic analysis, a series of correlation could be draw on regard
the causes and mechanism of degradation affecting these class of materials by the use of Attenuated
Total Reflectance (ATR) - FTIR measurements. Experimental factors, such as the effect of various
accelerated ageing treatments, sampling or data processing on particular case studies, highlights
practical aspects that further can be applied for an accurate characterization of the chemical
processes involved in the deterioration of specific polymers.
KEYWORDS: synthetic resins, photo-chemical stability, ageing mechanisms, FTIR spectroscopy
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This section is focused on those who put the notions into action: the artists. The aim of the speeches,
round tables, free discussion is to get a view on what materials, whether they traditional or cutting edge, technique, durability etc. mean to the artists and how they use them in order to create a
personal and specific language, whose purpose is expression and message. Artists that have
approached various mediums and materials will put a light on their way of working, dissecting the
physical part of creation. Does the subject require a certain technique, is i t or not influenced by that
technique, does the material start the creation process or is it a barrier, what do we understand by
personal technique, are some of the points to be hit in this section. Last but not least we wish to
discuss the meaning of durability form the contemporary artists point of view: is it important for the
contemporary artist, in a time focused on speed, fashion and change, or is it a burden, a commitment
or an unnecessary issue, does it imply conceptual or even philosophical problems? We always tend
to look at ART downward and externally, here we try to look upward from the inside.
AGE 2014
The Backbone
Alexandru Radvan
National University of Arts, Bucharest, Romania
Technique and materials form the backbone of an artwork. Somehow , it shapes from the very
beginning the development, the aspect and the future of that artwork. And just like backbones, every
work has a unique technical signature, part of its DNA. How does the artist generate the backbone?
What is the importance of technical experiments?
The work of art seen as a collection of more or less random experiences and observations. The role
of curiosity in the genesis of an artifact, whether it is painting, sculpture or between genres, all these
ideas put together with the solidity, certainties as well as the limitations of the academical training. If
the study of technical approach gives us an image of the position of the arts (the craft) and artist (the
craftsman) in the society and culture of the past centuries, what will show to the future the
investigation of our craft?
-The Human ProjectEndless ongoing researches for a life-long project
Ciprian Paleologu
National University of Arts, Bucharest, Romania
I started the HUMAN Project in 2000, when I was 24, aiming to build-up the architecture of a world. I
chose accurately the phases and the general functional details to be followed. I attached to each
sequence a role, the constitutive elements and the determinations within the assembly. The 24
biennial stages of the Project are meant to be carried on until I’ll be 70, though the mechanism has
the due resources to make it function and develop even after my biological death. For the time
being, eight stages have been developed.
In this type of project conceived from multiple and various resources, the “technical” barrier of
meanings exceeds a conventional border (like a canvas for a painter or a special nib for an engraver).
“The technique” is a Babel tower for an art outsider because implies endless ongoing researches
(inside and outside “conventional” art terms). Between the process of taking off the human being
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(as an art subject) out of its medium, until creating an Institute of Human Researches there are a
series of steps. And each step develops a special way in order to reveal it to the public. For these
reasons talking about the medium and technique in my artistic researches is the same phenomenon
as define a “dictionary”.
The perfect recipe for a work of art
Suzana Dan
Artist
We need it or not? What should we learn today in the university of art? What models to follow? Is it
anymore necessary to study the technology of art or should we go wild and burn down the whole art
schools? Do we still need nowadays to create or we are all producing art? Why? Do we have a
romantic approach when discussing about technology of painting and all sort of recipes? Is it possible
to talk anymore in this domain about the joy of serendipity? Are we the poor slaves of technology?
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In the last years the discussions regarding contemporary art are more related with the idea of
exhibiting, expertise, collecting and preserving. To exhibit contemporary art and the ways of
conceiving and doing exhibition became almost a science, and from this all the problems regarding
the collecting and preserving this type of art. This conference will bring together the most important
specialist from the primary and secondary market – curators, gallerists, auctioneers, evaluator, art
experts and art advisers, collectors. There are the specialists that forms and sustain the art system.
AGE 2014
The Role of Auction Houses in the Life of an Artwork. Evaluation Issues and
New Realities in the Online World
Cristina Olteanu
LAVACOW
Auction Houses play an important role in the art world system. They cooperate with all the other
players on the market to enable access to the most exquisite and highly desired artworks. Particular
for an auction house is a high inventory turnover and a simultaneous large offer on sale, of diverse
nature and provenience, raising specific issues of conservation and valuation.
Conducting business in the online opens up the market to a new audience, extending both customer
reach and competition, while creating new challenges to the preservation, presentation and
evaluation of artworks. How does the activity of an auction house adapt to the fast-moving era of the
Internet, and which are the advantages and the drawbacks we have to address?
An Analogy of Painting as a Palimpsest. The Restoration Work by Ion
Grigorescu on Overlaid Religious Murals
Cristina Cojocaru
National University of Arts, Bucharest, Romania
In my lecture I propose to use the concept of palimpsest in order to discuss the overlaid religious
mural paintings issue and the contemporary restoration practices in this field. Since the religious
painting is a sensitive domain in Romania, there has always been a dispute between two doctrines of
restoration: one that claims to bring the monument to his most ancient form by removing all the
intermediary stages and fully integrating the loopholes, so that the aesthetic instance could be
satisfied, and the other that brings into discussion the historical instance, questioning the relation
between the monument and its becoming process, the so-called "archaeological restoration", which
stands for the preservation of the successive stages existing in the history of a monument. I am
focused on the restauration theory aspects, but I am also concerned with the ethics of intervention
in multilayered works: in this context, I would like to present a case of restoration work made by a
notorious contemporary Romanian artist, Ion Grigorescu, in the Olari Church in Bucharest. This 18th
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century church preserves five overlapped layers of painting: the oldest fresco from approx. 1758,
another fresco from1863, an oil painting dated 1870, a fourth layer, from the beginning of the 20th
century (c. 1920), and in addition the contemporary paintings by Ion Grigorescu, made between
1995-2002. What you can see today in the church is both unusual and interesting, because Ion
Grigorescu decided to keep all the layers visible, cutting and collating them in a sort of hyperpalimpsest. Although the artist avoids a statement, his restoration strategy is not a scientific
undertaking, according to the principles of restoration, but could rather be understood in terms of a
postmodern aesthetics and related to his artistic investigations, such as the use of overlapping
photos in his works.
Contemporary Art Galleries and the Challenges of Art Temporary
Conservation
Diana Ursan
AnnArt Gallery, Bucharest, Romania
Contemporary art comprises a mixture of objects, projects, actions and artistic practices that more
than once involve conservation issues, be it technical - due to the experimental materials and raw
matters used by artists - or ethical, concerning immaterial, perishable or ephemeral artistic acts and
intentions.
The `traditional` media - painting, sculpture, graphics - still dominate art’s markets and scenes both
in terms off value and quantity. If an artworks’s ideal finish line is the museum, with this established
status extending its life expectancy, the journey is made through galleries.
These are assigned the responsibility of conserving, at the least temporarily, the exhibited and
circulated pieces. As an interval and interspace between the artist’s studio and public or private
collectors, the contemporary art gallery takes on the task of maintaining, securing and ensuring the
health, integrity and authenticity of the artistic object.
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