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Estudo para a conservação da instalação em cera de Brígida Mendes, pertencente ao Museu de Arte Contemporânea de Elvas
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Orientador(es)
Resumo(s)
O principal objetivo do presente trabalho consiste na proposta de uma intervenção de
conservação e restauro para a instalação em cera, Sem Título (2002) de Brígida Mendes,
pertencente ao Museu de Arte Contemporânea de Elvas (MACE). Para elaborar o plano de
conservação, foi seguida uma metodologia multidisciplinar primeiramente direcionada para a
produção de documentação. Partindo de um cenário quase vazio, as entrevistas com a artista e
com outros participantes, forneceram uma base para aprofundar o conhecimento acerca da
instalação. A informação cedida em entrevista foi complementada com análises por microscopia
ótica (M.O.), espectroscopia de infravermelho por transformada de Fourier em reflexão total
atenuada (FTIR-ATR), micro-espectroscopia Raman (µ-Raman) e micro-fluorescência de raios X dispersiva de energias (µ-EDXRF), que permitiram fazer a caracterização material. Com a
avaliação do estado de preservação, a alteração da forma constituiu o principal problema a
corrigir. Esta deformação ocorreu durante a exposição no MACE, devido à exposição a uma
temperatura incorreta, aliada a fatores intrínsecos à produção da obra em cera. O principal foco
do trabalho é direcionado para o estudo da recuperação da forma original do caso de estudo. A
relevância deste estudo prende-se com o facto de ser um assunto pouco abordado na bibliografia
consultada, verificou-se a falta de estudos acerca das causas e estratégias de conservação e
restauro para este problema. Duas abordagens foram equacionadas para corrigir a alteração da
forma, uma delas o aquecimento controlado da cera para restaurar a posição original da obra,
mencionado num artigo escrito por Chiara Gabbriellini. E a outra, a produção de réplicas para a
substituição da obra. Outro foco do trabalho foi determinar um tratamento de limpeza seguro para
a cera. Por fim, foram propostas diretrizes de preservação, que incluíram o correto
acondicionamento, a definição de condições ambientais e de diretrizes para a reinstalação da
obra.
The main objective of this work is to propose a conservation and restoration intervention in a wax installation, Sem Título (2002), by Brígida Mendes, owned by Museu de Arte Contemporânea de Elvas (MACE). To develop the conservation plan, it was followed by a multidisciplinary methodology first directed to the documentation production. Starting in an almost empty scenario, the interviews with the artist and other participants provided a foundation to further the knowledge about the installation. The information collected in the interviews was complemented with analysis by optical microscopy (OM), attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), Raman microspectroscopy (µ-Raman), and energy dispersive X-ray fluorescence (µ-EDXRF) that allowed the characterization of the material. The evaluation of the state of preservation allowed us to conclude that the main problem to correct is the alteration of the shape. This deformity occurred when the work was exposed to an incorrect temperature in MACE, as well as the factors intrinsic to the production of the waxwork. The focus of this work is directed to the study of the recovery of the original form of the installation. It is relevant because this issue has not been much approached in the consulted bibliography, there was a lack of studies regarding the causes and strategies of conservation and restoration of this problem. Two approaches were considered to correct the alteration of the case study’s visible shape. One of them was the controlled heating of the wax to restore the original position, mentioned in an article by Chiara Gabbriellini. The other one is the production of replicas to substitute the work. There is also a focus on determining the cleaning treatment safe for the wax. At last, there were proposed preservation guidelines that included the correct packaging, the definition of environmental conditions, and guidelines for the reinstallation of the work.
The main objective of this work is to propose a conservation and restoration intervention in a wax installation, Sem Título (2002), by Brígida Mendes, owned by Museu de Arte Contemporânea de Elvas (MACE). To develop the conservation plan, it was followed by a multidisciplinary methodology first directed to the documentation production. Starting in an almost empty scenario, the interviews with the artist and other participants provided a foundation to further the knowledge about the installation. The information collected in the interviews was complemented with analysis by optical microscopy (OM), attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), Raman microspectroscopy (µ-Raman), and energy dispersive X-ray fluorescence (µ-EDXRF) that allowed the characterization of the material. The evaluation of the state of preservation allowed us to conclude that the main problem to correct is the alteration of the shape. This deformity occurred when the work was exposed to an incorrect temperature in MACE, as well as the factors intrinsic to the production of the waxwork. The focus of this work is directed to the study of the recovery of the original form of the installation. It is relevant because this issue has not been much approached in the consulted bibliography, there was a lack of studies regarding the causes and strategies of conservation and restoration of this problem. Two approaches were considered to correct the alteration of the case study’s visible shape. One of them was the controlled heating of the wax to restore the original position, mentioned in an article by Chiara Gabbriellini. The other one is the production of replicas to substitute the work. There is also a focus on determining the cleaning treatment safe for the wax. At last, there were proposed preservation guidelines that included the correct packaging, the definition of environmental conditions, and guidelines for the reinstallation of the work.
Descrição
Palavras-chave
conservação de arte contemporânea produção de documentação cera correção da alteração da forma aquecimento controlado réplica