| Abstract | Konzervatorsko-restauratorski zahvati opisani u ovom radu izvedeni su na umjetninama koje se nalaze u fundusu Muzeju suvremene umjetnosti (MSU) i na zgradi MSU. Obrađene su tri različite teme koje obrađuju konzervatorsko-restauratorske zahvate na tri različite vrste umjetnina, a time i materijala od kojeg se sastoje. Prva tema odnosi se na metode prezentacije suvremenih plakata. Opisane su tri moguće metode prezentacije; aplikacija plakata na platneni nosilac, aplikacija plakata na drvenu ploču pomoću konzervatorske čičak trake i aplikacija plakata na beskiselinsku podlogu magnetima, koje su demonstracijski izvedene na plakatu Trojanskog rata neće biti Borisa Bućana. Navedene metode osmišljene su za izlaganje Bućanovih plakata te na različite načine ujedinjuju vizualne zahtjeve koje postavljaju izložbe i standarde izlaganja u muzeju te primjenjuju etičke smjernice konzervatorsko-restauratorske struke. Unutar ove teme napravljen je i općenit pregled zahvata na umjetninama na papiru,. Druga tema odnosi se na konzervatorsko-restauratorski zahvat na muralu Open My Eyes That I May See, umjetnice OKO koji se nalazi na zapadnom zidu platoa MSU. Nedugo nakon nastanka, mural je vandaliziran nagrđujućim natpisom koji je prekriveni bijelom bojom kako bi se sakrio nedoličan sadržaj. Obje intervencije su narušile estetiku i poruku djela te je sukladno konzervatorsko-restauratorskim smjernicama odlučeno ukloniti natpis i bijeli preslik. U tu svrhu ispitani su različiti sustavi čišćenja na bazi gelova. Nakon uspješnog uklanjanja neizvornih dijelova, izvedena je estetska reintegracija slikanog sloja te su ispitani različiti materijali za zaštitu murala od eventualnog grafitiranja u budućnosti. Treća tema opisuje konzervatorsko-restauratorski zahvat na suvremenoj štafelajnoj slici Predeo, autora Stojana Ćelića. Slika je zatečena u stanju neprimjerenom za izlaganje, bez podokvira, izrazito valovita i prekrivena slojem površinske nečistoće. Slijedeći načela održivosti i zelene kemije, osmišljen je odgovarajući zahvat. Budući da je slikani sloj izrazito osjetljiv, čišćenju se pristupilo krajnje oprezno te su u tu svrhu ispitani gelovi od agara i agaroze. Nakon uklanjanja površinske nečistoće, slikani sloj je konsolidiran i slika je napeta na pomoćni okvir kako bi se uspješno izveli daljnji konzervatorsko-restauratorski radovi. Naposljetku je izvedena reintegracija nedostajućih dijelova i slika je napeta na podokvir. Izvedeni zahvati su osmišljeni i izvedeni uz stručno vodstvo izv. prof. mr. art. Neve Pološki, voditeljice Odjela zaštite i restauracije MSU u Zagrebu mr. art. Mirte Pavić, više konzervatorice-restauratorice i Kristine Matković, mag. art, konzervatorice-restauratorice MSU. |
| Abstract (english) | Conservation treatments described in this master thesis were conducted on the works of art that belong to the Museum of Contemporary Art (MSU) holdings and are displayed on the MSU building. The master thesis deals with conservation and restoration of three different artworks made of different materials. The first topic relates to methods of presenting contemporary posters. Three possible methods of presenting are described; the application of posters on the canvas support, the application of posters on a wooden board using conservative Velcro tape and the application of posters on an acid-free support with magnets, which were demonstrated on the poster Trojanskog rata neće biti by Boris Bućan. The methods were designed for the exhibition of Bućan’s posters, that in various ways unite the visual requirements set by the exhibitions and the exhibition standards in the museum applying the ethical guidelines of the conservation and restoration profession. Within this topic, a general overview of treatments of artworks on paper was made. The second topic covers the conservation and restoration treatment of the mural Open My Eyes That I May See, by the artist OKO, located on the west wall of the MSU plateau. Shortly after its creation, the mural was vandalized with a derogatory inscription that was covered with white paint to hide the inappropriate content. Both interventions disrupted the aesthetics and message of the artwork, so in the accordance with the conservation and restoration guidelines, it was decided to remove the inscription and the white overpaint. For this purpose, various gel-based cleaning systems were tested. After successful removal of non-original parts, an aesthetic reintegration of the painted layer was performed and various graffiti protection coatings were examined. The third topic describes the conservation and restoration treatment of the contemporary easel painting Predeo by Stojan Ćelić. The painting was found in a state unsuitable for an exhibition; without a stretcher, extremely rugose and covered with a layer of surface dirt. Following the principles of sustainability and green chemistry, an appropriate treatment had been devised. Since the painted layer is extremely sensitive, the cleaning was approached with extreme caution, and agar and agarose gels were tested for this purpose. After removing the surface dirt, the painted layer was consolidated and the painting was stretched on an working frame in order to successfully carry out the further conservation-restoration. Eventually, the missing colour reintegration was performed and the painting was stretched on the new stretcher. The treatments were designed and performed under the professional guidance of Assoc. prof. mr. art. Neva Pološki, Head of Conservation Department of the MSU, Mirta Pavić, MA, Senior Conservator-Restorer, and Kristina Matković, mag. art., MSU conservator-restorer. |
