http://www.kunsthaus.ch/en/the-collection/conservation/examples-from-the-world-of-art-conservation/conservation-and-restoration-project/?redirect_url=title%3DExpositio

Kunsthaus Zürich

Conservation and restoration project

Conservation and restoration project

The aim of the conservation and restoration project is to maintain as far as possible the physical survival of the Schubladenmuseum, and thus its significance as an artwork. As the collection of 500 miniature objects represents a key component of the artwork, it is essential to have comprehensive documentation on the materials and production techniques employed, as well as on the condition of each individual miniature object. By surveying their condition, those miniature objects at risk can be identified systematically, enabling a priority list to be drawn up detailing the measures that need to be taken. Thus a monitoring process is initiated, allowing the current condition of the miniature objects to be used as a reference point against which future observations, material changes and damage may be measured. In addition to the targeted conservation of the miniature objects at risk, detailed proposals are to be drawn up and put into practice stipulating environmental and packaging conditions when storing, transporting and exhibiting the various components of the Schubladenmuseum. This can prevent damage occurring in the future due to climatic fluctuations, inappropriate lighting, and exposure to harmful substances, vibration and mechanical stress. At last the white box drawer system was cleaned and consolidated, including all 500 drawer spaces. Slightly damaged areas were touched up so as to re-convey the appearance of being a well-kept museum.

With Edi Brunner’s «Apollo 11» (1971) the adhesive for the mounting, as well as that connecting the frame and the photograph, have begun to lose their strength due to age. The object is hanging displaced in its compartment. The plastic frame has become detached from the photograph and could easily get lost. It is imperative that both the adhesive bond used in the mounting and the connection between frame and photograph be restored.
With Edi Brunner’s «Apollo 11» (1971) the adhesive for the mounting, as well as that connecting the frame and the photograph, have begun to lose their strength due to age. The object is hanging displaced in its compartment. The plastic frame has become detached from the photograph and could easily get lost. It is imperative that both the adhesive bond used in the mounting and the connection between frame and photograph be restored.
With Kuno Gonschior’s «Kugel» (1971) the bond between the paint layer and the wooden support has weakened. The paint layer is lifting off in several places, and has broken away entirely in a few places. There is an urgent need for consolidation of the paint layer.
With Kuno Gonschior’s «Kugel» (1971) the bond between the paint layer and the wooden support has weakened. The paint layer is lifting off in several places, and has broken away entirely in a few places. There is an urgent need for consolidation of the paint layer.