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Heritage preserved
C Top left, the restoration of Salvatore Scarpitta’s Untitled n. 9 (1958), mixed media on bandages and canvas; in the centre, the laboratory for the restoration and conservation of artworks in multiple materials.
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Contemporary art has become “fashionable” in recent decades: an enthralling adventure, like a modern Grand Tour in a globalised world that is crowded, multifaceted and sometimes contradictory. The roles of museum directors, curators, gallerists, collectors, artists and auction house managers are less defined and often overlap, as professions blend and their boundaries become increasingly blurred. The substantial difference between contemporary and classical art does not lie only in the multitude of materials used, but also in the fact that the former has paved the way to new forms of collecting, to new professional roles, to changing relationships, ethical approaches and conservation methods. Contemporary art is often created for contexts outside of the museum, with the purpose of encouraging reflection, challenging established certainties and compelling us to ponder the idea of impermanence. In contrast to ancient art, which was intended to be preserved and handed down through history. This break with the past began with the avant-garde movements, when artists started to use new expressive forms to represent the reality and technology of the modern world. To accomplish this change, they turned to materials found in everyday life, using a wide variety of non-traditional media, often daringly assembled: plastic containers, light bulbs, cement and garbage bags, as well as more organic and natural materials (blood, manure, animal hides, etc.).
Artists no longer choose materials for their durability, as was the case in the past, but rather focus on the concept that they want to convey, which is often expressed in the implosion of the artwork itself. The new meaning attributed to the concept of work of art, the experimentation with new materials and techniques and the introduction of a dynamic dimension that transforms the relationship to time have brought about the need for a novel approach to restoration. Leading to a new specialisation, in order to tackle the restoration (or, rather, conservation) of contemporary art with a versatile and open approach. Because established protocols and technical and manual skills no longer suffice; conservators must also be aware of the challenges posed by new materials, whose future behaviour is often unpredictable. Synthetic plastics are an excellent example of this: materials intended to last forever present manifold and diverse conservation problems, at times at odds with each other, since what is recommended for one material may prove to be detrimental to another. The conservator’s task is therefore to minimise decay and reduce the effects of time, keeping an accurate record of any change that may occur in the artwork. The creative thought is given shape not only by means of multiple materials, but also through different expressive languages. Many artists no longer present static figurative images, but interactive environments and monumental works that modify our perception of space
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