Hello,
here we are with the first post of the year!
I wanted to tell you about an interesting article that appeared on the "Friday" of the Republic of the week. This is an interview with Antonio Rava, one of the greatest Italian experts (perhaps the only?) The restoration of works of contemporary art. This article discusses an interesting issue: how to deal with restoration of works of contemporary art , which uses ephemeral materials, and often consists only of an idea? ".
The question is not trivial. Increasingly, in fact, the artist married the most diverse materials and complex, feeding his creativity with what modern technology available to the (plastic, laser, cathode ray tubes ...). Often the works are even designed to NOT durable .
How we deal with the restoration of a work which is nothing but an inflated balloon artist? (Artist's Breath - Piero Manzoni ) You can replace the balloon with an identical, but to do with the breath of the artist, if he is gone?
Still, oil paintings on a layer of tar, that slowly sucks the paint by removing the painting itself (Luigi Stoisa); piles of candy that the public is invited to consume ( Felix Gonza-les Torres ).
I wanted to tell you about an interesting article that appeared on the "Friday" of the Republic of the week. This is an interview with Antonio Rava, one of the greatest Italian experts (perhaps the only?) The restoration of works of contemporary art. This article discusses an interesting issue: how to deal with restoration of works of contemporary art , which uses ephemeral materials, and often consists only of an idea? ".
The question is not trivial. Increasingly, in fact, the artist married the most diverse materials and complex, feeding his creativity with what modern technology available to the (plastic, laser, cathode ray tubes ...). Often the works are even designed to NOT durable .
How we deal with the restoration of a work which is nothing but an inflated balloon artist? (Artist's Breath - Piero Manzoni ) You can replace the balloon with an identical, but to do with the breath of the artist, if he is gone?
Still, oil paintings on a layer of tar, that slowly sucks the paint by removing the painting itself (Luigi Stoisa); piles of candy that the public is invited to consume ( Felix Gonza-les Torres ).
Untitled (Portrait of Ross in LA), 1991, Felix Gonzalez-Torres These works give the materials, and their futility, a very important and would be almost against the wishes of the artist if you are trying to keep them in time. Other works, however, give great importance to the idea, the message, and leave the problem of materials, so that demand continuous action, such as the work " Sculpture eating" of Giovanni Anselmo.
Sculpture eating, Giovanni Anselmo, Paris, Centre Pompidou To make the contrast between the freshness of lettuce and immobility of the stone is still alive, you must replace the lettuce every day.
Another artist, Anselm Kiefer, used in his paintings of flowers and seeds and its lands, providing for their degradation, created veritable archive of hundreds of specimens to be used for replacement, but when they end up?
short, deal with the restoration of works of contemporary art can become a real headache, then becomes increasingly necessary to enter the intellectual world of the artist, so as to avoid actions that, while technically flawless, it betrays its poetry.
Once again, the restoration requires the intervention of a figure prepared in chemistry and materials, a professional who manages to speak scientifically about the work, while maintaining the sensitivity of an art historian. a Conservation Scientist, precisely.
How would you handle these restorations? Replace, let decay, with photographs capture? To you the word!
Andrea
Another artist, Anselm Kiefer, used in his paintings of flowers and seeds and its lands, providing for their degradation, created veritable archive of hundreds of specimens to be used for replacement, but when they end up?
short, deal with the restoration of works of contemporary art can become a real headache, then becomes increasingly necessary to enter the intellectual world of the artist, so as to avoid actions that, while technically flawless, it betrays its poetry.
Once again, the restoration requires the intervention of a figure prepared in chemistry and materials, a professional who manages to speak scientifically about the work, while maintaining the sensitivity of an art historian. a Conservation Scientist, precisely.
How would you handle these restorations? Replace, let decay, with photographs capture? To you the word!
Andrea
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