[논문]Collaboration with Stakeholders for Conservation of Contemporary Art

Kwon, Hee Hong; Lee, Gi Sun

doi:10.12654/jcs.2020.36.1.04

[국내논문] Collaboration with Stakeholders for Conservation of Contemporary Art 원문보기

보존과학회지 = Journal of conservation science, v.36 no.1, 2020년, pp.37 - 46

Kwon, Hee Hong (Department of Conservation and Art Bank, National Museum of Modern and Contemporary Art) , Lee, Gi Sun (Department of Conservation and Art Bank, National Museum of Modern and Contemporary Art)

Abstract ▼ AI-Helper

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.

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문제 정의

Thus, the aim of this study was in-depth research on a code of ethics for conservation of contemporary artwork and on the scope of rights of multiple stakeholders. Along the way, overseas case studies were reviewed and the kinds of stakeholders involved in conservation treatment were determined, along with how their opinions were reflected.
In this study, several cases involving new conservation ethics were examined, such as for the intervention of multiple stakeholders, particularly living artists, for the conservation of contemporary artwork.

가설 설정

How should conservators respond if the artist’s intention is in conflict with the preservation method?

제안 방법

It was agreed to use the border side to the maximum in order to remove the old paint and to preserve the painting elements of the colored portions at the time of repainting. Moreover, the repainting conservation treatment was carried out according to the decision that the paint brush strokes of the artist-partly viewable-should be reproduced to the fullest, based on existing photographic data and the currently existing parts(Table 4).
For his work, which was recently produced(2017), there was no problem of preservation at all for the display. However, in consideration of possible exfoliation, discoloration of the printed layers, replacement of the neon lamps, and of the photographic prints on canvas in the future, the MMCA prepared for a discussion with the artist about conservation treatment starting at the collecting stage, and then archiving to provide prevented conservation treatment in advance.
Above all, the MMCA recorded the images and their conditions by survey at the time of collecting the work. In order to select the current colors of the work as the basic colors, the MMCA cleaned pollutants from the work surface using distilled water. Then, it compared each of the basic colors of the work and comparative color groups using color charts(Dupont, Pantone) as per Table 5, before selecting a reprinting color table in the first place.
The aim of this study was to identify procedural measures like “moral rights” extended to living artists, and to survey the methods used to collaborate with other stakeholders (bereaved family members, foundations, and owners) who might participate in conservation treatment.

이론/모형

In addition, citing conservation-treatment examples by the National Museum of Modern & Contemporary Art, Korea (MMCA), this study introduced the code of ethics applied in this museum.

후속연구

It is expected that the findings of this study could be used as fundamental data to establish a code of ethics for the conservation of contemporary art and its directions.

참고문헌 (16)

Althofer, H., 1991, Il restauro delle opere d'arte moderne e contemporanee. Nardini, Florence, 141. (in Italian)
Beerkens L., Abraham, L., Hoen P., Hummelen, IJ., Van Saaze, V., Scholte, T. and Stigter, S., 2012, The artist interview-for conservation and preservation of contemporary art, guidelines & practice. Jap Sam Books, Noord-Brabant, 14-53.
Brandi, C., 2013, Theory of restoration. Kimundang, Seoul, 35. (Original work published in 1963)
Heuman, J., 1995, From marble to chocolate. Archetype Publications, London, 7.
Hiltrud, S., 2004, Touching vision: Essays on restoration theory and the perception of art. VUB University press, Bruxelles, 8-14.
International Network for the Conservation of Contemporary Art(INCCA), 2002, Guide to good practice: artist interview. https://www.eai.org/resourceguide/collection/computer/pdf/incca.pdf (November 27, 2017)
Koo, B. J., 2010, Artist's moral rights. Kyungin Publishing, Seoul, 174. (in Korean)
Learner, T. and Rivenc, R., 2013, Conserving outdoor painted sculpture. Interim Meeting of the Modern Materials and Contemporary Art Working Group of ICOM-CC, Otterlo, 13-22.
Morera, C. S., 2017, Where is the authenticity of the contemporary art?. Ge-conservation, 11, 214-218. (in Spanish)
Munoz-Vinas, S., 2012, Contemporary theory of conservation. Routledge, London, 130-147.
Netherlands Institute for Cultural Heritage (ICN) and The Foundation for the Conservation of Contemporary Art (SBMK), 1999, Concept scenario: Artist interview. https://www.sbmk.nl/source/documents/concept-scenario.pdf (November 27, 2017)
Oh, S. J., 2016, The copyright act_the fourth edition, Pakyongsa, Seoul, 45. (in Korean)
Park, S. H., 2014, The copyright act_the first edition, Pakyongsa, Seoul, 57-58. (in Korean)
Sturman, S., 1997, Necessary dialogue: The artist as partner in conservation, Modern Art: Who Cares?. Conservation of Modern Art/Netherlands Institute of Cultural Heritage, London, 393-396.
The Getty Conservation Institute, 2016, Unlikely Synergies: How Paints Formulated for Military Assets May Save Outdoor Painted Sculptures. https://www.getty.edu/conservation/publications_resources/newsletters/31_2/unlikely_synergies.html (November 27, 2017)
Wharton, G., 2015, Artist intention and the conservation of contemporary art. Objects Specialty Group Postprints, 22, 1-12.

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[국내논문] Collaboration with Stakeholders for Conservation of Contemporary Art 원문보기

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