Conclusions


From the start, the aim of this project was to classify, analyse and gather as much information as possible about the potential deterioration or alterations in works of art made from organic materials, the reason being the difficulties that such types of material pose for conservation and exhibition issues.

Isolating the works from the outside environment is a known phenomenon that we were able to confirm. Such isolation plays a decisive role in the short term on their state of conservation and the prevention of potential alterations. To illustrate that phenomenon, let's compare three pieces that were analysed in this project:

  1. On the one hand, the work by Marcel Broodthaers, made from glass, string and canvas photo paper (1967) and the one by Pere Noguera, made from Plexiglas, polypropylene and photocopied paper on wood (1975).

  2. And, on the other, the work by Dieter Roth, made from squares of Lindt chocolate and typed paper (1970), and the one by Antoni Llena, made from paper on plywood painted white.

Since their creation, the pieces in group 1 have include a barrier component (glass or Plexiglas) as part of their system of presentation. That was a decision taken by the artists at the time. In opposition to the pieces in group 2, which initially did not have a Plexiglas cover, the pieces in group 1, which did, made it absolutely clear that those components of a work of art (content) protected from a build-up of dust, atmospheric agents, etc. do not suffer from as many alterations. Not only were those alterations caused by the environmental agents surrounding the work, but also by the constant lighting changes and resulting temperature changes.

Thus, "light" (whether natural or artificial), as we expected and in fact found, is one of the main agents of deterioration in the works of art in our Collections.

Despite the fact that we think it has been made very clear throughout this study, unfortunately we do not have complete freedom to set the maximum and minimum limits of tolerated lighting. The artist's involvement in the installation of his exhibition makes it hard to stick to lighting levels that are suitable for the conservation of the works, since he often considers them to be insufficient. Likewise, because of the newness of these works, the attitude of numerous professionals towards Contemporary Art is not the same as it is towards Ancient or Modern Art.

However, after analysing the pieces described earlier, we found that the delicateness or susceptibility of works of art is not a function of age but rather of the materials they are made of.

"Timely preventive conservation of works of art will always minimise direct intervention in them".