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Authors
Abstract(s)
O projeto de estágio decorreu no Museu d’Art Contemporani de Barcelona, em Espanha, no âmbito do qual se acompanhou as problemáticas no dia-a-dia do museu. O trabalho de estágio incidiu na intervenção de conservação e restauro, sobretudo nas obras de pintura, da exposição Soc totes les que he sigut [Sou todas as que fui] da artista catalã Fina Miralles, cronologicamente datada entre 1973 e 2020. A intervenção prática enquadrou-se nos princípios do Código da Ética do conservador-restaurador, adotando se a intervenção mínima com respeito pelo original e em concordância com as indicações da artista. A intervenção permitiu devolver a leitura original à obra, restituindo a harmonia e o equilíbrio pretendidos. As problemáticas dominantes na exposição traduziram-se na necessidade de, em telas cruas sem preparação, adotar um tratamento de limpeza a seco, um método aquoso com gel de agar e um método por ação de impregnação, absorção e calor. Para além disso, a exposição permitiu entender a realidade da reprodução de uma obra artística, uma vez que em determinados casos foi necessário, substituir elementos originais devido ao seu estado de conservação. Desta forma, esta exposição revelou-se um exemplo de diversas problemáticas universais que pedem, indispensavelmente, critérios e ética de conservação e restauro.
This internship project was carried out at the Museu d’Art Contemporani de Barcelona, Spain, whence the day-to-day problem of the museum were monitored. The internship focused on the intervention of art conservation and restoration, especially in painting, in terms of the exhibition Soc totes les que he sigut [I am all those I was] of the Catalan artist Fina Miralles, chronologically dated between 1973 and 2020. The practical intervention followed the principles underlying the Code of Ethics of the conservative restorer, adopting minimum intervention so as to respect the original work of art, and in agreement with the indications of the artist. This intervention further enabled restoring the original reading to the work, and the intended harmony and balance. The main conservation and restoration problems identified for this exhibition led to the need to adopt a dry cleaning treatment, a aqueous method with agar gel and a method by the action of impregnation, absorption and heat. Furthermore, this exhibition allowed for the understanding of the reality involved in the overall production of the artistic work since it was sometimes necessary to replace original components because of their state of conservation. Thus, this exhibition proved to be an example of several widespread problems that unquestionably require conservation and restoration ethics and criteria.
This internship project was carried out at the Museu d’Art Contemporani de Barcelona, Spain, whence the day-to-day problem of the museum were monitored. The internship focused on the intervention of art conservation and restoration, especially in painting, in terms of the exhibition Soc totes les que he sigut [I am all those I was] of the Catalan artist Fina Miralles, chronologically dated between 1973 and 2020. The practical intervention followed the principles underlying the Code of Ethics of the conservative restorer, adopting minimum intervention so as to respect the original work of art, and in agreement with the indications of the artist. This intervention further enabled restoring the original reading to the work, and the intended harmony and balance. The main conservation and restoration problems identified for this exhibition led to the need to adopt a dry cleaning treatment, a aqueous method with agar gel and a method by the action of impregnation, absorption and heat. Furthermore, this exhibition allowed for the understanding of the reality involved in the overall production of the artistic work since it was sometimes necessary to replace original components because of their state of conservation. Thus, this exhibition proved to be an example of several widespread problems that unquestionably require conservation and restoration ethics and criteria.
Description
Keywords
MACBA Arte contemporânea Conservação e restauro Pintura Métodos de limpeza Substituição de elementos originais Reprodução de obras Contemporary art Conservation and restoration Painting Cleaning methods Replacement of original components Reproduction of works of art