Zprávy památkové péče 2020, 80(1):106-112 | DOI: 10.56112/zpp.2020.1.12
Issues of possible conservation and restoration of polymeric materials
- Národní technické muzeum
Today, artistic and design works made of synthetic polymers are significantly represented in museums and galleries, whether they are art collections (paintings, sculptures), industrial arts (design, textiles), or technical collections (parts of machines and devices). The first problems with their conservation and restoration date back to about the last quarter of the last century.
This article deals with semi-synthetic or fully synthetic materials in the form of films, fibers, foam, or three-dimensional objects (with the exception of photographic materials, synthetic textiles, and synthetic binders of modern painting, since this issue is addressed by a number of highly specialized studies). It should be noted that even this defined section of polymeric materials is extremely diverse. There is a vast amount of synthetic materials, and they degrade very quickly compared to mineral materials. The study of their degradation processes and attempts at their conservation and restoration is dealt with by many experts, since this area is still relatively little mapped in the context of fine arts.
The degradation processes of synthetic polymers differ from that of "classical" materials, and the demands on the knowledge of the restorer also differ. The restoration of synthetic polymers cannot be subject to the same criteria as the restoration of conventional materials, nor to the same ethical requirements. In particular, the requirement to preserve the original material or reversibility is in many cases unattainable. Even the qualification requirements for the restorer cannot be the same. The artistic skills of a restorer or conservator are, in this case, just as important as a theoretical knowledge of polymer chemistry. The article draws attention to the need for an interdisciplinary approach in finding ways to restore and conserve these non-traditional materials; it also draws attention to the fixed and irreversible life limits of some of them, given their physical and chemical nature. Ethical principles of restoration of synthetic polymer works while preserving their authenticity should be the subject of professional discussion in the future.
Keywords: synthetic polymers, conservation of plastics, degradation processes, conservation, restoration, ethical principles of restoration
Published: March 1, 2020 Show citation
References
- Robert L. Feller, Aspects of chemical research in conservation: the deterioration process, Journal of the American Institute for Conversation 33, č. 2, 1994, s. 91-99.
Go to original source... - Sandra Weerdenburg et al., The conservation of an early assemblage by Richard Serra: A rubber issue, in: J. Bridgland (ed.), ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15 - 19 September 2014, Paris 2014.
- Yvonne Shashoua, Conservation of Plastics: Materials Science, Degradation and Preservation, Amsterdam 2008.
- Bertrand Lavédrine - Alban Fournier - Graham Martin (edd.), Preservation of plastic artefacts in museum collections, Paris 2012.
- Bronwyn Ormsby - Tom Learner - Michael Schilling - Jim Druzik - Herant Khanjian - Dave Carson - Gary Foster - Mike Sloan, The Effects of Surface Cleaning on Acrylic Emulsion Paintings: A Preliminary Investigation, Tate Papers 6, Autumn 2006, http://www.tate.org.uk/research/publications/tate-papers/06/effects-of-surface-cleaning-on-acrylic-emulsion-painting-preliminary-investigation, vyhledáno 5. 6. 2018.
- J. Bridgland (ed.), ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15 - 19 September 2014, Paris 2014.
- J. Bridgland (ed.), ICOM-CC 18th Triennial Conference Preprints Copenhagen, 4-8 September 2017, Paris 2017.
- Eleonora Pellizzi et al., Consolidation of artificially degraded polyurethane ester foam with aminoalkylalkoxysilanes, Polymer Degradation and Stability 129, 2016, s. 106-113.
Go to original source... - Alois Riegl, Der moderne Denkmalkultus, sein Wesen, seine Entstehung, Vienna 1903.
- Alois Riegl, Moderní památková péče, Praha 2003.
- David Lowenthal, Counterfeit Art: Authentic Fakes?, International Journal of Cultural Property 1, č. 1, 1992, s. 79-104.
Go to original source... - Herb Stovel, Origins and Influence of the Nara Document on Authenticity, APT Bulletin 39, 2008, č. 2-3, s. 9-17.
- American Institute for Conservation. Codes of Ethics and Guidelines for Practice, dostupné online: https://www.culturalheritage.org/about-conservation/code-of-ethics, vyhledáno 14. 12. 2019.
- David A. Scott, Conservation and authenticity: Interactions and enquiries, Studies in Conservation 60, 2015, č. 5, s. 291-305.
Go to original source... - Cesare Brandi, Theory of Restoration, Roma - Firenze 2005.
- Rachel Rivenc - Reinhard Bek (edd.), Keep It Moving?: Conserving Kinetic Art, in: Proceedings from the Meeting Organized by the Getty Conservation Institute, the ICOM-CC Modern Materials and Contemporary Art Working Group, and Museo del Novecento Palazzo Reale, Milan, Italy, June 30 - July 2, 2016, Los Angeles 2017.
- Rebeca Gordon - Erma Hermens, The Artist's Intent in Flux, CeROArt [Online], Hors Série - Conservation: Cultures and Connestions, 2013, http://journals.openedition.org/ceroart/3527, vyhledáno 14. 12. 2019.
Go to original source... - Aga Wielocha, Artist Interwiew as a Platform for Negotiating an Artworks's possible future, Sztuka i Dokumentacja = Art and Documentation 17, http://www.journal.doc.art.pl/pdf17/Art_and_Documentation_17_wielocha.pdf, vyhledáno 15. 12. 2019.
- Lydia Beerkens et al., The Artist Interview. For conservation and presentation of contemporary art. Guidelines and practice, Heijningen 2012.
- Ijsbrand Hummelen - Dionne Sille (edd.), Modern Art: Who Cares? An Interdisciplinary Research Project and International Symposium on the Conservation of Modern and Contemporary Art, Amsterdam 1999.
This is an open access article distributed under the terms of the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License (CC BY-NC-SA 4.0), which permits non-comercial use, distribution, and reproduction in any medium, provided the original publication is properly cited. No use, distribution or reproduction is permitted which does not comply with these terms.

